Limited Visibility

89 Huicholes, 2006,  By Santiago Sierra. 84 black and white portraits.

Initial Response:

                Limited Visibility is an exhibit that emphasizes the effect and meaning behind intentional erasure and omission. The manifestation of these absences varies in each work, and the purpose behind the omission has different intended effects on the viewer. The Curator’s statement explained this exhibit’s impact: “Seer, seen, and unseen come together here to evoke the haunted sensation of searching and looking.” With the curator’s introduction as a guideline for my thoughts, I was able to search for the omission of each piece, and ponder the significance of absence.

                Each work’s omission gave me unique feelings. 97 Housemaids, by Daniela Ortiz, showed pictures collected from Facebook that centered on upper-class Peruvian families. The maids and workers were cut out or in the background. Though not intentional, the pictures depicted a heart-wrenching truth about the relationships between different social classes. Other works were less straightforward and required personal interpretation. A site-specific piece, Unfolded Architecture by Pablo Rasgado, showed a square of deconstruction. The omission of the sheetrock and plywood didn’t have a clear message, but it stirred in me a feeling of loss and impermanence. But perhaps the destruction of the old is necessary for the advent of the new. Other pieces had absent ideas, like the missing labor in Allora & Calzadilla’s sandpaper composition. This could represent a seeming disregard for the months of work the sandpaper was used for. Each piece had a unique message and a clear theme. “Limited Visibility” was a straightforward, but at times challenging concept. As an art novice, I was excited and surprised by the ideas I gleaned from things that were missing.

Visual Analysis:

                The piece that I have chosen to analyze is a collection of 84 black and white photographs by Santiago Sierra. It is called 89 Huicholes, and was made in 2006. Santiago is an artist from Spain, and many of his works express some sort of message for social change. In this piece, Santiago has compiled 84 portraits of members of the Huicholes tribe. These photographs, however, defy the conventional portrait form. The members of the tribe all have their backs to us. We can see the occasional neck, headdress, and hair, but their faces are hidden. Most portraits emphasize the face as the defining feature to be depicted, but Santiago views the back, or omission of the face as a significant representation of the individuals. These portraits are all similar, most with only one subject, but a few with an unseen mother and child. They are all depicted in black and white. This lack of color works to draw the attention to minute differences between each picture. Without distracting colors, the viewer is not overwhelmed by the display, and is able to analyze each individual. Each picture is in portrait orientation, and they are organized into 5 rows. The four top rows each have 17 pictures, but the bottom most row has only 16; there is an empty space in the bottom right corner. This is another example of purposeful omission, in line with the theme of the exhibit.

                In a society that highly values image and exposure, this piece is a culture shock. Viewing pictures that purposely omit the face is surprising, and extremely impactful. Even as we perused the exhibit, phones were out, pictures were being snapped and instantly posted. To look in on the starkly contrasting culture of the Huicholes is humbling. One of the last tribes in North America who still practice their pre-Columbian traditions, the Huicholes are constantly fighting against the government and farmers to maintain their religious practices and ancestral land rights. By having their backs to the viewer, this piece invokes a sense of guilt. Perhaps this is the only thing we ever see of the Huicholes, we live in ignorance of their existence. Could these pictures represent the highest level of exposure that their conditions and culture will ever receive?

                Even from behind, we can see that the subject of each portrait has a unique personality and attributes. This is seen in the way they choose to organize their hair, headdresses, and clothes. Their body position may indicate their psychological or physical condition. The viewer is forced to utilize what they are given to form a complete picture of the individual. Santiago describes this: "The person has to create what the person doesn't see". The viewer is not spoon-fed the picture, they instead must actively pursue the image of the individual. Without the face of the subjects being shown, only so much can be assumed about them. Although the viewer is keenly aware of the subject's individuality, they can't truly know the person from the light that has been captured and displayed. This may represent the tragedy of the unnoticed, unseen. There are people around the world that are unique, special, in need of help, but never noticed. They are never given the opportunity to communicate, be seen, and shown. The Huicholes are in this condition, and Santiago displays this in 89 Huicholes. We need to notice those being oppressed and silenced. We should take a break from absorbing the publicized, and instead actively pursue the things not being shown. By seeking out those whose backs are turned, we can have a positive impact on their lives. By changing our mentality, perhaps we can alter the culture to pursue engagement and active pursuit; as opposed to inactively viewing the things we are shown.

                The empty space in the bottom right corner of this work is another purposeful omission by Santiago. This space is perhaps meant to be filled by the people the viewer knows that are ignored. Individuals or cultures that are bypassed and oppressed, or maybe even the viewer him/herself feels that they would fit in this space. The empty space allows the message of the work to go beyond just the Huicholes. This ignored identity is seen around the world; the oppression of the Huicholes is an example of this universal principle. As I viewed this piece, I thought of the people I ignore and dismiss, and even those who I have never met or heard of, and I added them to this gap.

Pride in Advertising

Buik Reatta advertisement, published in Sports Illustrated, June 13th. 1988

Denotation:

                This advertisement from General Motors is promoting a Buick Reatta car. The car itself is bright red, gleaming, and highly glossed. With a black racing stripe down the center, aerodynamic design, and two doors, it seems like a sports car. It stands in stark contrast to the black background it is framed in. Above the car are the words “Go Ahead. You deserve it.” These are prominently displayed in all capital letters, in a bold font at the top of the advertisement. Below the car are the “specs” of the model. These are titled by the name of the car, “Reatta”, written in a sleek, smooth font. The details of the car itself and the short note to the audience of the advertisement are written in bright red letters, matching the car. The details of the car’s attributes are presented in a bulleted list, and are framed by flattering messages to the audience at the beginning and end. Underneath the specks is the company name, Buick, written in bold, red letters as well. Below this is a company slogan and logo, red to match the rest of the ad.

