A video run-through of the book -
Copy of the book -
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 21stCentury, 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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