This photoshoot was the shoot I wanted to focus on my friend and her little brother and how their relationship is a union.
Favourite edited images:
Joiners- David Hockney
To create these I first edited my images on Lightroom where I adjusted the exposure levels and contrast. I decided on keeping some images in their original colour and some in black and white.
I then filtered the colour marked images and exported them to my documents where id be able to use the edited images to create the joiners.
The first image I used was of the two walking together while holding hands. To do the edit I used the rectangular marquee tool to draw out the boxes that I wanted. after highlighting the first cut out, I right clicked on the box and pressed ‘Layer via copy’ where I then got another layer on the right side under my background. I duplicated the background and moved the layers that I was cutting out to the top. I did this many times while also hiding the background multiple times to see what squares I had missed and if it looked okay. I think went back on each layer and double clicked them. this then gave me editing options for that particular section so I went down to drop shadow and edited the opacity, size, angle and width. doing this meant the boxes were more visible and looked more like they stood out.
The last thing I did was add a colour as the background. I did this by simply copying an image from the internet and pasting it onto the edit which created a new layer which was then able to move end every other layer in the edit which brought it only to the background.
Photoshoot Evaluation:
In my opinion, the photoshoot for the theme “Union” went quite well overall. The settings I planned to use in my photoshoot plan were the ones I ended up using (the park and the fields). I believe that choosing the park as a setting was a great decision, as it naturally suited the younger subject’s age and meant he was more conformtable being involved in the photoshoot as he could just play and do his own thing. As a park is a familiar environment for him, it really allowed for genuine moments between him and his older sister. I was able to capture many candid shots of them interacting, such as when she was helping him on the swings or walking alongside him near the playground equipment. I also managed to get a few environmental portraits of just her younger brother, which I feel turned out really well. We also took some photos in the field which was an open space that gave the two of them the freedom to run around and play. The movement and energy in these shots really captured the sense of fun and unity between them. One setting I hadn’t originally planned on using was the area beside the pond in the park. I think this location worked unexpectedly well. The photos of her looking after him, like when she made sure he didn’t fall into the pond or zipped up his jacket, really emphasized the caring and protective aspect of their relationship.
One environment I didn’t manage to capture, which I would like to include in the next photoshoot, was their home. I believe photographing them in a more personal environment would be able to show deeper connections between them.
For the David Hockney-inspired joiners, I edited the images on Photoshop, experimenting with various photos to create interesting compositions. I’m pleased with how they turned out, especially with the use of vibrant colors that helped make the images stand out and draw attention to the subjects.
Overall, I’m happy with the photoshoot. For the next one, I plan to expand on the ideas I’ve explored and focus on capturing even more varied moments of union in a more personal environment such as the subjects home.
Mock ups of how i want to present the images in this photoshoot:
What – I’m not going to photograph people instead I want to focus on buildings and other man-made structures.
When – I want to take some photos during the day when builds will be well lit from one side.
Where – To photograph high-rise buildings I will take these photos in a city. I will take a range of angles from close looking up to far away landscapes.
Why – I want to create a variety of collages like Futurism and Vorticism pieces to commentate on the difference from where we as a society expected to go and where we ended up.
Photoshoot 2
What – High-rise buildings and man-made structures.
When – I want to do a similar photoshoot in different weather. During a storm would make the buildings more ominous and could show negatively the effects of industrialisation or at night could show even more so how artificial these buildings with lots of lights.
Where – These ones will be all further away landscapes to show the different weather.
Why – I want to show the same types of buildings in a different way to try experiemnting.
Photoshoot 3
What – Smaller buildings like houses as well as parks.
When – Throughout the day to compare and contrast effects of time like Idris Khan.
Where – These images are taken to build up some final images using multi-exposure techniques. Each image will be taken from a different angle/time of the same focus to build them up.
Why – I like the dynamic effects and appearance of 3D in these images as well as how they show time passing.
How – Once I take the images I will combine them in photoshop on top of each other with lending modes and adjusted opacity. An additional idea I’ve had with these images is to create a mapping for instance with a building I’d align each face next to one another like it could be folded into a paper building.
These edits are inspired by David Hockney’s photo joiners. I am mostly inspired by the joiners where Hockney captures people within their natural environment. The joiners technique reveals various perspectives of the photograph whilst the fragmented pieces alters your perspective of the subject. This further expresses the intricate details showing us new perceptions. I like how Hockney’s joiners opens up your interpretation of his work meaning that it can be perceived differently for different people. This means that it displays union in a more captivating way as we can clearly see the connection the subject has to music, however the fragmented, broken up pieces alters your perspective revealing this new reality but the same reality.
