Module 2 – Visual Literacy and Value in Art

These two chapters in the textbook A World of Fine ART discuss the basic terms which would be art critics use to communicate intelligently, among one another, about the works of art they encounter. The ability to concisely describe what one sees in a work of art is crucial to conveying the feeling and underlying meaning the viewer perceives, when in the presence of fine art.

A few of the definitions taken from the textbook are listed here to assist the reader in their interpretation of the forth coming concepts described in this article. Here is a partial list of art terms:

abstract - when the work does not resemble an object as the eye sees it in the real world
realism - when a work closely resembles what the eye sees in the real world
content - what the work means beyond its subject matter
ethnocentric - characterized by the attitude that your group or culture is superior
form - overall structure of the work
iconography - iconic symbols connected and recognized by specific cultural groups
naturalistic - not truly the realistic version of an object, but an artist’s comingling of natural scenes
nonobjective - when the work doesn’t refer to a natural object at all
nonrepresentational - when the work doesn’t represent the natural world in any way
representational - portrayal of natural objects in recognizable form
subject matter - what is literally depicted

Form vs. Content

Form, the actual subject of the work, and content, the meaning the artist is portraying, is not always readily apparent in some works of fine art. This representational piece by Toyo Sesshu circa.1500 is a mountain top scene in which both elements are easily distinguishable. The form is somewhat abstract, and there is not much realism in the rendition. But, the subject matter is easily distinguishable as a landscape of a mountain top, as the title suggests. The intent of the artist is apparent as well, to simply depict a landscape of a mountain top. The form and content of the following pieces will be discussed for their specific representational formats as related to the concepts they imbue.

Landscape (detail showing mountain tops)
by Toyo Sesshu  circa.1500
ink on paper, 77.2 x 27 cm
from Seattle Art Museum

Representational Art

At first glance, it is evident that the subject matter of this work of art, by Albert Bierstadt (1830-1902), is the likeness of a butterfly, an object commonly found in nature. The representation conveys a sense of realism in form, but does not portray the natural surroundings in which the subject could be found. Even though, this is a beautiful example of a representational portrait of a butterfly.

Butterfly
by Albert Bierstadt (1830-1902)
oil pencil on paper
from the University of California, San Diego

Abstract Art

This is a work of art that depicts war as envisioned by Jackson Pollock (1912-1965). It displays an example of abstract art, as do many of his pieces. Upon close inspection, one can distinguish a few signs of representational elements, but they are displayed in abstraction. Looking at the obscure likeness of a human a top of the chaotic pile of rubble, it can be seen that the form melds into, what appears to be, the likeness of a cow. All in all, there is truly no distinguishable sense of realism to the subject matter which makes it a good example of abstract artwork.

War
by Jackson Pollock (1912-1965)
Pen and Ink, and colored pencils on paper 20.675” x 26”
from The Metropolitan Museum of Art
© 2007 Pollock-Kransner Foundation

Non-Objective art

Nonrepresentational art is specifically about form. The form of this painting, by Kisimir Malevitch (1878-1935), is simply of a triangle and a square. The subject matter does not represent anything in the natural world, nor does it insist any specific meaning. The art object is simply a composition of the colors and materials used in creating it, and this piece is a very nice example of non-objective artwork.

Suprematism
by Kisimir Malevitch (1878-1935)
watercolor 11.5” x 8.5”
from Los Angeles County Museum of Art (SUNY Binghamton Digital Image Collection)

Iconic Art

Jean Michel Basquiat (1960-1988) is said to be an artist whose work is “literally packed with a private, highly ambiguous iconography (37, Sayre)” as seen in this large painting entitled Felix the Cat. The cartoon cat Felix is most evident, but there is also iconic significance in the portrayal of the dark skinned woman, the African ceremonial mask and the blue bow tie. The iconic symbols here may only be readily recognizable to people of a specific time period or of a specific cultural background. But, the icons are visually apparent none the less.

Felix the Cat
by Jean-Michel Basquiat (1960-1988)
Acrylic on Canvas 9’8” x 13’
from SUNY Binghamton Digital Image Collection

Example of Iconoclasm

One of the most popularly notable examples of iconoclasm is the toppling of Saddam Hussein’s statue on April 9, 2003, just outside of Baghdad. The destruction of the iconic statue represented the end in a reign of tyranny at the hands of Hussein.

The first abstract work by Zane Lewis entitled Watch me Slowly Death is a subtle portrayal of iconoclastic artwork. It is highly abstract, but does resemble a traditional bust portrait. Looking closely at the portrait, one can distinguish the subtle icons of a world famous perfume littering the form. The content suggests death due to the use of this product, and is evident in the title and the dark void in the face of the subject.
This second piece, also by Zane Lewis, is a more outspoken version of iconoclasm. It uses the distinguishable likeness of the Pope, an iconic symbol to the entire Christian world, spewing colored paint from the mouth to represent the hypocrisy of the Catholic Church. The colored paint spewing from the pope’s mouth introduces a destructive inference to the well redound likeness of the pope. The jading of the iconic symbol is the very nature of iconoclasm. It is very ironic that the exhibit was first displayed in Bologna, Italy, a mecca of the Roman Catholic Church.

Watch me Slowly Death, 2009
by Zane Lewis
paint and paper on Plexiglas 51” x 51” x 3”

Untitled
installation Arte Fiera in Bologna, Italy (2007)