LECTURE
Today opened with definitions of these words. A metaphor being a figure of speech where the phrase is applied objectively and not literally, Its also regarded more in a representative or symbolic sense. Where as a allegory is used in a more narrative light, that can be interpreted to reveal a usually moral hidden meanings relating to the genre. This was easier to understand from last weeks lecture, applieing the each to correpsond with the meanings of connatations and denotations. Below are the images in the slideshow represented, in which we de-coded in a obviuos and objectuve manner, then split into groups to find a deeper meaning in the images.
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| Sarah Lucas, Self Portrait with Two Fried Eggs |
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| Sarah Lucas, Au Naturel |
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| Simon Patterson, The Great Bear |
Sarah Lucas' first image is a great example of a metaphor. To being with it can be perceived very literal, she sits in what seems to be a accommodation she lives in (kitchen maybe) in a manly tired manner with eggs on her chest. It is clear that the food is a sexual representation of her breasts which is a pretty crude metaphor and could represent gender. The way she presents herself is very ambiguous and angrogynist, as her hair is greasy and short, her jeans are ripped, her shoes are bulky and worn. Her positioning is fairly confrontational as her legs wide apart, yet slightly desperate. It is easy to suspect that her gender is (at a glance) male, resulting to the term "flat as two fried eggs." This implies her choice of how she presents herself to society, yes she looks unfeminine, but it's who she is and how she feel comfortable. This can also be seen in the cropping of the composition, she has chosen to photograph at a angle where the patterned floor ends, which could suggest more about her opinions of the world. When asked to analyse her work further, another concept came to mind, the idea of the eggs representing fertility, and her action of frying these is in fact killing life? Perhaps another angle regarding the cigarettes on the floor, could suggest a cancer related disease resulting in the removal of her breasts, resulting in her feeling unwomanly thus choosing to dress more masculine? Another feature of this image is the angle of the camera, this could prove to make her seem threatened (as it is highly placed) or even venerable which contrasts to her feministic views. When considering the involvement of the floor, it was raised that the pattern could represent a distraction from how she feels? or the angle of the floor could suggest her 'against the grain' actions? or illustrating grey areas in life, that not everything is black & white? as you can see, it is very simple to take the connotations of an image to extreme levels.
Food standing in for sexual concepts is a common theme in Lucas' work, which can be applied to reveal and subvert degrading objectification of the body in vernacular language. This can be noticed in a more allegoric photograph of Lucas, which illustrates a dirty used mattress with suspicious stains, a old bucket with odd shaped melons and a six inch ripened cucumber accompanied with two oranges. This sculptural piece obviously represents the male and female genitalia, in which the female seems to be more worn than the male. As the breasts are deforming and the vagina is wide, this contrasts to the hard and strong penis which has not aged a day. This could return us to her feminist theories suggesting here a more martial theme, implied by the siting up position on a filthy mattress implying 'time.' The composition and empty room displays theories of the married life as a concavity of abundance and habitual relegation, as well as the idea that we settle with borderline satisfaction which result in long gazes of alternative fantasies. The uncanny and banal of the piece stand in for the exhausted and ploughed passion replaced by toleration of body malfunctions. Other ideas drafted from this image were based more from a female perspective, such as the idea of changes in the female body over the years, ie. childbirth, resulting in women getting tired and giving up? the young representation of the male suggests inconsiderable actions of demands she must meet? or the idea of a higher fertility rate? Another angle raised was the idea of prostitution suggested by the sate of the bed, the uncluttered room removes all ideas of married life, the breasts are oversized suggesting plastic surgery and the firm vegetable suggest rotation of new customers. What good to take into account is the freedom of opinion in art, as nothing is 'the wrong answer' and everything is open to interoperation.
The final image of the session was very rushed and vague, which made it hard to interpret. This alteration piece is the London Tube Map in which the lines have been changed to a timeline of generic theme of a type in historic society ie. philosophers, actors, politicians and other celebrated figures. The title The Great Bear refers to the constellation Ursa Major, a punning reference to Patterson's own arrangement of 'stars.' Patterson playfully subverts our belief that maps and diagrams provide a reliable source of information. ''I like disrupting something people take as read'' he comments. Patterson maps out a foolproof guide for postmodern thinking. Like the tube map itself Patterson’s bear is an abstraction: actual distance and direction is irrelevant to any known topography. Start with the Chinese revolutionary leader Deng Xiaoping and change at Napoleon for Thirties comedians. Get off at Leonardo Da Vinci (one station past Mel Brooks). Then take any combination of journalists, film stars, footballers, explorers and engineers until you get to the saints train.