Edit 1
In response I used the technique in the same way, using the environmental portraits and, breaking them up into smaller pieces then reassembling them back together in a disjointed way. Using photoshop I imported my image then duplicated it which allowed me to created individual layers which I could then layer on top of one another another creating this fragmented, distorted image.
As you can see I have carefully pieced the layers together, so that they overlap one another and join together which create this fragmented look. I find this fragmented look crates this interesting feature as features are repeated and joined together. Similar to Hockney, I have pieced the photos together, following the outline of the joiner, meaning that not all of the image has be reassembled back together. I have left areas missing meaning that the fragmented, distorted image is continued around the edges.
Edit 2
For this joiner above, I followed the same process on photoshop, creating a series of layers which are pieced back together in a disjointed and fragmented way. I wanted this fragmented feature to distort the way you look at it, altering and adjusting your perspective. When creating the layer, I liked this feature of repeating a particular detail and then piecing back together as they create dynamic contrast, as the shadows and colours are never the same. This repetitive feature creates a broken-up pattern as each fragment adjusts your view as we are presented with a new formation which shows a new reality. It emphasises the 3-dimentional aspect as multiple perceptions of the portrait are revealed. This further alters our perception of union, showing us things differently to what we would normally perceive them to be.
Barbara Kruger is an American conceptual artist, notably known for her collaging for black-and-white images with declarative captions overlaid in white text highlighted by a bold red. Born in 1945, Newark, New Jersey, Kruger attended Syracuse University briefly, followed by Parsons School of Design in New York City alongside other photographers such as Marvin Israel and Diane Arbus. At the age of just twenty-two, Kruger had already became head designer within a year of working for Condé Nast Publications at Mademoiselle magazine, pursuing graphic design.
Her Work:
Barbara Kruger was on TIME magazine’s list of the world’s ‘100 Most Influential People of 2021’
Barbara Kruger inhabits the use of cultural critique in bold colours and writing in order to judge the stereotypical behaviours within consumerism, using femininity as the basis for many of these images where she utilises this in brief yet specific political criticisms. In this language, she deliberately uses personal pronouns, specifically ‘you’ and ‘I’ to incorporate the viewer into the piece and address them alongside the media and political leaders in an authoritative and direct way.
“Direct address has motored my work from the very beginning,” Kruger said. “I like it because it cuts through the grease.”
This stemmed originally in the early 1970s where she began presenting her work in the galleries of New York where she was predominantly working in the mediums of paint and weaving. This left Kruger feeling unfulfilled by her work, believing that it lacked meaning, leading her to quit creating art wholly in 1976 for a year. When she returned to her creation of art in 1977, she began to drift into the style of photography and text collaging. This enabled her to develop into her signatory style of large black-and-white images that were contrasted heavily by typically using red-banded text. These were images of the past that she had found and recycled and narrated them with interrogatory phrases using text styles of mainly Futura Bold or Helvetica Extra Bold.
On top of this, Barbara Kruger has incorporated video works, audio works, written criticisms, exhibitions, the designing of products (T-shirts or mugs) into her diversified portfolio of work. Alongside this, she has also taught numerous classes and developed projects within the public eye. These consist of billboards or bus wraps to further her message of cultural critique at a larger scale.
“I work with pictures and words because they have the ability to determine who we are, what we want to be and what we become,” she has said.
Barbara Kruger’s work is striking in order to prompt the viewer, and the entirety of society, to reflect on the systems that contain us, and rethink the roles that they play in their surroundings and wider civilisation. To name a few, Kruger’s work challenges and address a variety of social, cultural and political issues, questioning the members of assigned authority within the media and politics that are perceived to suppress the individual differences and identities that are unique to each person. Just some topics that she challenges are:
Gender and identity
Consumerism
Feminist theory
Her photographic responses to the discourses of justices, values, fears and hope are open to all ages which is what makes these images so diverse and interpretive to everyone that views them. For example in 2015, Kruger joined forces with over 400 American high-school students in an art and writing project entitled “Whose Values?”, urging teenagers to stay vigilant and aware of the complex issues within modern society.
By raising uncomfortable questions in such a direct manner, Kruger criticises those staying complacent in the face of unjustified structures in a persistently relevant way which unnormalizes the cultural discourse and lack of cultural and general representation of specific groups in marketing and media. Many of these issues go ignored due to the obedience against what we perceive to be an authority figure or those that have been placed upon a pedestal in society to be perceived as simply ‘better’ than the general public, however by encouraging people to be sceptical or critical of the messages we receive daily, this can act as a catalyst for societal change. By influencing others to not only question their place and confines in the community, as well questioning those who are a façade, this means that the world can be visually transformed through art.
