Tag / MoMA

by hannahlg107

Surrealism: Art of the Subconscious

A beloved art movement, while also groundbreaking when it first came about, is surrealism which emerged during the early twentieth century right after WWI. It’s defined as art that invokes the inner workings of the human psyche or subconscious through juxtapositions creating symbolism. Along with dadaism emerging only a few years before, the symbolic absurdities remained throughout surrealism. The meaning behind the movement (along with expressionism and dadaism) requires higher level thinking for the viewer to understand than previous centuries’ artworks. Surrealism’s goal is to illustrate the merging of dreams with reality, a mystical and intriguing concept for the viewer to make sense of. Examples of surrealist artists include the most well known Salvador Dalí, along with Leonora Carrington.

The meaning behind a surrealist piece is not always obvious and the viewer must dissect it like a puzzle. Keep in mind that interpretation and meaning differ. No matter which era of art the artwork’s interpretation is subjective to the viewer thus having them form their own reaction and opinion. Unraveling the artist’s meaning behind a surrealist work is what makes it so special. Surrealism gives power to the artist to invoke a whole new idea. The meaning behind those pieces were quite literal, unlike surrealist pieces. Even within the more recent preceding years of surrealism the expressionist (art that conveys a feeling) and dada movements’ subject matter were more relatable because groups of people have either felt that emotion or have joked about what’s mainstream. Surrealism opens creative possibilities for the artist to share their distinct, personal, precious dream state.

The first and perhaps most well known surrealist piece is Salvador Dali’s The Persistence of Memory. The landscape background is of his view of the Mediterranean and the Sierra de Rodes from his cottage home. The clocks do not hold their original form as they appear to be melting. The pink matter figure is often interpreted to be Dali himself based on the similar nose structure and which many viewers perceive as flesh to soon be rotting. The fly and the ant correlation at the bottom left of the composition has been thought to speak upon the relation of flies carrying disease which can demolish an ant colony. The meaning viewers find behind it is displayed as grim, in that memories fade. To achieve what is shown on the canvas, before beginning his surrealist works Dali, gained knowledge about the subconscious through Sigmund Freud who had developed the renowned psychoanalysis technique. The artist used what he learned from Freud to do the following, “The year before this picture was painted, Dalí formulated his ‘paranoiac-critical method, cultivating self-induced psychotic hallucinations in order to create art. “The difference between a madman and me,” he said, ‘is that I am not mad.’”1 Thus, accepting his eccentric brilliance caused the pioneering of a whole new art movement. This is similar to Lenora Carrington’s work because the two artists portray an unseen reality.

Leonora Carrington’s intriguing And Then We Saw the Daughter of the Minotaur also comes with lots of symbolism to dissect and put together to unveil its meaning. She was very into mystical concepts such as witchcraft to begin with. Clouds and stars are juxtapositioned underneath the ceiling. A minotaur is displayed with tiny hands performing witchcraft. The boys wearing a cloak could refer to the cloak’s symbolism of their identity being transformed. A rose is displayed that appears to be tampered with, however there’s also white feminine dancing figure with a disproportionately large flower coming from her head with a bright light only shining upon that figure. Nearby there are two white whippet dogs, the only creatures that notice the light, relating to the speculation that animals see spirits that people do not. Throughout the painting are crystal balls scattered. In the background but not centered is the abstract, almost indescribably flowing green figure with a small cross at the top of it. One analysis points out Carrington rewriting the Greek mythology of Theseus conquering the minotaur then travelling the labyrinth of conquering subconscious desires. Carrington does not display the minotaur as conquered and the feminine nuances are not subdued but rather empowered. It’s a surrealistic piece because the story is juxtapositioned but the storyline’s theme about the subconscious. The artist explains that we live in a visual world that changes so much that it’s not worth spending the time that people do to make sense of it, which fits into the lens of a surrealist.

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Leonora Carrington. And Then We Saw the Daughter of the Minotaur, 1953. Oil on canvas; 23 5/8 × 27 9/16″. Museum of Modern Art collection, New York, New York. Image by Museum of Modern Art.

There is much to unpack when it comes to understanding the meaning of surrealist artwork. The artist displays a scenario that has not yet been seen by anyone else by using juxtapositions. Dream states allow for this. During the times of the two World Wars when conformity was the norm, producing art that’s subject matter was entirely unique to the artist was controversial but nonetheless gained much attention. It took more than just artistic skill, which was the standard upheld for art beforehand. Surrealism portrays the subconscious, which is incredible since it isn’t tangible.

Bibliography

“Horns of the Goddess: The Minotaur in the Work of Varo, Carrington, and Lam.” Ebrary. Accessed November 15, 2021. https://ebrary.net/153654/psychology/horns_goddess_minotaur_work_varo_carrington.

Lynley. “Symbolism of Coats and Cloaks.” SLAP HAPPY LARRY. October 31, 2021. Accessed November 14, 2021. https://www.slaphappylarry.com/symbolism-coats-cloaks-robes/.

