Image Analysis 6: Image of a Celebrity

This is a photo of the American singer Katy Perry during a 2009 performance on The Today Show. Katy Perry is known for her theatrical style of dressing, often wearing clothes that channel the themes of her up-beat pop songs. This red sequined fuzzy dice dress was worn in coordination with the performance of her song “Waking up in Vegas”. Her band was also dressed up in dollar bill suits. The spectacle of her physical appearance and clothing choices create a strong rhetorical relationship between text, writer and audience, which seeks to promote her celebrity status, sexuality and music. As the writer of this particular “Vegas” themed text, Katy Perry chose to associate herself and her band with her music in an overt way – by dressing up in stereotypical symbols of Las Vegas. Her costume makes a direct connection with the well-known glitzy and gambling image of Las Vegas through the bold colours, fabric, cut and adornment of the physical object of fuzzy dice. Her hair and makeup choices also reflect this air of Las Vegas performance. The message is communicated to her teen and young adult audience in an obvious and cheeky way.

Pop stars are visual spectacles to be gazed upon and Katy Perry certainly gives her audience something to look at. The argument is one which aims to promote her identity as intimately tied to her profession. This identity presents a fun, youthful, light-hearted and over-the-top package of escapism from the real world. Her theatricality is accepted because her position as a performance artist in the world of heavily produced popular music holds cultural resonance. Her exaggerated image and music are finely crafted to appeal to young people. Using ethos through the appeal to her celebrity status and sexual attractiveness, Katy Perry often and very successfully uses her clothing as performance rhetoric to promote her music career.

Grossman, Ashley. “Katy Perry Rolls In Dice.” Weblog posting. GlamChic. 27 Jul. 2009. 23 Nov. 2010                   
                <http://blogs.glam.com/glamchic/files/2009/07/katy.jpg>.

Image Analysis 5: Fashion Photography

       Here’s an image from a 2009 V Magazine fashion editorial entitled “Live From New York”. It was shot by photographer Mario Sorrenti, and the spread features two female models wearing a variety of structural garments whilst gallivanting around in New York City. I chose this theatrical photograph because there are a number of strong rhetorical features. The whole spread is shot in black-and-white, which does a number of things to set the strong, iconic tone. The black-and-white enhances the contrast between the many different shapes and lines within the scene. It also asserts a level of seriousness and uniformity which makes the models stand out from the busyness of the Times Square background. As an audience we often associate the iconic area with clashing colours, lights and signs. The iconic energy of the city is still captured, but the use of black and white subdues this backdrop and brings the attention to the models. 
       Another strong rhetorical choice made has to do with the camera angle. The photographer chose to shoot the models and the city from below looking up, which enhances the vertical orientation of the photograph, and the New York symbolism. Shooting the models from below works to heighten their place of importance or dominance over the viewer, in turn strengthening the overall argument of the photograph. It communicates the idea that fashion photography should be regarded as serious art. The height difference between the pair of models over the two “everyday people” also suggests that models and the fashion world are above the general population, and the crowds of tourists that flock to Times Square. This stance also legitimizes the character of V Magazine, which is known for its style of edgy fashion-forward photography. This impact also raises the status of the designer clothing, the models and the photographer. 
        This editorial takes on a big and bold statement by associating itself with New York City – arguably one of the strongest symbols of both fashion and American culture. This use of the city instantly allows the photograph to connect with viewers through pathos on a cultural level. It’s selling the popular ideal of New York urban sophistication – offering the viewer, along with the bystanders in the image, a glimpse into the trendy New York fashion scene of young beautiful models. The models’ questioning facial expressions invite the viewer to size them up as in-the-know members of fashion’s elite, while at the same time making the audience take in the brash consumerism of Times Square and the heavy set, high-rise buildings. The models seem to know their place in the fashion world and in New York as spectacle, while our presence is more in question. I find it's an interesting spread in terms of visual aesthetic with its play on textures and lines to say the least. 

Sorrenti, Mario. Live From New York. 2009. V Magazine.