Her feministic approach:
Kruger’s take on feminism provides a brand new perspective on the movement as a whole through it’s alternate, interrogative nature of fighting against patriarchal views for the right of choice over a woman’s own body. Her work repeatedly dives into these preconceived notions and stereotypes about women, especially in the media, and actively opposes them through her direct addressing to the viewer.
Barbara Kruger has been producing examples for feminist art for over 40 years, looking into a multitude of issues within this movement from the bodily right to safe abortions due to there still being a lack of women having bodily autonomy, to the toxic culture in society that holds women at unrealistic standards, leading to the male gaze on women which nods towards the violence that is endured following this.
In 1989, Kruger produced a poster of ‘Your body is a battleground’ for the Women’s March on Washington in protest against the restrictions of abortion. This was extremely controversial, making it still relevant in today’s society as it stepped outside of the fixed notions set about the right to a innocuous abortion, still holding significance in the discussions of this subject to this day. As abortion becomes illegal in more countries, such as the United States as of recent, this image from 1989 still is one of the core pieces of this matter because of it’s harsh and direct revealing of reality.
Barbara Kruger, (Your body is a battleground), 1989
Kruger has also explored the Feminist concept through her dissecting of gender roles set in civilization, specifically the way that women are compared against falsified perceptions of what a woman ‘should look like’. This exploration zooms into the concept of female perfection, in particular facial features or physical structure. This uses powerful slogans to mock and ironize the slogans that the media slam against women, especially in the public eye, and how this ricochets into the general public where women are compared to these airbrushed images on magazine covers and on television.
Barbara Kruger, Untitled (Just be yourself), 1999 – 2000
This image highlights the set standards of attractiveness in Western culture, being the US, as it uses an airbrushed image of Paris Hilton across the floor. This is juxtaposed by an ironic phrase which mocks the inaccurate portrayal of women in media and represents the societal expectations that these false perceptions have caused even. This is an extremely common layout in true fashion and beauty magazines where the cover is edited in a way that is unachievable, leaving women to be compared against and have their self-esteem lowered.
As the slogan uses neutral language where a gender cannot be distinguished, this hints at how women are also highly likely to attach to these standards whether this may be consciously or unconsciously. Regardless, the constant reminder of this is demeaning to women and can be detrimental to self-esteem. The main concern behind these is that young girls will begin to see these magazines and compare themselves against what they perceive to be real and true to a lack of understanding, meaning that this could be extremely dangerous on such an impressionable mind into developing mental illnesses if this becomes an obsession, such as depression or eating disorders due to internal conflicts of trying to fit into this false idea of what they believe will be expected of them from others.
As Kruger used to work in magazines for print and graphic design, this was the motivation behind her creating traditional-looking magazine cover layouts, and pairing them with these powerful slogans that relate/ are the same as what would have been seen on one of these fashion or beauty magazines. This sarcasm allows Kruger to display how ridiculous the ideology behind these magazines is, and points the finger towards the media and marketing industries who are enablers in the psychological and physiological suffering of millions of young girls and women around the world who have access to this.
W magazine, November 2010
This image above was directed specifically at gender appropriation, with this being a rather infamous front cover of the W magazine. To just name a few more concepts, Kruger looks into the repercussions of the male gaze on women in ‘Your gaze hits the side of my face’ (1981) alongside the blatant exposure of the bodily entrapment of women in a mid-twentieth century society entitled ‘We have received orders not to move’ (1982).
Analysis:
This image is monumental within Kruger’s feminist art, being curated around 3 decades ago as a poster for the Women’s March on Washington in 1989 in protest against the restrictions that cause women to lack bodily autonomy, and how the female anatomy is still a political topic of discussion rather than having control over your person. The image ‘Your body is a battleground’ has a monochromatic tonality in the image, using highly contrasted black and white, which allows Kruger to build a consistent aesthetic. This is juxtaposed by the bold red slogans aligned in a row in the centre where she uses Helvetica Extra Bold in a white in order to dramatize this direct message, with the use of the personal pronoun ‘Your’ in order to address the viewer in a firm manner. This portrait of a woman can be seen to correlate with the dead-pan aesthetic as she stares into the camera, devoid of emotion, to communicate the sternness of Kruger’s message. However, the exposure is split in a line down the centre of the entire image, creating positive exposure on the left and negative on the right – generating an inverted effect as the viewers eyes move across the image. This could be interpreted as the suggestion that the work of the feminist movement is far from over, making this extremely relevant in the social context of today as abortion banning increases in the United States. This could also be a nod to breaking out of the set stereotype against women, especially in the 20th century when the fixed mindsets about what women were capable of was instilled and integrated heavily in society, to finally take away this act of modesty set in place to appease men in society. This image was revolutionary and extremely controversial because it implicitly conveys this underlying message of beginning to fight and stand up for themselves because if they didn’t, who else was going to?
