Taylor Wegner

April 20, 2015

Art 140: Final Paper

Oftentimes, the images displayed in art have symbolic meanings. This is a theme that I

focused heavily on while choosing works to display in my art collection, and while creating my

own piece. More specifically, I focused on the symbolic meaning that hands regularly have

when presented in art works, and how their inherent familiarity allows artists to utilize them in

order to convey a message or emotion, while challenging the viewer to look beyond the surface,

rather than simply recognizing such pieces as illustrations of a component of the human

anatomy. That being said, the “Definition of Art” reading was the most influential and stood out

to me because it helped me recognize how I do not feel about art, and therefore, how I should go

about creating my own art and viewing the works of others. This reading aimed to assign a

definition of art, despite the fact that it was incapable of doing so and never blatantly admitting

this shortcoming. I believe that this is due to the fact that there could never be a singular,

definition of art; and that art is entirely subjective, and therefore up for unlimited interpretation.

Consequently, any piece of art could have countless opposing meanings, dependent on the

experience of each individual viewer, even if the artist created a piece with a specific intention.

Accordingly, and for simplicity’s sake, I will be offering my own, personal interpretations, or

interpretations that I agree with, when discussing the relevance and significance of the works I

chose for this project. In addition, the reading “The Role of the Arts in Political Protest |

Mobilizing Ideas” stood out to me because it aided my interpretation of three works that I chose

to show in my collection, since they offer contextual social commentary in a similar manner that

art used in political protest does. This reading offers that when used as a means for social

rhetoric, “…[art] acts to evoke and stimulate a critical stance to the world” (Eyerman 1), a notion

that I agree with, despite the difficulty in doing so effectively. Ultimately, the aforementioned

theme was the only factor recognized when deciding which art works to choose for my

collection. Materials and process where extraneous, seeing as a variety of different media,

including paint, pen, and photography, are presented.

This work is Untitled, a resin coated print and ink by

Shirin Neshat. Neshat is an Iranian artist who achieves social

activism through her artwork, and I chose her because her work

relates to the topic discussed in “The Role of the Arts in Political

Protest | Mobilizing Ideas.” The topics she most commonly

explores, that are typically directed towards a Western audience,

are gender, religion, and political oppression. This work

connects with my curatorial framework because of the symbolic

meaning of the hand photographed. Inscribed with pen on the

hand is Persian calligraphy. The placement of the hand is not used to represent the silencing of a

female voice, rather, it symbolizes the outspokenness of many women in Middle Eastern society.

Though a Western audience may not be able to understand it, the calligraphy acts as a

supplementary voice for those whose freedom of speech is limited. Shirin Neshat’s work is not

limited to photography and print making, she has also made a few films, all of which explore

similar topics as her photography.

Shirin, Neshat. Unititled. 1996. RC print and ink. Gladstone Museum, New York City.

The following work is a painting by Thomas

Eakins, known as The Gross Clinic. I chose this artist and

work because of the symbolic meaning of the hands of the

woman that is seated on the left side of the painting, despite

the fact that they are not the focal point of the work, and

how they serve as a foil Samuel Gross’s hands, an

esteemed surgeon of the time. Illustrated is a scene in

which he is removing a “dead bone” from a man’s leg. The

operation is being observed by medical students for

educational purposes, while the patient’s mother cringes

away in fear. Eakins’s purpose in depicting the lone woman in the room in such a way is to

establish the notion of a feminine inability to handle something as gruesome and academic as

witnessing a surgery. Serving as a foil to the woman’s hands, Gross’s hand that is holding a

scalpel is shed in light, in a glorifying manner that emphasizes his confidence as a surgeon. Not

initially recognizable, due to the dark color scheme of the work, Eakins depicted himself in the

background, taking notes, in order to demonstrate his qualifications for studying such a subject.

Interestingly enough, Eakins incorporates himself into all of his works.

Next, is Francis Picabia’s pen on paper drawing titled, Ici, c’est ici Stieglitz/ Foi et

Amour, a French title which translates to, “Here, this is Stieglitz/

Faith and Love.” The titled, along with the word “Ideal” are

spelled out with cut and pasted paper prints. Picabia is

commonly known for his mechanomorphs, symbolic illustrations

of human figures with the use of electonic objects. I chose this

Eakins, Thomas. The Gross Clinic. 1975. Oil on canvas. Philadelphia Museum of Art, Philadelphia.

Picabia, Francis. Ici, c’est ici

artist because of the unique way in which he conveys the human form, and how his method is

full of symbolism. As stated is the title, this drawing is meant to represent Alfred Stieglitz, a

fellow Modernist artist who specialized in photography, hence the depiction as a camera. By

portraying Stieglitz as a camera, Picabia is playfully deriding the former’s goals by subverting

the machine to the hand of the artist. This work connects to my curatorial framework since the

camera’s face is meant to represent outstretched hands that are reaching towards an “Ideal,” the

aforementioned word at the top of the image, though they will never reach it. Other aspects of

the drawing relate to other, obvious, aspects of the human anatomy. Picabia was a member of

the Stieglitz circle, an exclusive group of renowned Modernist artists that Alfred Stieglitz chose

to mentor and collaborate with.