Image Analysis 4: Personal Photograph

I took this photograph in the summer at Trinity Bellwoods Park in the Queen St. West area of Toronto. The park is a sprawling green space in the heart of downtown, full of trees, fields, bike paths, benches, and all sorts of interesting people. It's safe to say that this park is one of my all time favourite places in the city. For the past two summers I have worked at an arts camp called “Art in the Park” situated in Trinity Bellwoods. The park has such an incredible and unique bohemian character. There are always different groups of people enjoying the park. I've seen older women practicing Tai Chi in the early mornings, artists painting, drum circles, groups of moms jogging with their strollers, families enjoying picnics, dog walkers congregating at the dog pit, and once I even saw a pack of people dressed as mimes meeting there! The park is also known for being home to the elusive white squirrel – literally there are two squirrels as white as snow that live in the park! They are quite the sight to see for the first time, and it’s a fairly rare occasion to spot them, so perhaps they’re good luck. A coffee shop across the street, “The White Squirrel” was aptly named in their honor, and serves up a pretty great cup of coffee.

In consideration of the rhetorical situation I am the writer. I took this photograph one sunny afternoon, after I had left camp for the day. Some friends and I sat in the park relaxing and I borrowed my friend’s digital camera to snap a few pictures. I wanted to capture the essence of the park and character of Queen West. I especially liked the look of the clouds that day. The text relies on an entirely visual argument. This picture features the path that leads to the front gates of the park, as well as a red TTC streetcar driving by. One’s eye is led from the path towards the centre of the photograph and then up to the blue sky. The trees work to frame the main scene of the street. This image connotes the idea of urban life in Toronto. The tone is pleasant and relaxed. The audience could be anyone interested in urban photography and those familiar with the park or symbol of the TTC would have an even deeper connection, recognizing the location. It’s an intimate view of Queen St. West through the eyes of the park. The photograph was taken at eye level, which places the audience as holder of the gaze. There is repetition of shape and colour as the leaves on the right side mimic the clouds, and the yellow flowers pick up the yellow streetlights. The photograph offers the dualistic theme of nature and city, and how these forces meet and interact on a sunny afternoon.  

Image Analysis 3: Artwork - Sculpture

A Man-Made Man’s Best Friend 

      Robert Bradford is the artist behind this colourful life-size dog sculpture entitled "Foo Foo". His mixed-media pieces use found objects such as toys, buttons and clothes pegs. His unique approach to sculpture raises the value of everyday objects to that of artistic merit. Gazing at this sculpture I can find many recognizable toy items such as a tamagotchi, puzzle pieces, a walkie-talkie, and action figures. Bradford’s work reminds me of a series of children’s books called “Eye Spy”, which challenge the reader to find everyday items such as toys in different photographs. Like the books, his sculpture challenges the viewer to spend time gazing at the materials used. This example of visual rhetoric relies on visual aesthetic design choices as opposed to verbal components. It uses pathos to form an emotional connection with the audience that relies on themes of childhood nostalgia, appreciation of mixed-media art, recycling and of course the love of dogs. I believe this sculpture sends the message that all objects have the potential to be art as an expression of innovative creativity. Each item was hand picked and probably holds a certain memory or meaning for the creator. His choice of youthful, colourful objects instills a tone of quirky energy and fun into the piece. It expresses the actual life-size silhouette and dimensions of a dog’s body, yet is textured by the artificial surface of plastic. It sends the message that the creator is open-minded in his approach to what defines the art of sculpture. The dog sculpture could even be considered as encompassing the very essence of popular culture because it’s basic composition relies on numerous consumer items. For this implicit use of pop culture items, its cultural resonance is strong with North-American society. It appeals to dog, toy, and art lovers alike. It also has a strong connection to childhood, and the pleasure of play. The art is contemporary, imaginative, unconventional and is a strong example of eye-catching visual rhetoric, based on the artist’s pairing of the opposing forces of manufactured everyday objects, with the traditional art form of sculpture. I enjoyed the poodle "Foo Foo" piece so much that I also included another work of Bradford’s, the terrier dog sculpture "Terieristes". Enjoy gazing into the depths of these pieces . . . you might even spy an object that connects you to your childhood in some way. 

Bradford, Robert. Foo Foo. 2009. Ripleys Museum U.S.A. 27 Oct. 2010 <http://www.robertbradford.co.uk/>.

Image Analysis 2: News Photograph

      This photograph was published on the website of the Canadian newspaper, The Globe and Mail on October 19^th, 2010. The image shows French riot police detaining a young man in Lyon, France. Youth in France have been violently protesting, setting fires in multiple cities against a proposed bill, which would raise in the retirement age to 62.

