Introduction
How has the automobile played a role in the
evolution of art and photography within society? A question which some may feel
could only be answered based purely on structured opinion. Whether or not this
is due to the fact that the automobile within art is a very niche topic, which
has lead to acute numbers of exploration. Therefore resulting in a
misunderstanding or misinterpretation of the topic at hand. Within my study, I
wish to explore this subject in great detail, analyzing different media of art
– exploring a wide range of artists spanning an ample time period.
Where has my inspiration come from for this
exotic topic? The main drive for me, was almost trying to prove and reckon my
passion (boiling my passion down, it is the uttermost love and infatuation for
the automobile and for capturing, what I believe are pieces of art with
beautiful photographs). What do I mean by this? Frequently I was asked if I
wanted to study this topic because ‘I like cars’. When the simple answer is, I
am studying my passion, which derived from my life aspirations and current
work.
Throughout this study, I aim to explore the
progression within styles and content of art and photography spanning past
eras. Answering questions along the lines of ‘how has the automobiles
involvement within art and photography grown and evolved?’ to help answer my
questions, I will be investigating different photographers and artists – such
as Robert Doisneau and Alex Penfold.
To commence my study, I need to gather some
inspiration, which will relay in the forth-coming chapters. Initially, to begin
my forage for inspiration, looking back into the past threw up some key artists
that would be vital to concluding my question.
Chapter
1
Throughout the years there have been
various artistic periods and movements, which have changed the way people create
and consume art itself. Pop Art emerged in the 1950’s and 60’s, making its way
from Britain to America, changing the way popular culture was viewed and
consumed – recognizing the pervasive presence of materialism and consumerism.
The movement itself fixated on expressing the optimism felt by some post World
War II. [1]
With consumerism and mass production
flooding the 50’s, it allowed for the Pop Art era to father many great,
historic artists. With many artists, from the likes of Andy Warhol and Roy
Lichtenstein to Robert Rauschenberg and James Rosenquist. In the 70’s, BMW approached artists, asking
them to design and paint one of their Le Mans cars. Warhol and Lichtenstein
both created works for these cars, adding to the integration of the car being
used in and for artistic projects. When exploring these Pop Artists, I came
across one in which galvanized me to look much deeper at his work and analyze
it with an artistic eye. Being described as a ‘complicator of Pop’ [2] ‘The
New York Art Magazine’ proclaim:
‘James
Rosenquist is always being likened to a billboard painter… What’s misleading about the comparison is
that Rosenquist’s painting also does exactly what a billboard doesn’t. A good
commercial sign—whatever its dalliance with our subconscious desires—delivers a
clear message. By contrast, Rosenquist is a natural surrealist. He creates
half-hidden narratives, startling juxtapositions, and apocalyptic dreams’ [2]
When looking at the description about
Rosenquist’s work, it is clear that a comparison can be made early on in my
study, when comparing his work and the role that cars play within art – they
house a very subliminal message and do not ‘deliver a clear message’.
Rosenquist’s paintings are a perfect
example when looking at the growth and generalization of commercialism and
materialism (especially within the United States). ‘I Love You With My Ford’ is
one of Rosenquist’s most established pieces. Looking at this painting from a
purely artistic approach (as opposed to a critical or business ideology), the
three divided pictures each have their own specific qualities. On the top
third, there is a shiny and polished car – assumingly a Ford due to the title –
this expensive item is littered with tone making it appear clean and
three-dimensional; stating its wealth but also its fashionable appeal to the
general public. The middle segment portrays a woman, almost sexually whispering
into what appears to be a man’s ear. The dark background highlights the
couple’s fair, white, skin – making it appear very smooth and very young.
Connoting maybe, that ‘The American Dream’ and the whole conspicuous
consumption image is aimed toward the new, youthful generation. In the final,
third segment; there is a pile of dark, cooked spaghetti. This is the only
segment to feature color, with the orange Bolognese sauce creating such a tone
that the light and dark patches make the painting appear real and true-to-life.
When trying to decode this image at first
it appears to be nonsense, however ‘Fiona L’ critically writes,
‘This painting
is divided evenly into three sections and they don’t have anything in common at
first sight, not related or united in any way. This artwork is mostly black and
white except for the spaghetti which reminds us that our world is changing
faster still with new creations and discoveries. The spaghetti and Ford of the
painting direct our attention to the middle of the painting where the two
lovers are touching. This is because Rosenquist shows how the world is changing
so fast with new ways of cooking and the speedier and attractive Ford yet love
will always be the same forever.’[3]
Fiona is further emphasizing this idea of
the newfound commercialism. However, she believes that despite this sudden
surge of glossy new products, the love that people feel will remain prominent
toward one another. However, with all this analysis, the main opinion comes
from the artists themselves –
“When I copied a 1940s spaghetti illustration, I had to ask myself, why
am I doing this? I didn’t honestly know. It was just an instinct about images
as pure form… in a sense the spaghetti is like an abstract expressionist
painting. De Kooning loved it. He said it was sexy.” – James Rosenquist 1961.