As the negatively exposed side inverts all of the light on the woman’s face, this makes her stare more darting and almost unnerving towards the viewer as the brightness means that it is entirely visible. The piercing nature of this stare means that it acts as an almost ‘secret message’ to the women who view this image to really question their places not only in wider society, but in domestic settings too. At this time, this would have been extremely motivational for women to finally unite and step outside of the confines of these stereotypes. However, I feel that this image is highly suggestive of not only the fight to gain control over their own bodies and have the ability to make educated decisions about it, but also has a notion towards sexual abuse and assault. The noun ‘battleground’ means a place or situation of strife and conflict, conflict being where this restriction against abortive care comes in because this decision would rely on the men within the government system making active decisions about women’s body without the input of those who will be affected. But, this also connotes ideas of fight and defence against enemies or unwanted people entering the area, calling attention to how male violence needs to be defended against. Because of all of these conflicting issues and topics regarding women’s bodies, predominantly men in authoritative positions, this acts as a message for change and calls on the rest of women in society who may have experienced these things, and announces that enough is enough. Kruger also edits a vertical border using the same shade as red as the text, leading the viewers eyes to follow the direction of the message.
I am going to incorporate the techniques of Barbara Kruger in my own work by using the components of her aesthetic, being highly contrasted black and white images that are juxtaposed by red-banned text. One of my first photo ideas is to get my subject to stand in the centre of a road at night with many coats on as this relates to the way women’s bodies are sexualised, especially in the media, as well as the idea that women should be completely covered and not show any skin because of the actions and impulsivity of men. I am going to shy away from the more magazine cover-looking images because I don’t feel that this style will compliment my other photoshoots that are more specific, however I may end up adding a couple of these. I would like to take images that are more realistic to show truth and reality through staged scenes, instead of solely focusing on irony against the media.
I also would like to include some images that refer to the representation of women in society, for example using statues like Kruger sometimes incorporates into her work, and utilising this to convey messages about the lack of recognition or knowledge about the achievements women have reached in history. I think this will work extremely well because it provides a different perspective to accompany my portrait images.
Expressionism is a modernist movement which originated in Northern Europe during the early 20th century, it started within poetry and painting. It is known as the artistic style that captures the subjective emotions rather than the obvious, objective reality, it’s also the expression of inner experiences and spiritual themes. Some key characteristics of expressionism are: emotional intensity, distorted forms and exaggeration, rejection of realism, themes of alienisation, and influence on various art forms. Expressionism pieces often uses bold colours, exaggerated forms, and distorted perspectives to convey intense feelings such as anxiety, fear, or ecstasy. Some of the more notable artists who created work in the expressionist form are: Edvard Munch – The Scream (1893), a seminal work of psychological distress, Egon Schiele – known for expressive, raw, and sometimes unsettling portraits, Wassily Kandinsky – a pioneer of abstract expressionism, exploring the emotional power or colour and form and Ernst Ludwig Kirchner – a leading figure in the German expressionist group ‘Die Brücke‘.
Dadaism
Dadaism, or Dada, was an avant-garde art movement that emerged in the early 20th century, around 1916, in response to the horrors and absurdities of World War I. It is often seen as a rejection of traditional artistic values and conventions, as well as a critique of the logic and reason that had led to the war. Dadaists sought to challenge and disrupt the status quo, using absurdity, chaos, and irrationality as their primary tools. Although Dadaism was relatively short-lived, fading by the early 1920s, it had a profound influence on later art movements like Surrealism, Abstract Expressionism, and Pop Art. Dadaism remains one of the most radical and challenging art movements, and its spirit of questioning, disrupting, and rethinking continues to resonate in contemporary art and culture. Some notable figures: Marcel Duchamp – known for his ready-mades, like Fountain (1917) and L.H.O.O.Q. (a defaced Mona Lisa), Hannah Höch – a pioneer of photomontage, using cut-out images to challenge gender and political norms, Tristan Tzara – one of the movement’s founders and key figures in Dada poetry and manifestos and Hugo Ball – created the first Dada performances at the Cabaret Voltaire in Zurich.
