Essay Reading: The Visual Theories of Foucault, Baudrillard and Debord in Explaining Contemporary Power Structures

Essay Reading: Terry Eagleton - Ideology: An Introduction

Essay Reading: Michel Foucault - Panopticism

Task 6 - Exhibition Review

Write a critical review of one of the exhibitions in Leeds (500-1000 words).

Attempt to include information on-

Context- Gallery info & history, curatorial issues etc

A physical description of at least one work

Theoretical contextualization and analysis- linking to theoretical ideas and using quotes etc

Info about the artist(s) / designer(s)

A critique of the curatorial strengths and weaknesses of the show

The Henry Moore Institute, Leeds, is internationally renowned for its overwhelmingly diverse definition of the word ‘sculpture’. Stamping its mark on the city centre in the form of a glistening granite stronghold the HMI boasts an exhibition space that ‘houses the best in international sculpture, both historical and contemporary’. Last year it proudly displayed ‘Sculpture in Painting’ which directly explored the relationship in art between the second and third dimension, and this year they have further raised the bar of sculptural controversy with their latest exhibition, ‘Drawing a Shadow: No Object’.

The exhibition, curated by Penelope Curtis, celebrates the work of Edinburgh-based artist Alan Johnston, who had the HMI closed to the public for 4 weeks whilst single-handedly constructing his drawings upon the main gallery’s towering walls. The drawings themselves – short, sporadic pencil marks confined within meticulously precise lines, spanning the length and breadth of the vast, crisp white walls – are used as illusive tools to bring the architectural qualities of the gallery space to life, deeming it a work of art in its own right.

Upon entering the exhibition space the expanse of seemingly empty walls cast a wave of intimidation over the viewer. The transition from one’s initial expectations of the exhibition to the acceptance of what is actually being presented is certainly not instantaneous, and in that midst of uncertainty the idea of ‘nothingness’ has an overpowering internalising effect. The apparent lack of a definitive focal point heightens the senses, places each individual viewer on a pedestal and provokes unquestionable self-awareness.

The minimalist nature of the exhibition draws obvious parallels with the Modernist movement; the pencil marks constrained to rigorously architectural forms are comparative to that of Mondrian’s linear compositions, in which the presence of the piece is marked by its bold use of right-angled structures. Yet it’s site specific nature and manipulation of the viewers experience of a given space holds feint echoes of the early works of James Turrell, who described his collision of light, shape and space not as minimalist or conceptual, but as ‘perceptual’.

It is perception of space that lies at the core of Johnston’s installation. In the same way that Modernism aimed to turn on its head the perception of traditional art, here, Johnston is tacking our perception of a gallery. Very rarely does the space outside of a frame hold such significance, but the subtlety of these drawings pulls your eye to each and every one of the room’s extremities; comprehensively examining the architectural genius of the space and encouraging a level of appreciation that would otherwise go amiss.

In conjunction with the powerful wall drawings, the exhibition also features a series of comparatively minute pencil drawings applied to plaster, lino and wood dispersed at eye level amongst the galleries corners, alongside two sculptural, engineered spaces displayed upon plinths in the centre of the furthest room. The inclusion of such pieces is undoubtedly the only questionable aspect of the curatorial process. The bold decision to exclude any form of introductory text or titling was a demonstration of ingenuity on Curtis's part – such a feature would have seen confused visitors flock to it, unwilling to trust their own interpretation, seeking some form of justification. And yet these small, tiled drawings seem to contradict that very point; detracting away from the sheer magnitude of everything else in the room. Having said that, there is something to be said about their positioning: in the opposite corner to the doorway in each of the three large rooms, forcing the viewer to cross the space, physically dissecting it and gaining another vantage point.

‘Drawing a Shadow’ will unquestionably be met with criticism by those unwilling to deviate on their traditionalist views of sculpture. However, regardless of whether you conceive Johnston’s work inspirational or a mere act of pretension there is no doubt in my mind that this exhibition merits a visit simply to experience, if anything, the sheer humility, exposure and awe inflicted upon the individual by this haunting space.

Essay Reading: Louis Althusser - Ideology and Ideological State Apparatuses

Task 3 - Revised Essay Proposal

Essay Title:-

Discuss two ways in which religion is used as a form of control within contemporary society.

Main issues addressed by your essay and the thrust of your argument:-

Panopticism - docile bodies, self-regulation, false consciousness.

Ideology - religion as myth, natural presence in our lives, acts/rituals.

What Visual Material will you look at?

Jeremy Bentham's design - The Panopticon.

What theoretical perspective/methodologies will you use?

Mythology/Ideology/Panopticism

Which specific theorists/writers will you refer to?

Mainly Foucault's work on Panopticism, along with Althusser's 'Ideology and Ideological State Apparatuses' and Barthes work on mythology.

