Krish Anand Post #3

Mini Post 3

Chris Thorson, Boxed In, 2012.

            The Feast and Famine exhibition primarily showcased artwork related to food and associated products. The depictions of food were extremely diverse in form, shape, and material makeup, and allowed for different interpretations of the works based on these factors. The pieces shared the characteristic of highlighting social and political issues associated with the food industry, as well as the broad social and political landscape. Common issues highlighted throughout the gallery included the need for ethical consumption, the inequitable food production system and the urgency to act. However, the theme that stood out to me and aligned with historical artwork was the use of imperfection and impurity to challenge beauty standards and to emphasize the complexity of social issues.

            

Chris Thorson, Harvest Fresh, 2012.

Chris Thorson’s piece, Harvest Fresh, combines two unique displays to critique the need for beauty in the food industry. In one display, colorful and vibrant fruits are placed in a cardboard box and represent the idealized versions of the fruits. These fruits are fake but show society’s association between real fruits and the idealized versions of them, that are not very prevalent in nature. In contrast, the other display shows deformed food objects with cracks, protrusions and dull colors. These deformities make the food seem unappealing and edible, despite the food being rich in nutrients. The combination of the displays highlights how much food is wasted because it is not aesthetically pleasing enough to be consumed or sold. By creating these pieces, Thorson is raising the question of what beautiful food really looks like? One argument is that many of the abnormally large and colorful fruits are the product of GMO treatment and are therefore not beautiful because they are not natural. Another potential argument is that food should be considered beautiful based on its benefit to health and nutrient composition. Overall, Thorson is successful in challenging the concept of beauty in food because he creates such a visible contrast between the perfection of the fake fruits and the imperfection of natural and nutrient – rich food.

            Willie Cole’s work, Clear Pool, depicts water bottles that have been crushed, shaped and stuck together on a flat structure. The work has characteristics of beauty such as the formation of a crystal-like effect on the top surface of the bottles and the layered structure of the bottles. One significant decision Cole made was to leave the dirt in some of the bottles to add imperfection and uniqueness to each bottle. The dirt is important because it creates the feeling that a negative sentiment exists alongside the aesthetic beauty of the work. In Clear Pool, Cole is attempting to bring awareness to the Newark Water Crisis. The choice to use water bottles is interesting because plastic bottles are known for their environmental harm, especially when not recycled properly. Similarly, the Newark Water Crisis reflects an environmental and social disaster that occurs when the processes surrounding water are not followed properly. The contrast between beauty and impurity can also be seen in the symbolism of the work, as water is associated with divinity and life or vitality. However, this art challenges viewers to think about water from a negative perspective as the contaminated Newark water is detracting from health and contradicts its intended purpose. Furthermore, Cole is challenging the historical symbolism of water being pure and clean by emphasizing instances in which water conflicts with the historical connotation. Willie Cole’s piece is extremely powerful because it portrays the negative circumstances surrounding water, while challenging the societal perception of water being pure and perfect.

Willie Cole, Clear Pool, 2016.

Parmigianino, Madonna Of The Long Neck, 1534-1540.

            The theme of using imperfection and impurity aligns with the historical style of mannerism, during which artists challenged historical standards of beauty and art. One example from this period is Parmigianino’s work, Madonna Of The Long Neck, which depicts Mary holding a sleeping child on her lap, while surrounded by four other figures. Stokstad writes, “The languid expanse of the sleeping child recalls the pose of the ashen Christ in a Pieta; indeed, there is more than a passing resemblance here to Michelangelo’s famous sculpture in the Vatican” (Stokstad, 680.) This quote highlights the decision of Parmigianino to replicate a very religious pose, however, he does this by portraying Mary using the mannerism style. He distorts her body by making her fingers, neck and legs unnaturally large and makes her shoulder extremely narrow. Furthermore, the child’s arms and legs are in an awkward position for someone resting on the lap of another person. Stokstad writes, “Like Pontormo, Parmigianino presents a well-known image in a challenging manner calculated to intrigue viewers” (Stokstad, 680.) Parmigianino’s viewpoint in this depiction raises the question of whether beauty is found in traditional representations or if distortions can create beauty. In this painting, the elongated fingers and position on the chest creates the feeling of elegance and tenderness, while simultaneously representing Mary in an imperfect way. By contrasting traditional standards of beauty with imperfect and unnatural images to create beauty, Parmigianino challenges the definition of beauty and provides a critique of societal opinions of the time.

Bronzino, Allegory With Venus And Cupid, Mid 1540's.

            Bronzino’s work, Allegory With Venus And Cupid, is another mannerism work that challenges traditional notions of beauty through impurity. Bronzino includes prominent figures such as Cupid and Venus who have been consistently depicted throughout history. The painting also incorporates elements of fiction and distorts the traditional representations of these characters. Stokstad writes, “Lurking just behind Venus, a monstrous serpent – which has the upper body and head of a beautiful young girl and the legs and claws of a lion – crosses her hands to hold a honeycomb and the stinger at the end of her tail. This strange hybrid has been interpreted as both Fraud and Pleasure” (Stokstad, 681.) This quote is significant because it challenges the concept of beauty being rooted in the realistic and traditional representations of religious figures. By placing a hybrid creature in the presence of a goddess, Bronzino is taking away from the perceived purity of an image including Venus. Additionally, the sexualization of Venus and Cupid based on their body contortion and kissing can be viewed as an impure representation of the figures. Stokstad writes, “Venus and her son Cupid engage in an unsettlingly lascivious dalliance, encouraged by Putto striding in from the right” (Stokstad, 681.) Stokstad describes the image as unsettling because of the immediate human response a viewer would have to seeing the sexual nature of Venus and Cupid. However, Stokstad writes of the individuals, “Taken as individual images, the figures display exaggerated poses, graceful forms, polished surfaces and delicate colors” (Stokstad, 681.) The combination of these quotes shows how Bronzino combines shock – inducing figures with traditional techniques associated with beauty to challenge the view of only historical representations being beautiful. 

   

Works Cited

Stokstad, Marilyn, and Michael Watt Cothren. Art History. Sixth ed., II, Pearson, 2018.