Surrealism
Surrealism was an influential art and literary movement that began in the 1920s, it was influenced by Dadaism, but it developed into a distinct and unique approach to exploring the unconscious mind, dreams, and the irrational aspects of human experience. Surrealism is known for its strange, dream-like imagery and the attempt to reconcile the conscious and unconscious realms of experience. The key elements include dream imagery and illogical scenes, juxtaposition and unexpected combinations, influence of psychology and the subconscious and an element of surprise and playfulness. Some most known surrealist artists are: Salvador Dalí – known for The Persistence of Memory (1931), featuring melting clocks in a dreamlike landscape, René Magritte – famous for thought-provoking paintings like The Son of Man (a man with an apple covering his face), Max Ernst – experimented with collage, frottage (rubbing textures), and dreamlike imagery and Joan Miró – created abstract, playful works full of symbols and organic shapes.
Futurism
Futurism was an avant-garde art movement that began in Italy in the early 20th century, around 1909, and was closely tied to a fascination with modern technology, speed, and change. It was a celebration of the future, breaking away from traditional art forms and embracing innovation and dynamism. Futurism aims to capture the energy of modern life, from machinery to urban landscapes, and it rejected the past in favour of the new and the progressive. It was founded by the poet Filippo Tommaso Marinetti with his Futurist Manifesto (1909). Some key features of Futurism are speed, energy and movement, glorification of technology and war, dynamic, repetitive forms, bold colours and strong lines and rejection of the past. A few futurist artists include: Umberto Boccioni – Unique Forms of Continuity in Space (1912), a sculpture capturing movement and fluidity, Giacomo Balla – Dynamism of a Dog on a Leash (1912), showing rapid motion with overlapping forms and Gino Severini – blended cubism and futurism in works like Armoured Train in Action (1915).
Snapshot photography involves the taking of informal, spontaneous photographs that are taken without a carefully planned composition or specific intention. Snapshot images capture moments in everyday life and focuses on the subject matter or the event rather than precise technical aspects. Snapshot images are typically quick in nature and taken with a camera that doesn’t require manual adjustments. Some key characteristics of snapshot photography is its candid, raw quality. The photographer’s goal during photoshoots is to capture life in motion, portraying moments that feel genuine and unfiltered, making the images more personal and meaningful.
Snapshot photography became widespread after the invention of the Kodak camera in 1888. Before this invention, photography was a complex and expensive process. This meant that only professional photographers who had cameras, film plates and studio setups could practice it. The Kodak camera was a simple handheld device that anyone could use. It came preloaded with film and was designed for amateurs, allowing normal people to capture personal moments and everyday life. This lead to the rise of snapshots in modern photography.
To create a snapshot image, you don’t need to have a high end camera (meaning even phones can be used). The key is to capture a moment in time as it happens. Snapshots are unplanned and spontaneous, so it’s vital that you don’t wait for the perfect shot but to simply take a photograph whenever a genuine moment occurs. Snapshots are about capturing a moment in time rather than worrying about symmetry or rule of thirds. Capturing the emotion/ activity in these moments is more important than technique.
Some key concepts of snapshot photography is: candidness (capturing spontaneous, unguarded moments), emotion over technique (images focus on evoking a certain feeling rather than being visually perfect), everyday life (snapshots depict ordinary, everyday scenes eg family gatherings or street scenes) and social documentary (snapshots give us a glimpse into people’s lives and provide a visual record of history).
Henri Cartier-Bresson is a famous photographer whose work fits into the snapshot style of photography. He is one of the most influential photographers of the 20th century and is famous for his concept of the decisive moment. He believed that the key to photography was capturing fleeting, spontaneous moments that revealed the essence of a subject. In his work, he often relied on his intuition and quick reflexes to photograph everyday scenes in a way that conveyed deep meaning. His images are candid and unposed, yet reflect the beauty and drama of the world around him. Additionally, Vivian Maier is a street photographer whose work also resembles characteristics of the snapshot aesthetic. Her photographs were taken with a simple camera during her daily walks. She captured intimate, candid moments of urban life. Her images document the lives of ordinary people, showing us a glimpse into mid 20th century America in cities like Chicago and New York. Her work challenges the idea that professional photography must be staged or polished and showed beauty of capturing raw, unscripted moments of life.
Helmut Newton was a German-Australian photographer. The New York Times described him as a “prolific, widely imitated fashion photographer whose provocative, erotically charged black-and-white photos were a mainstay of Vogue and other publications.”
From the 1970s, Newton regularly used Polaroid Instant cameras and film to get an immediate visualisation of composition and lighting, especially for his fashion photography. By his own admission, for the shoot of the “Naked and Dressed” series that started in 1981 for the Italian and French Vogue, he used Polaroid film “by the crate”. The Polaroids also served as a sketchbook, in which he scribbled notes with regard to the model, client, location and date. In 1992, Newton published Pola Woman, a book consisting only of his Polaroids. Over 300 works based on the original Polaroids were shown at 2011 exhibition, “Helmut Newton Polaroids”, at the Museum für Fotografie in Berlin.