Books/Articles/Resources Already Located:-

• Foucault, M. (1975) "Panopticism‟ in Hall, S. and Evans, J. (1999) Visual Culture: the Reader. London, Sage Publications.
• Foucault, M. (1977) Discipline and Punish: the Birth of the Prison. Harmondsworth, Penguin. (306 FOU)
• Althusser, L (1969) "Ideology and Ideological State Apparatuses" in Hall, S. and Evans, J. (1999) Visual Culture: the Reader. London, Sage Publications.
• Horrocks, C. and Jevtic, A. (2004) Introducing Foucault. Cambridge, Icon Books.

Task 5 - Triangulation

Use the seminar texts discussed in last weeks session to write a short triangulated review of the First Things First manifesto (2000), published originally in AIGA Journal of Graphic Design, vol 17, No 2 (1999).

In 1964, Ken Garland issued First Things First; a manifesto calling upon designers and creative practitioners to rethink their code of ethics relating to the projects and work they undertook, claiming that time invested in the advertising industry was contributing ‘little or nothing to our national prosperity’ (Garland 1999. p. 154). The modified manifesto, first published in Adbusters in 1999, places a great deal more urgency on our need, as designers, to utilize our talents as a deflection of Capitalism – arguing that ‘consumerism is running uncontested’ in contemporary society. (2002. p. 6) Rick Poyner offers a comprehensive explanation as to the reason why designers so hastily disregarded the original call for action, referring to the economic boom of the 1960’s and the glamour and prosperity to be found in the consumer market at the time. Poyner undoubtedly argues in favor of the manifesto, stating that the imbalance addressed initially by Garland is, today, more pressing than ever – with ‘brand-meisters and marketing gurus’ creating lavishly funded projects ‘which consume most of graphic designers’ time, skills and creativity’ (Poyner 2002. p. 6, p. 9)

Graphic designer, critic and educator, Michael Bierut responded to such claims with a solid contradictory defense in his analysis: Ten Footnotes to a Manifesto. He casts doubt upon the credibility of the 33 signatories who collectively ‘specialize in extraordinarily beautiful things for the culturally elite’ (Bierut 2002. p. 27) and have no experience to speak of within corporate design. Designers, he argues, view the advertising world with a ‘measure of envy’ due to their ranking within the creative industry; ‘graphic designers have long dwelled at the bottom of the pond’ (Bierut 2002. p. 27.) Also addressed is the manifesto’s link between advertising and society’s apparent consumer-driven morality nose-dive, disputing that some of the most successful work for social causes (HIV awareness and gender equality within the arts) has been a product of advertising, something First Things First wishes us to believe is comprised predominantly of manipulation and deceit.

As Poyner so eloquently puts it, the 2000 manifesto draws attention to the ever growing distinction between ‘design as communication (giving people necessary information) and design as persuasion (trying to get them to buy things)’. It is completely irrational to deny that advertising can be a useful tool to society but at present ‘we have absorbed design so deeply into ourselves’ that progression from a creative education into a commercial design background seems completely natural and unquestionable. (Poyner 2002. p. 8, p.6)

In comparison, Matt Soar offers a relatively impartial analysis of the declaration and focuses primarily on answering the question of which echelons of society are likely to be affected and to what degree. In his text, First Things First: Now More Than Ever, he asserts that, on the most basic of levels, the manifesto aims to encourage designers to ‘address their many audiences as citizens rather than consumers’ (2002. p. 13.). A view echoed to some extent by Bierut who adamantly claims that commercial design and social virtue need not be separate entities at all, stating that the most admirable designers have always managed ‘to align the aims of corporate clients with their own personal interests and, ultimately, with the public good.’ (Bierut 2002. p. 30.)

Bibliography

Garland, K. (1964) First Things First. In Bierut, M., Helfand, J., Heller., S., Poyner, R. eds. (1999) Looking Closer 3. New York: Allworth Press. Pp. 154-155.

First Things First 2000. (1999) In Bierut, M., Drenttel, W., Heller. eds. (2002) Looking Closer 4. New York: Allworth Press. Pp. 5-6.

Poyner, R. (1999) First Things First: A Brief History. In Bierut, M., Drenttel, W., Heller. eds. (2002) Looking Closer 4. New York: Allworth Press. Pp. 6-10.

Soar, M. (1999) First Things First 2000. In Bierut, M., Drenttel, W., Heller. eds. (2002) Looking Closer 4. New York: Allworth Press. Pp. 10-13.

Bierut, M. (2000) A Manifesto with Ten Footnotes. In Bierut, M., Drenttel, W., Heller. eds. (2002) Looking Closer 4. New York: Allworth Press. Pp. 26-31.