      This image is a powerful example of visual rhetoric. The photographer, Laurent Cipriani of the Associated Press, chose to use the two police in the foreground as a framing device to showcase the main action of the photograph, the arrest of the youth. All the faces of the police look away from the young man in contrast to his intense expression. The scene is one of chaos and anarchy: smoke billows along the city street, there is rubble on the ground and a foggy gathering of riot police is visible in the right back corner of the photograph. This image relies on the persuasive power of the visual composition and arrangement. It speaks to an audience (who is interested in international news) through the argument that the authoritative state institution of the French law enforcement holds the power. The visual elements of the navy and black police uniforms, police batons and helmets signal control, and contrast the red shirt of the citizen and the dullness of the concrete and street. The main colours blue, white and red symbolize the national colours of France. The two foreground police act as blockades between chaos and order. The subject and tone of the image are very serious and may aim to present an objective journalistic point of view that the Associated Press is known for, but the overpowering arrangement and imagery of the photo expose the strategic use of visual rhetoric. No journalistic image through the lens of a camera can be considered neutral. The image works to assert and reinforce the idea that France has social control over its rebellious youth. Although there is live action, implied by unsettled smoke, the visual construction of the image draws attention to the visual decisions made by the photographer.

Cipriani, Laurent. France Retirement Strikes. 2010. Associated Press. New York.

Image Analysis 1: Fashion Advertisement

      This is a fashion advertisement from Saks Fifth Avenue’s 2006 “Want It!” campaign. The eye-catching image, which I found online at some point, came to mind when I was looking for examples of strong visual rhetoric. This image speaks directly to our consumerist culture and instantly conjures up associations to images of propaganda. It is especially reminiscent of images from the Russian Revolution. At first glance the graphics are what is noticed, the strong sans-serif typeface, the bold pairing of white, red, and black, the thick diagonal lines and the stance of the model makes this an image that demands attention and stands out from other types of fashion ads. This image uses the visual and verbal rhetoric techniques of propaganda and applies it to marketing strategy. The assertive, commanding tone of the “arm yourself” text and graphics make a direct attempt to connect to the viewer on an individual level. This ad asserts the message that buying goods is a form of female empowerment. The hard-faced expression, black and white photography and revolutionary stance of the model enforce the visual boldness of the graphics enhancing the overall feeling of authority and influence.  The message, which was part of a series in the ad campaign essentially places its all of its message’s reception on the striking visuals. The actual product, the “slouchy bag” becomes secondary. I find the message also addressing materialism and mocking mindless female consumers while bringing to light the outrageous amount of control and influence the advertising industry has in society. Making a direct link between the manipulative goals of propaganda and advertising is probably not the most effective strategy to sell high-end fashion items in times of a recession, but the ad certainly takes verbal and visual risks to get noticed.

Saks Fifth Avenue. Advertisement. DMD Insight (Feb. 2006). 12 Oct.

2010 <http://www.dmdinsight.com/blogs/post/160-saks-fifth-avenue-wants-you->.

I Live in Pictures

      For as long as I can remember I've been strongly drawn to visual images. Pictures, photographs, illustrations, artworks, street signs, graffiti, doodles, drawings, labels, patterns, reflections - all kinds of images catch my eye and resonate in my mind on a daily basis. Along with my initial attraction to images as viewer, which is based on their visual and aesthetic appeal, I question the meanings and forms of persuasive communication these images engage in - their visual rhetoric. The goal of this blog is to not only present a collection of inspiring images that energize my life, but to question their existence. Questioning the "living" aspect of these pictures means analyzing the deeper meanings and communication strategies beyond their surface appeal. All images, although stationary are in a sense alive and beaming with messages. Messages that tell us about the creator, the audience and the text. We live in a sea of images that impact us whether we may realize it or not. Developing a sense of visual literacy proves useful in our image-saturated world, yet I also believe it is just as important to appreciate images for their simpler and perhaps more raw purpose; to connect to the realm of creativity that lives in us all. I hope this collection of images which inspire my own life and artistic pursuits may also inspire you creatively, as well as your thinking about their deeper meanings.

      This image, found online intrigued my visual senses. It spoke to my strong personal interest in collage and mixed-media art. I love the patchwork effect that one can achieve with collage, the combination of overlapping images creates an entirely new form of work. Within this image it appears there is photographic and magazine cut-out materials used. Each layer brings a different story to the image. Where did these images come from and why did the artist choose to assemble them this way? Collage art often raises these open-ended questions and leaves the viewer wondering... 

Tvillum, Patrick. "Trash Talking From the Upper Class." Collage. Visualizeus. Web. 29 September 2010.