As Rosenquist ventured more into this
materialistic world, his paintings became more critical of society. ‘President
Elect’ begins to question that of the politicians.
‘President Elect (1960-61/1964) is among the highlights of this exhibition. This
iconic work includes a looming portrait of John F. Kennedy borrowed from a 1960
presidential campaign poster. Countering this portrait with images of
middle-class wealth and consumerism Rosenquist asks, "Here is this new guy
who wants to be President of the United States —what is he offering us?" ‘ – Sarah Bancroft. [4]
‘President Elect’ featured many fading
transitions – juxtaposing the ideas in the painting. The large face of J. F.
Kennedy, smiling, emphasizes how he believes that what he is selling is right
for the country and it’s economy. The black and white cake being torn apart
could further connote how the fat, luxurious items that society offers are
ripping society apart – and effecting peoples morals. Lastly, the green/beige
car, brought to attention by the contrasting red background, shows again the
growth and evolution of society.
To conclude, I feel that the Pop Art era
played a grandiose part in introducing the automobile into the art scene,
making it feature on a more customary scale. With the mass production of cars
starting to become more common, and the price it cost to manufacture and sell
these machine coming down ever so rapidly, Pop Artists jumped at the chance to
use them in their critiquing and comments on society.
Chapter
2
Street
photography and candid photography has always been ubiquitous encircling the
world. The subject of these photos differs between photographer and their
interests and style. Capital cities - known for their hectic and diverse
cultures, afford photographers to capture a range of diurnal affairs. London -
with its historic values and tourist attractions has been widely famous for
ample professional and amateur photographers and artists alike. However, the
past few years have seen an extensive modulation in the subjects of street
photography.
To
fully delve in London’s assorted cultures, one must embrace all areas (from
estates to mews). Famous for the extortionate levels of wealth, the tony
surrounds of Knightsbridge and Mayfair attract an array of cultures. How has
this changed street photography? Every summer, it has become a frequent
occurrence for wealthy native Arabic people to import their marvelous, gaudy,
rare automobiles - and conjointly, the augmentation of automobile street
photography. With this migration of varied cultures, has also come mass media
attention – with Channel 4 broadcasting a show purely on it, [5] and
multiple newspapers, including ‘The Guardian’ [6] and ‘Daily Mail’[7]
reporting on the somewhat controversial behavior.
One
young photographer has made his name by capturing these outlandish cars nesting
amongst the beautiful backdrop of London’s streets. Penfold is not known to the
world, but like most famous photographers - is famous within his category. “I’m
19 and really into cars and photography which together make a great match.
Recently I have got much more into automotive photography, doing private
shoots, photographing cars on the street and going to events”[8]. A
humble quote from Penfold further enforces the idea of how new and modern
capturing the automobile is.
Penfold's
photographic capabilities need to be as versatile as possible. With the
unpredictable British weather, the lighting available will be as dynamic as can
be. 'Head turner' is a beautiful photo, with a beautifully fitting title. When
breaking the photo down, it becomes evident that Penfold is naturally talented
at taking a photo in the moment. All of the subjects present in the photo would
be gone within a split second, therefore Penfold would have to act within a
dramatically short time period. The photo itself is rich with natural light and
natural colors. The photo generally has a very yellow tint of sunlight among
it, but the rich greens of the trees add to the warmth of the photo. The main
focus of the picture is of course the menacing McLaren. The sharpness of its
lines and the deep black coloring emphasizes the extreme contrast in the photo.
The juxtaposition between the natural scenery and the man made machine is ever
present throughout the photo. As the title suggests, this car is a natural
'head turner'. To a sense, this adds a sense of humor into the photo. The man,
slightly out of focus to the right of the image is on his Boris bike and is
starring aimlessly in adoration at the car. This makes the viewer question and
come up with the thoughts that must be going through that mans head at the
time... The photo does however break a few rules. The common rule of thirds
grid has been applied, however, the main subject of the photo is marginalized -
allowing for the cyclist to be involved in the photo.
