Mid-Modern Art Analysis

 Women’s Place and Portrayal in Mid-Modern Art

For most of human history, women’s role in art has been sequestered primarily into being the one-dimensional subjects of paintings. Women were generally represented as something pretty to look at as overly emotional or in another negative light. While female artists have been around as long as men, their role in art has been significantly downplayed. It was not until the Modern Age, when female artists began depicting the injustices they faced through their art, which were accepted in the community. Representation of feminine rage and strength have been shown in the art for centuries, but often women were reduced to portrayals of mothers, wives, and typical of a lesser status than men. During World War I, propaganda encouraged women to seek employment outside the home, which was usually reserved for males, to boost the war effort. These images worked so well that once the war was over and men once again needed employment, many women were reluctant to quit their new careers. To combat this, after World War II, many sexist ads were created, serving as a type of propaganda that exaggerated women’s delicate nature, heavily promoted life in the domestic sphere, and were generally demeaning. 

Is It Always Illegal to Kill a Woman by Pitney Bowes Global Technology Company

Released in 1951 by the U.S.-based Pitney Bowes Global Technology Company, Is It Always Illegal to Kill a Woman is one of the most sexist ads published at the time (Olsson). In the ad, a man tries to convince a female secretary to use a new machine for the office. The woman, Missy, is represented as stubborn and unintelligent, expressing that she does not know how and has no desire to learn how to operate the machine (Olsson). This is meant to show that women are difficult and therefore do not belong in a professional setting. The man's frustrations are summarized by him asking the question, Is It Always Illegal to Kill a Woman? How the marketing team endorsed such a hateful and dangerous message is beyond my and most twenty-first-century person's understanding. 

Despite the profoundly damaging message this ad promotes, it is illustrated pleasingly. The man’s unique, hunched-over posture combined with his expressive hands and face creates an exciting contrast with the woman who stands ramrod straight with her tightly crossed arms and reserved expression. At an initial glance, one could assume this image is meant to be a jab against men rather than women as it is the man who appears almost hysterical. However, I feel the position of the woman’s head at a higher level than the stooping man gives her a more heightened sense of importance; rather interesting, I think, because this is the exact opposite of what the artist was trying to convey. I also enjoy the color scheme, with the woman’s luminous ginger hair contrasting beautifully against her bright teal outfit. Her bolder color pallet, I feel, further adds to her projection of importance when compared to the man’s dull brown suit and rather garish tie. I find it fascinating that if one simply takes away the distracting and sexist words to the right of the illustration, the image could easily be interpreted as a man begging and pleading to the woman, who is very clearly not interested in what the man has to say. I enjoy this ad not because of what it says but because visually, despite the image trying to degrade the woman, she stands tall and holds more visual power. Finally, I appreciate the image because it shows how far we have come as a society, as there is no way such an illustration would be released today as a serious and legitimate ad. 

Do Women Have To Be Naked To Get Into the Met. Museum by Guerilla Girls 

Created in 1989 by the artists known as Gorilla Girls, Do Women Have To Be Naked To Get Into the Met. Museum was a critique of the museum’s exhibits. Initially, Do Women Have To Be Naked To Get Into the Met. Museum was commissioned by the Public Art Fund in New York as a billboard but was ultimately rejected (Women). Instead, this work was produced as a 280-mm by 710-mm screen print on paper (Women). The artwork clearly and concisely states that while most nudes displayed in the Met. are female, less than five percent of the artist who have work exhibited in the modern section are women (Women). This brings a pressing issue to people’s attention – women’s portrayal in art as sexual objects is placed at a higher value than female artists' contribution to the field. 

I find this image pleasing to the eye as well as inspiring. The bright yellow of the background combined with the equally neon pink accents create an eye-catching color scheme that I do not normally gravitate to. However, I think it works well in this image, especially for its intended purpose. The woman's pose is so overtly feminine that the gorilla head is rather shocking and unexpected, but one that I think is an interesting addition. The gorilla mask the symbol of the Gorilla Girls artist, which I feel represents a sort of primal female rage.  The composition is very well balanced, with the dark, bold words dominating the right and the woman’s pale body occupying the left. Finally, both the words and the woman take up equal triangular spaces. I appreciate this image because of its aesthetics and the feminist message that it is promoting and the injustices it is bringing to light in the Modern Age. 

You’re Seeing Less Than Half the Picture by Guerrilla Girls

The Guerrilla Girls are a group of female artists that have been working, primarily in New York, since 1984 to expose sexual and racial discrimination in the art world (Woman). Both Do Women Have To Be Naked To Get Into the Met. Museum and You're Seeing Less Than Half the Picture are two works from Guerrilla Girls’ “Talk Back” series (Woman). Made in 1989, this is the thirtieth poster in the series above and is a 430-mm by 560-mm screen print on paper. You’re Seeing Less Than Half the Picture is a simple image with a white background and bold black words. The main words are crammed to the right of the image and take up less than half of the all-white space, which is the poster's point. Feminism and the fight to end racism have often gone hand in hand. With women and people of color both typically being marginalized groups throughout history, it was common for the feminist movement to join forces with and support the fight for racial equality and vice versa. Art such as You’re Seeing Less Than Half the Picture shows that this sense of comradery has persisted and remains strong into the Moder Age between the two groups.