The following work is a porcelain sculpture titled, Soliphilia, by Kate MacDowell. I

came upon this artist with the aid of a fellow classmate and

chose to include her in my collection because of the visual

similarities between her work and my own. This piece is

meant to illustrate the intrinsic connection that humans share

with nature. Although this theme differs from my own, it still

connects to my curatorial framework since this connection is

made metaphorically. In addition, this piece in particular is

quite similar to the work I made. For instance, both pieces

depict hands reaching upwards, while plants emerge from them. The connection that humans

have with nature is a theme that MacDowell regularly employs within her work, seeing as a

majority of her pieces unite that which is human with animals and plants.

MacDowell, Kate. Soliphilia. 2010. Hand built porcelain. Private Collection.

Picabia, Francis. Ici, c’est ici

This work is a photograph by Alfred Stieglitz of Georgia

O’Keeffe, titled, Georgia O’Keeffe: A Portrait—Head. I chose for

Stieglitz to be in my collection, not only because this photograph

relates to my curatorial framework, but because he connects to the

aforementioned work by Picabia. Like the work discussed previous

to this one, I did not chose this piece because it directly shared the

theme present within a majority of my collective, rather, it is

visually similar. Georgia O’Keeffe is reaching towards the

painting behind her, one of her iconic floral paintings, which is

very similar to my piece in which the hands are reaching up to a

peony. In this photograph, Stieglitz is trying to convey a message that O’Keeffe is one with her

paintings, which are inherently a product of her femininity. O’Keeffe was annoyed by Stielgitz’s

gendering of her work, and consequently attempted to have her work removed from his gallery.

She later married Stieglitz.

Next, is a painting by Salvador Dali titled Portrait of a Passionate Women (The Hands).

I chose this artist because of his focus on Surrealism, a movement that I had initally hoped to

convey within my work, though I ended up straying from

it. This work relates to my curatorial framework since it

also depicts two hands that are reaching up longingly, in

order to communicate Dali’s metaphorical theme.

However, it is apparent that these hands need support,

since they are being held up by elongated crutches.

Taking note of the painting’s title, the fact that these Dali, Salvador. Portrait of a Passionate Women (The Hands). 1945. Oil on canvas. Private collection.

Stieglitz, Alfred. Georgia O’Keeffe: A Portrait—Head. 1918. Silver gelatin developed out print mounted on paper board. National Gallery of Art, Washington D.C.

hands cannot stand up on their own serves as a metaphor for the weakness that passion can bring

upon women, especially if that passion is not reciprocated by the person to whom it is directed.

Also relating to my curatorial framework is Dorothea

Lange’s photograph titled, Migrant Mother. I chose this artist

because of her focus on the Depression and because the reading

assignment “The Role of the Arts in Political Protest |

Mobilizing Ideas” aided me in understanding how and why

artists make art in relation to social, political, and economic

upheaval. With this photograph, Lange intended to locate

America in the suffering of individuals. The delicate and

stereotypically feminine placement of the woman’s hand upon

her cheek portrays her as a symbol of hope and resilience,

rather than characterizing her as a symbol of frailty and dependency, contrary to the way in

which the previous image characterized women.

In a similar manner as Dorothea Lange and Shirin Neshat’s photography, Grant Wood’s

painting, Daughters of Revolution, serves as social commentary. Here, Wood is claiming

hypocrisy of an organization

that so vehemently boasts

democracy by situating them,

truthfully, amongst British

iconography in order to

demonstrate their ignorance.

Their attempts at being Wood, Grant. Daughters of Revolution. 1932. Oil on masonite panel. Cincinnati Art Museum, Cincinnati.

Stieglitz, Alfred. Georgia O’Keeffe: A Portrait—Head. 1918. Silver gelatin developed out print mounted on paper board. National Gallery of Art, Washington D.C.

American are inconsistent, seeing as the painting displayed in the background, Washington

Crossing the Delaware, was made in Germany by a German artist, and is also framed by a

traditionally British style of frame. Further, the act of drinking tea was initially adopted by

Americans from Britain. Relating to my curatorial framework is the way in which the central

woman’s hand is rigidly grasping the tea cup, and how this rigidity symbolically contributes to

the claimed ethnic elitism of the women, despite their democratic assertions. Also noteworthy, is

the fact that Wood’s original studies of this painting initially had the woman’s hand grasping the

teacup in a more relaxed position, which demonstrates that this change was of significance.

Next, is a fresco painting by

Michelangelo titled, The Creation

of Adam. I chose this artist

because of his mastery in

illustrating the human form. This

painting connects to my

curatorial framework since, like many of the other works in my collection, it includes a hand

reaching out to something longlingly. In this case, a Biblical story is being depicted, as god

extends his reach toward that of Adam in order to give life to the first human being. This

painting, along with Leonardo da Vinci’s The Last Supper, are among the most widely replicated

religious paintings.