When a
car is parked up, I would assume Penfold would have more time to compose his
images and think them through. I further believe that 'Dmc' has been thoroughly
thought through and composed. When I look at the image and begin to analyze, I
notice the arrow on the left of the image is pointing in the direction of the
car, which will lead the viewer straight to it. Furthermore, what makes the car
stand out so much is the contrast of the colors. The analogue color scheme uses
colors that are adjacent to each other on the color wheel, [9] with
the yellow predominating the image, again allows the viewer to be naturally
drawn into the car. The leading lines of the green building help this. The
window frames point down toward the car. The depth of field in the image has
also been carefully thought about. The soft focus of the sign on the left makes
it appear as though the viewer is looking round at the car, maybe even in
secret - not wanting to disturb it. The contents of the sign connote the type
of art that is being produced. 'Contemporary street art'. This clever detail
adds to the intricacy of automobile photography, and is clear evidence for what
sets Penfold aside from everyone else.
It
could be argued, that Penfold is one of the main leaders in the growing rise of
automobile street photography. With many others taking to the streets such as
Thomas Mein and David Drese, aiming to produce beautiful photographs that
feature the automobile as the subject of their work. However, in my personal opinion, I feel that
he is a more than fitting role model and inspirational artist for all. An
inspiration for me as one, with his photography leading to me starting my own
website. Where I capture and share my own street photography [10].
With half a million views, my photography skills have been critiqued and
enhanced – resulting in me having a direct connection to my study. I believe
that in the 21st Century, the automobile has become such an active
object within all types of art and is at its most sophisticated stage to date.
In conclusion, with the works of people like Penfold, it has become clear that
the art that is the design and detail of the automobile has become more
glamorous, yearning people in, making them want to produce art using the
automobile.
Chapter
3
"I
never noticed time passing, I was too taken up with the spectacle afforded by
my contemporaries, that gratuitous, never-ending show for which no ticket is
needed, and when the occasion arose, I offered them, in passing, the ephemeral
solace of an image." - Robert Doisneau 1936. [11]
With a
career spanning the near entirety of the 20th century. Robert Doisneau was
given the opportunity to marvel at the evolving, ever-expanding society and
culture of 1900's France. Along with this, he participated in the burgeon of
technology. Armed with a Leica, Doisneau wandered the streets of Paris, with a
sense of pure enthusiasm to capture the everyday business of innocent French
drifters, children, workers and adventurers - mixing social classes and
eccentrics in contemporary street cafes. Amidst this busy landscape, the
potential for a collection of beautiful photographs arose - and Doisneau
grasped this contingency with both hands.
Doisneau's early works contrasts so harshly with his later work.
Studying his earlier pieces of work (1912-1944) a common trait can be
identified. The photos - other than the main subject - are very sparse in their
content. The streets are abandoned and the numbers of people are barren. The
lack of chiaroscuro highlights the general pattern of mid-tones and the empty
greys that sweep through the photograph, and the use of negative space further
accentuates the unoccupied and desolate streets. Perfect examples which
showcase this work are photos such as 'sent for the milk' 1932 and 'D.I.Y.
farming' 1944. These photos both capture the natural and simple life people led
during this era and supplements the idea of safe living and child street
culture.
Considering Doisneau's work and the condition of the streets today,
there is one distinct object omitted - the car. This all ties in precisely with
my question, and statement about Doisneau's later work contrasting his earlier
work - as Doisneau's photographic skills advanced, the content of his photos
changed and cars continually became a more apparent feature. This influx of
automobiles grew with the general household's increasing expendable income and
the mass production of cars becoming more common and versatile, all leading to
a sudden impact of cars hitting the streets, changing the quiet, reserved
lifestyle.
Doisneau
constantly aimed for his work to look as natural as possible. This chaos-ridden
photograph bleeds the essence of natural. Unlike his earlier work, there is
decidedly a fair amount of different proceedings taking place. To break down
this photo, dividing it into its foreground, mid-ground and background affords
me to analyze thoroughly. Starting with the background, this is (looking at the
light's gradient) the darkest part of the image. The tone of this section added
with the lack of highlights makes this section of the image rather unclear and
intensifies the chaos and confusion of all the cars bunched together - a far
sight different than that of Doisneau's earlier pictures of the streets. The
mid-ground of this image, in respect to the rest of the image is relatively
quiet. Withal, each individual car has its own highlights and shadows which
heighten the dynamics of the tone within the photo. The spacing of the cars
retracts from the chaotic scene in the background, possibly connoting the
difference between social classes within the French population; comparing
personal topics such as financial struggles or living conditions. Moving onto
the foreground of the image (the most important part). The chaos is immediately
resumed by introducing silhouettes of a female figure pushing a young infant
across this highly active road. The lines on the road align the viewers eyes
promptly toward the figures, almost forcing the viewer to panic and question
what happened in the split second after Doisneau captured the photo. The
figures low luminance against the road's extremely light surface allows for an
extremely high contrast between the two objects - again, initially driving the
viewer's eyes toward the figures.