Ordinarily, I do not enjoy such simple artwork that only utilizes words as I feel such art has become over-commercialized and tends to look cheap, even if it is of a higher quality. However, the minimal design paired with the simple words combine to create a straightforward means of delivering the message, which I appreciate. Furthermore, the ample blank space to the left leaves the image looking unfinished, with I feel is a very clever utilization of the space when paired with the message and creates a pleasing composition. Finally, while I vastly prefer colorful and more detailed works, I can also appreciate these minimalistic images that allow the eye to rest, especially when paired with such an important message. While the illustration does not elicit any extreme emotional response, I feel empowered by the message. 

Meet the People by Sir Eduardo Paolozzi

In significant contrast to You’re Seeing Less Than Half the Picture is Sir Eduardo Paolozzi’s Meet the People. Created in 1948 while Paolozzi was living in Paris, this collage is 359-mm by 241-mm and was made with magazines gifted to him (Meet). Meet the People was one of a series called “Ten Collages from BUNK” (Meet). Paolozzi created his series of collages as a way to explore his fascination with technology, consumerism, and pop culture (Meet). While these ideas do not necessarily coincide with feminist ideals, it is the image itself that I feel aligns with the movement. 

Prominently placed on the collage is a cutout photo of American actress Lucille Ball. Known primarily for her leading role in the sitcom I Love Lucy, not many people realize how instrumental Ball was in getting the show Star Trek on the air. After the show was initially canceled after the pilot, Ball read the script and greenlit Star Trek for her studio, Desilu Productions (Britt). For this reason, Ball is often referred to as the "Godmother of Modern Science Fiction." Star Trek was revolutionary in its ideals for an almost entirely new kind of show in the 60s. Often exploring themes of injustice, prejudice, sexism, and racism, Star Trek was the first show to cast a black woman in a non-demeaning role and was the first show to have an interracial kiss on screen (Pilgrim). These social commentaries were radical and nearly resulted in the show's cancellation (Britt). However, such themes ultimately ensured the series was an incredible and revolutionary piece of cinema for reasons both in what was aired and how it started. For these reasons, I find Meet the People deeply inspiring because it showcases an amazing, self-made woman who changed the entire film industry for the better. The collage is somewhat chaotic, with uneven cutouts, glue stains peeking through, and parts of the images appearing to peel up. I find these aspects charming as they remind me of collages I made as a child and believe they give the image a whimsical aura. Because of the bright, typically female-associated colors, and images, I suspect many would guess that Meet the People was created by a woman and would make judgments about the work simply based on that assumption. I find the vibrant color scheme pleasing as it fills me with excitement, and I feel it harkens to the exuberant patterns and colors of the 80s. Additionally, I enjoy the arrangement of the pieces, especially the bowl of fruit framed behind Ball's head. The orange tones and red lipstick paired with the cherries creates a bold and cohesive composition. I extremely enjoy this collage for all the bright colors and images of a woman whom I find incredibly inspiring.  

Geometry of Hope by Monir Shahroudy Farmanfarmaian

Monir Shahroudy Farmanfarmaian was an Iranian artist whose career spanned over sixty years (Monir). Farmanfarmaian was first inspired to create her mirror and reverse glass painting mosaic sculptures when she visited the Shah Cheragh Mosque in Shiraz, Iran, and saw the geometric tiles which adorned the building and wished to combine such designs with disco balls (Monir). She was the first contemporary artist to take this method of cutting and placing bits of mirrors on plaster known as Ayeneh Kari, a craft traditionally passed from father to son, and reinvented it to suit her vision (Monir). Although her art was appreciated by many of her peers, it was not until later in her career that Farmanfarmaian’s work was fully appreciated by critics and given solo exhibits (Monir). Geometry of Hope is a 128-cm by 128-cm mirror, reverse glass painting, stainless steel, and plaster on woodwork (Hope). Created in 1975, Farmanfarmaian made this mosaic while living and working in Iran before she was exiled from the country after the 1979 Islamic Revolution (Monir). 