“Salvador Dalí. The Persistence of Memory. 1931: MoMA.” The Museum of Modern Art. Accessed November 14, 2021. https://www.moma.org/collection/works/79018.

Tate. “Surrealism – Art Term.” Tate. Accessed November 11, 2021. https://www.tate.org.uk/art/art-terms/s/surrealism.

“The Meaning of Salvador Dali’s Famous “Melting Clocks” Painting: The Persistence of Memory.” EmptyEasel.com. October 26, 2021. Accessed November 14, 2021. https://emptyeasel.com/the-persistence-of-memory-famous-melting-clocks-painting-by-salvador-dali/#history-of-surrealism.

by hannahlg107

How Feminism and Women Artists Go Together

A dominant narrative within Western art history is that women are objectified. While that being the common theme for the portrayal of women within fine art history is unsettling, there isn’t a real issue as long as the woman portrayed is comfortable doing so, like Rose from The Titanic. But unfortunately it’s common, especially within the older narrative for the woman to be uncomfortable or even spied on, and is captured by the artist within her facial expression. Now that those disturbing facts are put to light, it’s good to mention that (only) in recent decades women artists are being acknowledged. With that, this essay answers a few questions that feminists seek answers to. What characterizes art made by women about women? It could be anything they want. Does it fit a role? No. Fortunately due to evolution of women’s rights these answers are ones that supports feminist ideology. Any woman who makes her own art empowers herself by doing so. This means whether they prefer to portray their gender as more conservative versus more exposed doing so supports feminist ideology.

Artwork produced by women about women may or may not speak against gender roles. One of the first that addresses it though, is Judy Chicago and Miriam Schapiro’s Womanhouse art installation and performative work in 1972. But of course that doesn’t mean that the female artist depicting a fragile and emotional woman in her work doesn’t support feminist ideologies. Cindy Sherman is a contemporary American artist whose works feature herself and addresses the way women are viewed. She never intended for her work to have a feminist undertone but is glad that feminists appreciate her work and that women find it empowering. Sherman’s work mainly consists of dressing up in costumes and wigs and documenting herself. Her first highly recognized work is her Untitled Film Stills 1977-1980 series. According to the MoMA’s description,

“Cindy Sherman’s Untitled Film Stills is a suite of seventy black-and-white photographs in which the artist posed in the guises of various generic female film characters, among them, ingénue, working girl, vamp, and lonely housewife. Staged to resemble scenes from 1950s and ’60s Hollywood, film noir, B movies, and European art-house films, the printed images mimic in format, scale, and quality the often-staged “stills” used to promote films.”

These photographs of course stirred controversy at the time, and perhaps is the reason why she first gained so much attention. Untitled Film Still #14 from 1978 depicts her as a stereotypical vamp woman. Back in the 50s and 60s the use of this term was popular and was one of many coined by men to stereotype women. It made sure to warn fellow men about such women exuding sexual prowess taking advantage of them through film. The term was used to identify a woman typically with heavy makeup (red lipstick) along with showing more skin than usual to enhance her sex appeal as a means to seduce men and manipulate them. Cindy Sherman knowingly portrays herself as such here, along with a weapon, black dress (the color choice perhaps meaning sinister), and a brazen-faced presumptuous facial expression. What causes the controversy is that men felt unsettled having their counterpart instead of themselves being in control. Sherman portrays that as a female she is conscious of this, thus mocking the 50’s and 60’s film stereotypes throughout the series.

Cindy Sherman continues to take the paradoxes of womanhood and runs with it throughout her career. Her work becomes more and more attention grabbing, unsettling, shocking, and humorous. Pregnant Woman from 1991, does this by discouraging motherhood and of course the housewife notion. Yet another controversy, this work by her was done right after Demi Moore’s pregnant and nude Vanity Fair magazine cover, almost recreating it with the same short hair style. Sherman has messy bedhead short hair, black or brown dilated contact lenses, wears a caked on application of makeup, a soaking wet as well as torn white flannel, and has nipples so inflamed they look in pain. Not only is this not the Western ideology of how men would like to perceive women, but it’s also not what any woman wants to be either. They don’t want to become a demonic creature that is forced to sell her body because the baby’s father left her which is what one could read this as. While humorous, it can also speak upon the serious importance of Planned Parenthood in our world. That is, not bringing life into this world that will struggle to survive.

Cindy Sherman. Untitled (“Pregnant Woman”), 1991. Chromogenic print on Kodak paper; 17″ x 11″. Caviar20 collection, Toronto, Ontario. Image by Caviar20.

To answer the question about what role and characteristics do women artists display, perhaps Cindy Sherman is simply having fun with her work. Perhaps topics such as conservatism versus nudity within the feminist realm are about the woman’s ability to choose whichever empowers herself, no matter what men or what society deems as acceptable for the times. The same goes for women who enjoy being a housewife versus women who enjoy living an independent life. Gender identity and how it’s portrayed is a personal choice. To each their own. That is what feminism means, to the right to choose and allow the freedom of expression within female artists.