Likewise,
'speedsters' goes hand in hand with 'the pack' when analyzed. Initially, the
leading lines engage the viewers and result in drawing their eyes towards the
dusty, decrepit car. The sharp line of the curb seduces the viewer, allowing
them to naturally be drawn to the object. Correspondingly, the lines the
buildings host, affords the viewer to look down, again at the car. The distinct
lack of contrast in the image makes it appear flat and less striking as such.
This channels the appearance, making the colors within the image define
objects. The eye is also drawn towards the dark shadow on the left hand side of
the image. The contrasting this alluring shadow creates, attracts the viewer to
consider the small child seated in a small, replica toy car. Doisneau has been
able to capture the small child's pure wonder and amazement at this bigger
version of what he is seated in. Such expression leaves questions pondering on
the mind of the viewers - asking themselves, "Just what is going through
this innocent, young child's mind?".
'Doisneau's
legacy is a few minutes of eternity frozen onto photographic paper: a
few minutes of wonder and emotion through which he contrives to tell us, image
by image, stories full of poetry and humor. He enchants us by his capacity to
communicate the fleeting but integral relation of complicity between
the photographer and the man or woman that he photographs: 'one should
take a photo only when he feels full of love for one's fellow - man'. But
careful analysis reveals a depth and reflective quality in his work that
undoubtedly modify and enrich our sense of it. His humor is perhaps a key to
this interpretation Doisneau is an intuitive master of the absurd and the
unusual; so often, the slightest divergence of conventional or slenderest
illusion contrives a completely new meaning.' - Jean-Claude Gautrand
2006 [11]
The
initial sentence of the above quote, personally, I feel sums up Doisneau's
photography perfectly. His natural ability to capture the pure essence of all
description and classifications of people, going about their everyday business,
whilst not startling, or alarming them, letting him capture a portfolio of France
with a high verisimilitude.
Chapter
4
Before starting this study, I already had a
growing portfolio within my passion[10] – influencing my choice of
question for the study. I had regularly been out to various events and had been
roaming the streets of London trying to master the trickery of street
photography (heavily focused around the automobile). Withal, due to multiple
restrictions and set backs within my photography – my own work’s growth and
development has, to a level, been restricted. Nonetheless, I have tried to
progress with my work on my own. The artists that I have been looking at
throughout the study have proved eminently influential. After studying their
work critically, technically and artistically, I began to see their styles and
traits coming through in my own photography. I was beginning to compose my
photos with much more intricacy. Not just thinking about the subject of the
photo, but considering the frame of which the subject is in and ensuring that
my camera is set up accurately so I can shoot efficiently and professionally. I
also consider the colors that are going to within the picture. All of these
factors help me take the perfect image, in the style that I want. I am now able
to produce an image that has say an extreme case of chiaroscuro or an image
that color’s contrasts or compliments each other to an extreme. Furthermore, I have learnt to do these with
speed. Being a street photographer is all about being able to capture an event
in the moment – which requires the photographer being responsive with the
camera.
When comparing my earlier work with chosen
pieces from my inspirational artists, it becomes clear that my work was not of
the same standard. After analyzing my pieces, it became clear that where I
thought I had been precise and intricate in my detailing, I really was not as
acute as I first thought. I found a common problem that lied within my
photographs and work. I was focusing too much on the subject of the photo and
not paying much attention to the art, as such, that was present and surrounding
the photo. This made me begin to realize that I needed to find a medium between
the two and compromise. This made me begin to take more time when taking
photographs and really consider the surroundings and angles that I took the
pictures from. I began to question myself and the other artists – why have they
taken it from this angle? What would I achieve if I placed the camera at a
canted angle? This afforded me the ability to mirror – to an extent – the work
of the artists that I have explored.
When looking at my piece ‘Lord Aleem and
his PET’ [12] the inspiration, I believe can be seen. Although this
photograph is not at any obscure or canted angle, the photo itself remains
influenced, heavily by the artists I have explored throughout my study. Much
like an image taken by Alex Penfold, the photograph explores an analogue color
scheme and the harsh juxtaposition between the menacing yellow Lamborghini and
the innocent black taxis plays on the modern contrast between lifestyles.
Furthermore, the placement of the car draws the viewer straight toward it as
being center of the image, and being such a bold shade of yellow, it adds to
the overall appeal and craving of the grandiose automobile.