Sarah Lucas' first image is a great example of a metaphor. To being with it can be perceived very literal, she sits in what seems to be a accommodation she lives in (kitchen maybe) in a manly tired manner with eggs on her chest. It is clear that the food is a sexual representation of her breasts which is a pretty crude metaphor and could represent gender. The way she presents herself is very ambiguous and angrogynist, as her hair is greasy and short, her jeans are ripped, her shoes are bulky and worn. Her positioning is fairly confrontational as her legs wide apart, yet slightly desperate. It is easy to suspect that her gender is (at a glance) male, resulting to the term "flat as two fried eggs." This implies her choice of how she presents herself to society, yes she looks unfeminine, but it's who she is and how she feel comfortable. This can also be seen in the cropping of the composition, she has chosen to photograph at a angle where the patterned floor ends, which could suggest more about her opinions of the world. When asked to analyse her work further, another concept came to mind, the idea of the eggs representing fertility, and her action of frying these is in fact killing life? Perhaps another angle regarding the cigarettes on the floor, could suggest a cancer related disease resulting in the removal of her breasts, resulting in her feeling unwomanly thus choosing to dress more masculine? Another feature of this image is the angle of the camera, this could prove to make her seem threatened (as it is highly placed) or even venerable which contrasts to her feministic views. When considering the involvement of the floor, it was raised that the pattern could represent a distraction from how she feels? or the angle of the floor could suggest her 'against the grain' actions? or illustrating grey areas in life, that not everything is black & white? as you can see, it is very simple to take the connotations of an image to extreme levels.
Food standing in for sexual concepts is a common theme in Lucas' work, which can be applied to reveal and subvert degrading objectification of the body in vernacular language. This can be noticed in a more allegoric photograph of Lucas, which illustrates a dirty used mattress with suspicious stains, a old bucket with odd shaped melons and a six inch ripened cucumber accompanied with two oranges. This sculptural piece obviously represents the male and female genitalia, in which the female seems to be more worn than the male. As the breasts are deforming and the vagina is wide, this contrasts to the hard and strong penis which has not aged a day. This could return us to her feminist theories suggesting here a more martial theme, implied by the siting up position on a filthy mattress implying 'time.' The composition and empty room displays theories of the married life as a concavity of abundance and habitual relegation, as well as the idea that we settle with borderline satisfaction which result in long gazes of alternative fantasies. The uncanny and banal of the piece stand in for the exhausted and ploughed passion replaced by toleration of body malfunctions. Other ideas drafted from this image were based more from a female perspective, such as the idea of changes in the female body over the years, ie. childbirth, resulting in women getting tired and giving up? the young representation of the male suggests inconsiderable actions of demands she must meet? or the idea of a higher fertility rate? Another angle raised was the idea of prostitution suggested by the sate of the bed, the uncluttered room removes all ideas of married life, the breasts are oversized suggesting plastic surgery and the firm vegetable suggest rotation of new customers. What good to take into account is the freedom of opinion in art, as nothing is 'the wrong answer' and everything is open to interoperation.
The final image of the session was very rushed and vague, which made it hard to interpret. This alteration piece is the London Tube Map in which the lines have been changed to a timeline of generic theme of a type in historic society ie. philosophers, actors, politicians and other celebrated figures. The title The Great Bear refers to the constellation Ursa Major, a punning reference to Patterson's own arrangement of 'stars.' Patterson playfully subverts our belief that maps and diagrams provide a reliable source of information. ''I like disrupting something people take as read'' he comments. Patterson maps out a foolproof guide for postmodern thinking. Like the tube map itself Patterson’s bear is an abstraction: actual distance and direction is irrelevant to any known topography. Start with the Chinese revolutionary leader Deng Xiaoping and change at Napoleon for Thirties comedians. Get off at Leonardo Da Vinci (one station past Mel Brooks). Then take any combination of journalists, film stars, footballers, explorers and engineers until you get to the saints train.
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