At first glance, Geometry of Hope is a simple geometric mosaic made from silver and black pieces. In certain light, however, the actual color of some of the tiles is shown, revealing a beautiful green diamond in the center of the work. I think this is incredibly fitting for the work as it shows that while hope might not always be evident, it is always there. I find the repeating geometric pattern pleasing to the eye as the repetition fills me with a certain sense of calm. Additionally, I enjoy the shiny and reflective materials used in the design, as they reflect light and brighten an area in an appealing way. Farmanfarmaian faced many obstacles in having her work recognized, not only because she was a woman but also because she is a woman of color. Although it took several decades, her work was eventually recognized for its worth, and now there is a museum, the Monir Museum in Tehran, dedicated solely to her work (Monir). This is an even more incredible accomplishment as it is the only museum devoted to a woman in the entire country (Monir). To me, Geometry of Hope represents the never-failing hope that Farmanfarmaian held onto during her career that her work would be recognized and appreciated. I find this inspiring and view Geometry of Hope as the beauty she was able to create as a female artist in a country and time that did not even want to acknowledge her as a person, let alone an artist. 

 Wake Up by Elizabeth Murray

Elizabeth Murray was a female artist who created the majority of her work during the 1980s. Made in 1981, Wake Up is one of the first multiple canvases, shaped works that Murray created while living in New York (Murray). Murray often expressed that she sought not only to create fun work but also to have fun while she worked (Murray). This was a rather bold and unusual stance for a female artist to take. This is because it was believed then, and even to an extent today, that for an artist to create credible art, it needed to be and have been created with a degree of seriousness. Murray sought to redefine what made up an image with her fractured canvases. Her work often featured elements found in everyday life to draw a parallel between the often-damaging relationship between women and domesticity (Murray). Wake Up is comprised of three canvases arranged to make it appear as if the warped tea cup and saucer divided between the canvas have partially shattered. 

Personally, I find this fragmentation of the canvases to create an image that looks as if it has just hit the floor extremely pleasing as it creates a dynamic composition which utilizes the negative space as part of the image. I also enjoy the contrast between the almost violet image of the breaking cup and Wake Up's cool and calming blues and teals. Finally, I enjoy the warped nature of the cup and saucer as it makes it appear almost as if we are looking at the image through a shattered mirror. I find this aspect of warped reality intriguing as it reminds me of an otherworldly cup of tea that one could find in the classic tale Alice’s Adventures in Wonderland. The unique fractured image between the canvases, beautiful color scheme, and feminist undertones of the oil painting all combine to create an image that I find makes me elated to look at. I greatly appreciate that Murray strived to enjoy creating her art and ensure it was fun. I think that many people struggle to create art because they are too focused on creating deeply meaningful works when simply creating something you enjoy is enough to constitute influential art. 

 

Final Thoughts

Women’s place in art has not always been given the recognition or respect that it deserves. Modern art has given women the platform and the freedom to showcase the injustices that did and still continue to plague females in the art community. Be it in unfair representation or the idea that women’s work is inherently less significant than men’s, female artists have long fought to have their talents recognized and appreciated. It is due to the hard work of women artists and revolutionaries such as the Guerrilla Girls, Lucille Ball, Monir Shahroudy Farmanfarmaian, and Elizabeth Murray who have paved the way so that women, such as myself, are free to enter the industry, pursue a career in art, and be recognized for the success of their endeavors.

 

 

Work Cited

Britt, Ryan. “New Star Trek documentary reveals Lucille Ball’s surprising sci-fi influence,” INVERSE, November 5, 2021. https://www.inverse.com/entertainment/star-trek-documentary-lucille-ball#:~:text=Ball%20greenlit%20Star%20Trek
%20after%20its%20pilot%20failed&text=Although%20Ball%20wasn't%20involved,pivotal%20in%20financing%20the%20series. Accessed April 19, 2023.

“Do Women Have To Be Naked To Get Into the Met. Museum,” Tate, https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793. Accessed April 19, 2023.

“Elizabeth Murray,” The Art Story, https://www.theartstory.org/artist/murray-elizabeth/#:~:text=Unlike%20many%20of%20her%20cotemporaries,often%20silly%2C%20and%20always%20playful. Accessed April 20, 2023.

“Meet the People,” Tate, https://www.tate.org.uk/art/artworks/paolozzi-meet-the-people-t01459. Accessed April 19, 2023.

“Monir Farmanfarmain, Geometry of Hope,” Sotherby’s, https://www.sothebys.com/en/buy/auction/2020/contemporary-curated/monir-farmanfarmaian-geometry-of-hope. Accessed April 20, 2023.

Monir Shahroudy Farmanfarmaian,” Monirff.com, https://www.monirff.com/about. Accessed April 20, 2023.

“Olsson, Luke. “A Barebones Visual History of Sexism in Advertising,” The Lovepost, 13 April 2018. https://www.thelovepost.global/identity/articles/barebones-visual-history-sexism-advertising. Accessed April 19, 2023.

Pilgrim, David. “TV’s First Interracial Kiss,” Ferris State University, November 2007. https://www.ferris.edu/HTMLS/news/jimcrow/question/2007/november.htm. Accessed April 20,2023.