The final image of my collection, aside from

my own, is a painting by another Surrealist artist, Max

Ernst, titled, Oedipus Rex. I chose this artist because

of his prominent focus on psychosexuality, and

Michelangelo. The Creation of Adam. 1512. Historic painting. Sistine Chapel, Rome.

because this work fits into my curatorial framework as a result of the metaphorical details he

uses to convey such messages. In this case, this is made apparent by the symbolism surrounding

the hand, which ties into my curatorial framework. The calm and stillness of the work is stunted

by the image of a hand and walnut being pierced violently, although, no blood emerges from the

wounds created by the spike. The nut is meant to symbolize the female anatomy, while the hand

belongs to a man. The squeezing the nut by the hand has implications of sadomasochism,

however, the spike is punishing the hand equally. Ernst studied psychology and had a particular

infatuation with Freudian theory, hence the title and content of this work.

Last, is my work, titled “Floral Embodiment.” This

phrase happened to be the first thing that came into

my head, and it seemed suitable enough. The other

pieces in my show inspired the creation of my own

work by demonstrating how something so universal

can be illustrated in countless different ways. My

curatorial framework focused on how this universality

allows for the utilization of hands for metaphorical

purposes, since it is possible for them to communicate

countless messages, while providing examples of how

a variety of artists did this exact thing in regards to

subjects such as gender and social issues. My piece relates to the other pieces in the show, since

I attempted to imitate this concept. Again, my purpose was not to illustrate the connection that

humans share with nature, since I believe this topic is overused, although it can be a valid art

subject. Instead, I attempted to illustrate a condition that I believe is inherent to human nature,

and my metaphorical use of hands to communicate this condition is how my piece connects to

my curatorial framework. More specifically, I wanted to express how people tend to feel a need

to belong and have purpose. By depicting hands reaching upwards towards a flower, with petals

sprouting out of the arms, I attempted to make it seem as though the flower was an extension of

the being that is reaching towards it, in a similar manner as our jobs, studies, hobbies, and

friends, are extensions of ourselves and things that make us feel fulfilled and as if there is some

purpose to our existence. However, the hands come close to, but never quite reach the flower,

and by this, I meant to communicate that we never really reach any purpose, simply because

there isn’t one. People just exist, and because we are here anyways, it is our decision on how to

handle such a realization. Correspondingly, the falling petals represent the tangible aspects of

our lives, since they are more readily available to be taken hold of.

I feel as though my collection is unique because it challenges viewers to look beyond the

surface of the works, rather than simply seeing the work as a pretty viewing spectacle, in order to

locate a message that the work is attempting to communicate. My collection speaks to myself, as

an individual, since I attempt to do this in my everyday life. For instance, when walking around

campus, I sometimes lose sight of the fact that the hundreds of people I walk past every day have

entirely separate lives that I know nothing about, and that they aren’t simply props in my own

life. This is a very egocentric notion, I’m aware, but a trivial observation I’ve made about

myself, nonetheless. Further, I also have a habit of making the mundane seem far more profound

than it actually is. By viewing my collection, I hope that others would be challenged to think

more critically about art, and become more aware of elements that artists use, that are not always

initially recognizable, in order to communicate their message.

Works Cited

Dali, Salvador. Portrait of a Passionate Women (The Hands). 1945. Oil on canvas. Private

collection.

“The Definition of Art.” Stanford Encyclopedia of Philosophy. 23 Oct. 2007. Web. 20 Apr.

2015.

Ernst, Max. Odipus Rex. 1922. Oil on canvas. Fondation Beyeler, Switzerland.

Eakins, Thomas. The Gross Clinic. 1975. Oil on canvas. Philadelphia Museum of Art,

Philadelphia.

Eyerman, Ron. “The Role of the Arts in Political Protest.” Mobilizing Ideas. 9 Mar. 2015. Web.

20 Apr. 2015.

MacDowell, Kate. Soliphilia. 2010. Hand built porcelain. Private Collection.

Michelangelo. The Creation of Adam. 1512. Historic painting. Sistine Chapel, Rome.

Neshat, Shirin. Untitled. 1996. RC print and ink. Gladstone Gallery, New York City.

Picabia, Francis. Ici, c’est ici Stieglitz/ Foi et Amour. 1915. Pen, brush, and ink, and cut and

pasted printed papers of paperboard. Metropolitan Museum of Art, New York City.

Shirin, Neshat. Unititled. 1996. RC print and ink. Gladstone Museum, New York City.

Stieglitz, Alfred. Georgia O’Keeffe: A Portrait—Head. 1918. Silver gelatin developed out print

mounted on paper board. National Gallery of Art, Washington D.C.

Wood, Grant. Daughters of Revolution. 1932. Oil on masonite panel. Cincinnati Art Museum,

Cincinnati.