In contrast to the previous image, ‘Agera’ [13]
I have pushed the boundaries of my photography a lot more. I have
explored many a number of different angles, getting lower to the ground and
exploring what it is like to be looking up on an automobile from the ground. This
low angle makes the car appear angry yet beautiful within its stance. The depth
of field within the image also makes the car appear more prominent within the
image. Unlike ‘Lord Aleem and his PET’ this photo explores a different style of
editing. The de-saturated image makes the photo appear edgy and lifeless within
a sense that the car is alone and waiting for its owner to unleash it.
The artist that I feel had the most
inspiration over me was the young Alex Penfold. After looking at the depths of
fields and low angles that he uses within his photos made me begin to use my
camera much more artistically. This also has allowed me to conjure ideas about
how I could create a singular piece of art that could answer my proposed
question. I could re-create a piece from 1930’s France as taken by Doisneau,
then interlink a much more modern photograph in the style of Penfold – relaying
the idea of how the automobile has become more involved and more artistic
itself within body shapes and colors alike.
Conclusion:
At the beginning of this study, I asked the
question, ‘How has the automobile played a role in the evolution of art and
photography within society?’
Throughout this study, a number of points
have become evident to me. I feel as though I have participated in a journey
that has made me realize and understand just how the automobile has become more
and more integrated within art itself – directly and indirectly. However, has
this led to me answering my original question?
I believe that the question has been
answered successfully. Therefor, I conclude that the correlation between the
consumer growth and mass production, which is evident throughout history and
society, has correspondingly affected how the automobile has been involved with
and become more present through art in general – with the likes of advertising,
pop-art and street photography commonly including the automobile. Lastly, I
feel that my own work has progressed to an extent where it is able to
demonstrate the versatility that surrounds the automobile and its place in art
history and society.
Bibliography:
[1] Image. Alex Penfold. http://alexpenfold.tumblr.com/post/73973928945/oh-hi
[2] Image. Andy Warhol. https://www.press.bmwgroup.com/canada/photoCompilationDetail.html?title=bmw-and-paris-photo-celebrate-the-tenth-anniversary-of-their-partnership-with-andy-warhol’s-1979-bmw&docNo=T0140664EN
[3] Website. Beth Gersh-Nesic.
Aboutart.com. http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm
[4] Website. Mark
Stevens. The New York Art Magazine. http://nymag.com/nymetro/arts/art/reviews/n_9376/
[5] Image. James Rosenquist.
[6] Website. Fiona L. Visual Arts for
Students. http://www.loreto.nsw.edu.au/Curriculum/Visart/Ford.htm
[9] Website. Sarah
Bancroft. Guggenheim Bilbao. http://www.guggenheim-bilbao.es/en/exhibitions/james-rosenquist-a-retrospective/
[10] Image. Alex Penfold. http://www.flickr.com/photos/alexpenfold/11689717345/
[11] Website. Channel
4. Channel4.com. http://www.channel4.com/programmes/millionaire-boy-racers
[12] Website. Sam
Jones. The Guardian. http://www.theguardian.com/uk/2010/jul/29/harrods-owners-qatari-royals-clamped
[13] Website. Guy
Adams. The Daily Mail. http://www.dailymail.co.uk/news/article-2357052/My-cars-FUR-rari-The-annual-parade-supercars-covered-velvet-chrome-china-flown-London-mega-rich-Arabs-vulgar-ever.html
[14] Image. Alex Penfold. http://www.flickr.com/photos/alexpenfold/9660549559/
[15] Website. Alex
Penfold. Flickr. http://www.flickr.com/people/alexpenfold/
[16] Image. Alex Penfold. http://www.flickr.com/photos/alexpenfold/8994639929/
[17] Website. Classic
Color Schemes. Color-Wheel-Pro. http://www.color-wheel-pro.com/color-schemes.html
[18] Website. Thomas Mein. Flickr. http://www.flickr.com/photos/notorioustwm/
[19] Website. David Drese. Flickr. http://www.flickr.com/photos/psysex/
[20] Website. Reece
Garside. Flickr. http://www.flickr.com/photos/reecegarsidephotography/
[21] Book. Gautrand, JG. Robert. Doisneau. Taschen.
[22] Image. Robert Doisneau. http://www.veniceclayartists.com/wp-content/uploads/2013/05/Robert-Doisneau-Small-children-milk-1945.jpg
[23] Image. Robert Doisneau. Book. Gautrand, JG.
Robert. Doisneau. Taschen.
[24] Image. Robert Doisneau. http://mickhartley.typepad.com/blog/2013/09/paris-1969.html
[25] Image.
Robert Doisneau. http://liquidnight.tumblr.com/post/6203158039/robert-doisneau-speedsters-1946-from-icons
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