Moodboard
What was he known for?
His work often featured confident, bold, strong women with cinematic poses, combining glamorized elements to raw sensuality through nudity. Newton’s fashion photography explored themes of power, desire and voyeurism. He did this through mostly taking images of women, some what revealing, which feminist critics such as Lauren Mulvey may not see as feminine in a positive perspective. This differs to my personal study project on stereotypes as I am switching my photo shoot for women to have more power and confidence through their bodies and identity, however this may not be seen as positive as some may find his work over- sexualizing and objectifying. To contrast this raw and revealing element to his photographs, he significantly uses glamour clothing and luxurious settings. He executes this so well, that his images almost look surreal and movie-like, adding the theme of cinema and film (similarly to Cindy Sherman).
What did feminist critics feel about his work?
Feminist critics have mixed opinions about his work as Newton’s images often portrayed women as submissive, objectified or over sexualized. Some feminist critics argued the traditional gender roles and stereotypes and a male gaze, linking to my previous project surrounding the theme of how stereotypes are formed. Some critics saw his photography as a sense of voyeurism, and women were framed as objects of desire, often in provocative, passive and submissive roles. They argued that his images expressed an imbalance of power between men and women and argued the idea of women’s bodies as objects for male pleasure. However, there were also some feminist voices that argued Newton’s work argued conventional aspects of feminist by portraying women in powerful, confident and unapologetic ways. While these images may be sexually suggestive, they could also be seen as offering women autonomy and power which was ultimately rare in the mainstream fashion photography during the 1980’s. Personally, I see his work as more worshipping and admiring the female body, and expressing this through his art and photography. I think this as he matches his sexual and nudity elements to a luxurious setting, potentially portraying how women should be treated and have more power. In my opinion, his style of posing these women and dressing them gives the women a sense of confidence and power. This inspires me as I want my project around the theme of ‘union’ to be differing from my previous personal study with a link to it. Therefore, this study instead of showing society’s expectations and formed stereotypes, I wish to express the rebelling, confident and bold aspect which was not society’s standards or expectations in the 1980s. Meaning, I want to express the same theme however from a different perspective and angle.
How does his work link to ‘union’
Helmut Newton’s work links to theme of union in a feminist, political and historical way. Personally, I think Newton used women in his images sexually as he admired and saw the potential of power, women can hold. Newton frequently used women, and not men, expressing that he admired the female body and identity and wished to reinforce this especially considering this was rare in the main-stream fashion in the1980’s. I believe this through depicting women in strong, assertive poses challenging traditional gender roles, which women wanted to change their dynamic and Newton pushed this vision. He is linked to this theme through his portrayal of power dynamics, sensuality and the interplay between individuals in his iconic fashion photography. The subjects are portrayed as both vulnerable and dominance, expressing a union of oppositional qualities women have. This dynamic explores different aspects such as strength and sensuality can coexist and form a powerful identity, which I believe was Newton’s vision.
Why did I chose Newton?
I chose to study Newton as he differed from societal expectations. I believe that he saw the potential in women during the 1980’s and ultimately photographed women through admiration. This is because of how he dressed the women, how the women posed and the luxurious and glamour settings. The posing often obtained an element of power and resilience with a sexual element. He had a significant impact on fashion photography due to the rare appearance women had in the main stream photography. Although his images held a sense of voyeurism, the women were portrayed to hold power and be more dominant. Newton purposely positioned them in ways, where they were not seen as vulnerable but instead powerful. His work differed from the traditional stereotypes significantly. This beneficial for my project as my previous personal study, surrounded the theme of traditional stereotypes and argued how they are formed. Newton challenges this as he reinforced the idea of changing the typical stereotype of a women being seen as weak and vulnerable. Therefore, I aim to differ to my previous project by executing the opposite. Next, I will attempt to show a rebellious aspect and show what women wish to be, and how they have changed through the years, rather than be what men wish women to be such as the ‘traditional housewife’ and instead emphasize individuality and chosen identity.