Sources

Berne, Betsy. “Studio: Cindy Sherman – Interview.” Tate. Accessed October 28, 2021. https://www.tate.org.uk/art/artists/cindy-sherman-1938/studio-cindy-sherman.

“CINDY SHERMAN “PREGNANT WOMAN”, 1991.” Caviar20. Accessed October 28, 2021. https://www.caviar20.com/products/cindy-sherman-pregnant-woman-1991.

“MoMA Learning.” MoMA. Accessed October 28, 2021. https://www.moma.org/learn/moma_learning/cindy-sherman-untitled-film-stills-1977-80/.

by oliviawronka

Frida Kahlo: Challenging Western Gender and Identity Norms

Magdalena Carmen Frida Kahlo y Calderón known in the art world as just Frida Kahlo was a Mexican painter whose work primarily focuses on themes of identity, death, and personal life experience.  Kahlo’s Self-Portrait with Cropped Hair and double self portrait The Two Fridas capture her struggle with identity. Kahlo’s colorful self-portraits and surrealist paintings challenged the gender and identity norms of the Western world.

Frida Kahlo. Self-Portrait with Cropped Hair, 1940. Oil on canvas; 40 x 27.9 cm. MoMA Collection, New York City, NY. Image by MoMA.

Kahlo disagreed with the Western concepts of gender from an early age. Directly challenging gender norms, Self-Portrait with Cropped Hair (1940) shows the artist in a men’s suit with a traditionally male haircut. She is seated in a chair in the center of the frame making eye contact with the viewer. She is holding scissors in one hand and a lock of hair in the other and it appears that she has just cut her own hair. There are locks of hair scattered throughout the foreground and middle ground of the painting. At the time of this painting, women traditionally presented with long hair and wearing a dress or skirt. In Mexico a women’s long hair was a sign of beauty and womanhood. 

She exhibits herself in this painting from an androgynous angle sporting mens attier and a short hair cut. By cutting her hair, Kahlo stripps herself of the idealistic portrayal of what a woman should look like. Due to the artist’s medical issues and injuries, Kahlo was unable to bear children and suffered multiple miscarriages. Carrying a child and raising a family was something that was expected of women at that time while the men worked to support the family financially. This burdened Kahlo and created personal conflict with her identity as a woman. This painting was created following the artist’s divorce to her husband in 1939. During this time Kahlo swore she would sell her art inorder to be financially independent from any man. Therefore, this painting where she appears more masculine can also represent her becoming her own husband, and show that women do not need to rely on a man to be independent. This painting broke boundaries of both feminine beauty and expectations. 

Frida Kahlo. The Two Fridas, 1939. Oil on canvas; 173.5 x 173 cm. Museo de Arte Moderno, Mexico City, Mexico. Image by Museo de Arte Moderno.

Not only did Kahlo document her ambiguity and experimentation with her identity as a woman, she also expressed her mixed heritage. In her painting The Two Fridas (1939) the artist depicts two sides of herself. On the left is Kahlo in a white European style dress in connection to her German heritage from her fathers side. And on the right she is depicted wearing a traditional Mexican skirt and blouse to represent her Mexican and Spanish heritage from her mothers side. The two figures are seated on a bench holding hands against a dark cloudy background. Their hearts are exposed and appear to be connected by a vein. 

Kahlo moved to the United States in 1930 during the time of the Great Depression. This was an uncertain time for immigrants coming from Mexico and discrimination against spanish-speaking individuals grew as unemployment rates rose. This painting shows how the artist’s two very different sides are connected. Kahlo was proud of her Mexican and Spanish heritage and she symbolizes this in the attire worn by her on the right. She shows that although she had immigrated from Mexico, She would not cut herself off from her Mexican heritage. America was thought to have been a “melting pot” where inorder to avoid discrimination a person had to abandon their culture to fit into the societal norms of the U.S. This painting fights this idea that a person had to fully conform to the identity of their location. 

The work of Frida Kahlo fights both gender constructs and the discrimination faced by immigrants. Her work stems from Kahlo’s own personal experiences and reality as a woman of both European and Mexican descent. Her work continues to be an inspiration by challenging the gender and identity norms of the Western world.

Sources

Bakewell, Liza. “Frida Kahlo: A Contemporary Feminist Reading.” Frontiers: A Journal of Women Studies 13, no. 3 (1993): 165–89. https://doi.org/10.2307/3346753.

Blakemore, Erin. “The Brutal History of Anti-Latino Discrimination in America.” Google. Google, August 29, 2018. https://www.google.com/amp/s/www.history.com/.amp/news/the-brutal-history-of-anti-lat ino-discrimination-in-america.

The Museum of Modern Art. 2021. Frida Kahlo. Self-Portrait with Cropped Hair. 1940 | MoMA. [online] Available at: https://www.moma.org/collection/works/78333?artist_id=2963&page=1&sov_referrer=artist.