  

Connotation:

                This advertisement appeals to the deadly sin of pride. The first words seen justify self-indulgence: “Go ahead. You deserve it”.  At the top of the ad, they are prominent and bolded; hard to miss. The advertisers use these words to frame the car underneath as a tempting treat to be taken. The car itself is sporty, sleek, and attractive, but largely impractical. The advertisement acknowledges the flash and impracticality of the car, but by elevating the self-concept of the audience, the audience feels validated in buying the Reatta. The font of the car name, “Reatta” is smooth and sleek. This reinforces and emphasizes the sporty nature of the car. The main text of the advertisement works to persuade the audience that they deserve this car. The first line appeals directly to their pride: “Like many people of achievement”. It goes on to tell the audience that they have passed up on many pleasures in life to get to where they are now. “If so, this is your time- and Reatta is your car”. After describing the viewer as a successful, self-sacrificing person, they tell the audience to reward themselves for their excellence. The bulleted list following this outlines the attributes of the car. It describes a Buick that is worthy of a deserving driver. Throughout the text and in the slogan at the end, “American” is carefully placed. A patriotic, high-achieving, and motivated person like yourself deserves this fantastic car.

Audience:

                Published in a Sports Illustrated magazine in 1988, this ad’s target market was likely middle-aged, upper-middle class, American men. This demographic is often searching for something to do with their extra time and money. Eric Erikson describes this pivotal period in his stages of psychological development. He asserts that during this period, people begin to use their leisure time creatively, and reinvent their roles in society. The advertisers are catering to this psychographic: “You’ve probably postponed some of life’s special pleasures on your way to where you are. If so, this is your time.” They are offering them an appealing way to spend their newly freed up money and time. The audience of this ad is likely familiar with advertisements that appeal to the functionality and practicality of products. They are mature enough to see through many tactics used to disguise products as useful and practical. Consequently, the advertisers are openly presenting the car as a luxury vehicle. Though not necescarilly functional, it is something the viewer deserves.

Charlotte Bronte and Jane Eyre

Jane Eyre Dress Rehearsal- Act 1, Hessle Theatre Company, taken by John Drury

"Such is the imperfect nature of man! Such spots are there on the disc of the clearest planet; and eyes like Miss Scatcherd's can only see those minute defects, and are blind to the full brightness of the orb," (Bronte 62).

               

                By focusing on remedying the imperfect nature of man, the teachers of Lowood at the command of Mr. Brocklehurst spend all their days picking apart the sinful actions of their students. Trying to punish for imperfection, they are forever focused on the bad, however minuscule, and the miss the value of the individual. The central idea Bronte is trying to communicate in this passage is that cruel treatment, even when justified by religion, can be extensively damaging for individuals. The injustsice of Brocklehurst's treatment of the girls is seen in the extremity of their conditions and punishments, the disparity between the girls’ conditions and the conditions of Brocklehurst's wife and daughters, and Brocklehurst's lack of forgiveness.

                "I have a Master to serve whose kingdom is not of this world: my mission is to mortify in these girls the lusts of the flesh; to teach them to clothe themselves with shame-facedness and sobriety," (Bronte 59). Brocklehurst's aim is righteous upon initial inspection. However, the way in which he goes about this involves cruel and vicious tactics. Bronte recounts the awful treatment of the girls in the first few paragraphs. They are given minimal clothes to shield from the cold, barely enough food to survive, and are punished cruelly. These methods are meant to starve the body but feed the soul, but they instead result in the starvation of these girls physically and emotionally, and probably the rejection of any God who would allow such treatment.

                The true hypocrisy of Brocklehurst's mentality is exposed when his wife and daughters are introduced. While Brocklehurst is explaining to Miss Temple the shameful extravagance of the girls braided hair, Brocklehust's family interrupts. Three ladies walk in, wearing expensive curls, embroidered gowns, and rare furs. By introducing this situational irony, Bronte is able to comment on the hypocrisy of Brocklehurst and the horrible disparity between religious idealism and the true actions of many practitioners. The stark contrast between these two conditions reaffirms the horror of the conditions in Lowood.

                Though Brocklehurst claims to follow the tenants of Christianity, his practices are directly opposed to the purpose of Christianity. His lack of forgiveness towards Jane or any of the students shows his ignorance in true Biblical mercy. "For it is by grace you have been saved, through faith-- and this is not from yourselves, it is the gift of God--" (Ephesians 2:8). In the fundamental Christianity by which I have been raised, it is essential that this verse is realised in everyday life. Brocklehurst's attempt to reprimand and fix the girls in order for them to achieve salvation is in direct opposition with this verse. As he strives to right all their wrongs, with no forgiveness, he misses that grace and salvation come from Christ alone.

                Brocklehurst and Lowood's teachers are forever focused on the imperfection of Jane and her peers. Instead of depending on the salvation offered by the grace of God, they strive to earn salvation for the girls by making them live righteously. Bronte points out the horror of Brocklehurst's treatment, which seems to be justified by Christianity. Focusing on the sins of man will forever focus attention on what is wrong, without recognizing and utilizing all the things that are right. 

Works Cited

Bronte, Charlotte. Jane Eyre. London: J. M. Dent & sons Limited, 1908. Print.

Drury, John. "Jane Eyre Dress Rehearsal- Act 1." Hessle Theatre Company. N.p., n.d. Web. 4 Oct. 2014. <http://www.hessletheatre.co.uk/Productions/JaneEyre2011/JaneEyreDressRehearsalAct1.htm>.