Helmut’s photography expresses an element of sexuality, identity, beauty and societal norms. His work links to the second wave feminism. Second-wave feminism was a period of feminist activity that began in the early 1960s and lasted roughly two decades, ending with the feminist sex wars in the early 1980s and being replaced by third-wave feminism in the early 1990s. This links to Newton’s work as his images were in the 80’s. I believe his work focused on the theme of women empowerment. However, Newton’s work could of emphasized beauty standards as his women are often the same size, same body type and are seen as conventionally attractive. This provoked backlash. His recurring use of a singular, idealised body type and his portrayal of women often raised concerns about the representation of women in media and the reinforcement of unrealistic beaut standards. His work and objectified figures often fitted a very narrow standard of beauty. This lead to critics to argue that his photographs contributed to the pressure on women to conform to an unattainable body type. This could have set women empowerment and resilience back, as women feel a certain pressure on them to meet these standards. However, overall I believe he reconstructed the stereotype of women as strong, dominant and assertive. This ultimately shows an element of equality.
Context
Newtons career started during the aftermath of WW2, leading into the sexual liberation movements of the 1960’s and 1970’s and the Cold War and gender dynamics. This era saw significant changes in beliefs towards sexuality, gender roles and women’s autonomy. Newton’s photography can be seen as a commentary on the ever changing dynamics of sexual expression during this time. His work expresses the shift from conservative, repressed sexual elements to a more open and expressed liberated exploration of sexuality. However, his over sexualizing and submissive figures can be argued that they are a step that reinforced patriarchal values. This is because it challenges the idea surrounding whether women were only seen as a desire for pleasure or voyeurism.
Newton’s work often tied to the concept of the “ male gaze”, a term created by the feminist film theorist Laura Mulvey. This is when women are often depicted in the media as objects of male desire and control. He does this through passive and submissive poses. This links to the historical roots of classical art, where women were often depicted as idealised, passive and sexually available figures. Newton’s work challenges this historical representation as reinforces the traditional narratives of male dominance in its visual culture.
Helmut’s consistent use of slender, tall and conventionally attractive women in his photography can be tied to the historical idealization of a particular body type in the Western culture. In the 20th century, the ‘ ideal’ body type was slim and youthful, reflecting larger cultural values. While this representation aligned with historical values about beauty, it also stood in contrast to the increasing awareness and critique of body diversity. This beauty concept reinforced harmful and unrealistic standards for women.
Historically, eroticism in art has fluctuated between periods of taboo and periods of celebration, reflecting societal changes. In the early 20th century, avant-garde movements like Surrealism explored the sexualised female body, linking to themes of power, mystery and desire. Newtons work can be seen as avant-garde exploration, where the boundary between eroticism and high art became blurred in the 1960’s and 70s. By integrating erotic themed into high-fashion photography, Newton aligned with a broader historical trend of pushing the boundaries of traditional art, even as his work was criticized for reinforcing certain regressive gender roles and dynamics.
Image Analysis
I have decided to analyse this images as it holds many contributes that stood out to me. The first thing that drew my attention was the mesh top. As shown, she is slightly nude and revealing yet still wearing clothes to contrast to this. This creates the element of modesty vs sexuality. It is showing the body figures of a woman, which I believe Newton admired and made them feel valued. This aspect is significant as it is probably the first noticeable and significant thing of this image. The way the camera is angled, from slightly below with the subject slightly turning away to the right, creates an element of mystery and potentially identity. But mostly, this brings in a sexual aspect which feminists critic as women were seen for desire for males pleasure. This creates the debate of voyeurism and the right intentions behind it. Next, this is emphasised by the subjects clothing, specifically the stockings. Newton made this evidently shown significantly through the subject’s leg sticking out of a slit of a skirt. This again, adds to the sexual theme which Newton frequently portrays. In black and white, this does make it stand out as her skin is white contrasting with her black clothing, making the stockings hard to miss. These may include the perception that stockings, and the associated use of garters, lace, high fashion, appliqué and the exposure of the thigh, are more aesthetically pleasing, or sexually attractive. Newton was known for high-fashion photography, therefore the stockings contributed to this style of his. The black waist band in contrast to the flowy skirt, accentuates her waist emphasising the female body figure and anatomy. This may have been purposeful to show women empowerment, sexuality and even identity. The low image could be to symbolize women in more dominant place, rather than being submissive and it revolving around men. Her volumized hair, links to the era these images were taken, in the 1970’s. This links to how all his images are in black and white to maintain a vintage and iconic aesthetic. Not only this, but the black and white demonstrates the subjects pale skin and dark makeup and clothing, emphasises the depth of the shadows. This depth within shadows, shows her bone structure and cheek bones. Making the awareness of the theme of femininity more portrayed. Lastly, one thing that differs this image to most of his images is that it is not in a luxurious setting and is in public. This contrasts to the medium’s clothing as her clothing is perceived as glamour. The background is rather grey, making the subject more focused. Potentially, the car could be significant as cars are stereotypically for men. This could be contrasting femininity vs masculinity and bringing into play the theme of gender roles.
How Yayoi Kusuma and Helmut link?
While both are working in different mediums and addressing different themes, they both share some connects through the exploration of identity, the body and sexuality, as well as their challenging conventional societal norms. Both focus on the human body, though in different ways. Newton is known for his eroticized and often objectified images of women’s bodies, which demonstrate the theme of power dynamics, sexuality and beauty standards. His images are frequently powerful and sexualised, yet his choice and style of poses emphasize submission or even dominance. In contrast, Kusumas work, explores the body as a site of transformation and obsession. Kusuma uses her own body in her art frequently painting herself with polka dots. This is to create the theme of self-erasure, individuality and blending her presence into her environment.
Through sexuality and gender, both artists engage with this theme significantly. Newton does this by, admiring and portraying the female body. However, his work can be seen as reinforcing traditional ideas of gender and power dynamics, especially through the lens of Laura Mulvey’s term the “male gaze”.Kusuma, on the other hand, subverts conventional ideas of sexuality and gender. She uses her art to explore the idea of sexual liberation. Her work is less conventional about beauty, desirability and the loss of self. Both artists received controversial reactions and feminist critiques.
Both artists used a sense of self representation, both Newton and Kusuma used their selves as subjects in their work, although in very different ways. Newtons work, especially in his personal photography, often placed him at the centre of the narrative, positioning himself as the creator and the voyeur. Kusuma on the other hand, used her own image to dissolve boundaries between herself and her art work. Her self-representation wasn’t about glorifying herself as a sexual object or celebrity, but about exploring the use of identity and the unity between the individual and the universe.
I have decided that i will propel my project in the direction of unification in relation to unity – i will be exploring the passing of time and the repercussions of growth, greif, growing up and outgrowing previously loved things
Critics contend that Pop Art’s juxtaposition of art and everyday objects blurs the boundaries of artistic sanctity, potentially diminishing the reverence associated with high art. By integrating mass-produced imagery, the movement challenges traditional notions of artistic exclusivity.
Union can be interpreted in various ways within art specifically in terms of combining different artistic influences, cultures, or mediums. Union in art often signifies the coming together of high and low culture, or the mixing of traditional art forms with modern, consumer-based visuals.
Roy Lichtenstein is one of the key figures in American Pop Art. His use of comic book imagery, ben-day dots, and bold lines, which transforms everyday, mass-produced imagery into fine art. Mention that Lichtenstein’s work was a fusion of popular culture and art history, which directly relates to the theme of “Union.”
In terms of the historical background of Pop Art in the 1950s and 1960s, was a time of rapid industrial growth and the rise of mass media in America. Pop Art emerged as a reaction to the elitism of abstract expressionism, embracing instead the visual language of advertising, comics, and consumer culture.
Linking this to the theme of union it is emphasized how Pop Art brought together the worlds of art and commerce, merging high with low culture (advertising, comics, etc.). Lichtenstein, with his bold, graphic aesthetic, became one of the foremost artists in this movement, using visual language that was deeply connected to mass media.
Pop Art and Photography share a visual language based on consumerism, popular culture, and mass media. Photography in the 20thcentury became a tool to capture the realities of modern life, reflecting the increasing influence of media and consumer goods on society.
Photography as Pop Art: Pop artists, including Lichtenstein, were influenced by the emerging role of photography in capturing mass culture. Think about how photographs of advertisements, celebrities, and everyday objects became visual motifs in Pop Art.
Union of Commercial Photography and Fine Art: Many photographers like Richard Avedon, Irving Penn, and Andy Warhol (who was both a photographer and painter) he blurred the lines between commercial and fine art. Avedon, for example, elevated commercial fashion photography to art, just as Lichtenstein made comic book art better.
Pop Art Introduced…
Although British Pop Art was greatly inspired by American popular culture, it was a rather playful and ironic exploration of what American popular imagery represented and how it manipulated people’s lives and lifestyles.
To American artists, on the other hand, Pop Art meant a return to representation: hard edges, clear forms, and recognizable subject matter now reigned, contrasting with the loose abstraction and symbolism of the Abstract Expressionists. Heavily influenced by commercial art practice, these artists were taking inspiration from what they saw and experienced directly. Not surprisingly, many had started their careers in commercial art.
Andy Warhol was a magazine illustrator and graphic designer, Ed Ruscha was a graphic designer, and James Rosenquist started out as a billboard painter. Their backgrounds provided them with an excellent visual vocabulary of mass culture as well as the technical skills to jump effortlessly between high art and popular culture and to merge the two worlds.
