• Fight the Nothingness by David Shrigley (2012)
• Why have I chosen this image? Shrigley's illustration is one of the works Zeegen is dissatisfied with in his quote, stating that it 'says nothing - a call-to-arms or bland sloganeering, a statement of intent or another vacuous dictum?'. This is a good starting point for my image analysis task and allows me to draw from Zeegen's downcast text directly; debating as to whether he is correct is his comments.
• Descriptive analysis: It is very limited in its colour palette with only 2 colours (a salmon pink shade and a forest green shade) plus basic stock. The text is emblazoned across the top centre, underlined for possible spotlighting and attention-grabbing purposes. With mostly a central composition, the clenched fist is placed ever so slightly more towards the left-side of the canvas. The message is one of rebellion, uprising, revolt and revolution; though in a very subtle manner. Created using gouache, the main motif and icon is the clenched fist of the 'people'.• Contextual analysis: Painted and displayed in 2012, the illustration is rather recent from a political standpoint - which is my overarching theme for my context of practice work. It was displayed on a large scale at the side of the Hayward Gallery in London alongside Shrigley's Brain Activity exhibition inside the gallery space. The target audience would primarily be gallery-goers and art enthusiasts, fans of his work and the London public walking past. I imagine Shrigley had intentions of the message travelling farther afield with news sites and social media. It considers and aims to critique race, class, culture, society and gender. I have contacted David Shrigley for more clear answers on his intentions with this piece as the outcome is so vague - and I hope to be able to provide a more detailed contextual and theoretical response soon.
• Theoretical analysis: I believe Shrigley's piece has both Modern and Postmodern qualities. It is Modernist through the use of departure from classical and traditional forms; preferring to be simplistic, streamlined and free of ornamentation. The image has themes of progress, collaboration, utopia which were ideals intrinsic to the Modernist movement. Vague Postmodern undertones are prevalent through Shrigley's sense of dark humour, scepticism, cynicism of our society, subverts older concepts and themes and uses his own unique, childlike drawings and paintings to communicate complicated notions.
• Donald Trump Balloon by Stanley Chow (New York Times, 2015)
• Why have I chosen this image? Even though Chow's illustration was created a few years after Lawrence Zeegen's "Where is the content? Where is the comment?" opinion piece. I feel it fills the void that's been present in recent political illustration. The interdisciplinary nature of this piece also sets it apart from other politically-based illustrations and provides a sense of departure from what we usually see in politics pieces - cartoons, comics, caricatures, etc.
• Descriptive analysis: This is a multimedia and project creates using different media - vector shapes in Illustrator printed onto a balloon and photographed for the front cover of the New York Times. A simplistic colour palette has been used incorporating black, white, red, orange and glossy blonde - alluding to Trump's false exterior? Wealth, self-importance and self-obsession? Compositionally, the balloon is floating towards the right of the canvas - more than likely suggesting the right-leaning Republican political party that Trump was spearheading at the time (now, unfortunately, President-elect). The metaphor of using a balloon represents Trump's ego - largely inflated and full of hot air. He is flighty, volatile, unsophisticated, a tycoon who feels he is untouchable, floating above the rest of us. If a sharp object (threat) came into contact with him, would he pop? Subjects and themes include people and politics within a magazine cover context with the certainty of having a supporting article or opinion piece to go along with it.
• Contextual analysis: A New York publication with primarily an American audience but has global appeal with the illustration created by an English (Mancunian) illustrator. Trump himself is a white male who is very privileged as a billionaire born into wealth and influence. His views of race, gender, class and ability are highly archaic and controversial; with outdated views of culture and society. "Make America Great Again!" indeed!
• Theoretical analysis: The final work is Modernist in aesthetic in that the outcome is very functional, minimalist and deprived on unnecessary decoration. It can also be considered as Postmodern as anything goes, an illustration can be applied to a balloon, there is subtle humour, a bricolage of artistic media with hints of pastiche and parody. In regards to Zeegen's quote, it provides both comment and content, form and function, materials and message, design doing and design thinking. The illustration involves itself within the big debates of our society.
• Britain's Media are Ignoring Issues by Sébastien Thibault (The Guardian, 2015)
• Why have I chosen this image? I believe this illustration has both form and function, is both aesthetically pleasing but also has a clever, thought-provoking message. It is a contemporary illustration, involving an overarching theme of politics, which I can use as a counter-argument to Zeegen's quote. While this image in particular was created 3 years after Zeegen's comment, Sébastien Thibault's work was very much in demand near to the same time (as seen in this "You can see why Québec-based illustrator Sébastien Thibault is so in demand" article by It's Nice That (http://www.itsnicethat.com/articles/sebastien-thibault)
• Descriptive analysis: Thibault focuses his illustrations on conceptual and symbolic colours and shapes with a print-based aesthetic. Using a limited colour palette of red, blue, black, white and red he is able to clearly define the British flag, presented as a metaphorical rug, an authoritative figure with a brush and speech bubbles. The message is very clear - Issues during the 2015 General Election were being swept under the rug but powerful figures such as the media and the Government.
• Contextual analysis: In context, this illustration was created for an opinion piece on The Guardian website by George Monbiot called "There are issues that really matter at this election. But Britain's media are ignoring them" (https://www.theguardian.com/commentisfree/2015/may/05/election-issues-media-ignoring-nation-arrested-development). Gossip and speculation seemed to be more important than genuine matters regarding the UK election. Facts we should know about, such as the country's poo paying more tax than the rich elite, was not being commented on at the time and swept aside. We have a broken system that no one is willing to try and fix. Genuine matters such as mental health, climate change and soil loss are silenced and traded for tittle-tattle and parties being at each other's throats. Do the opinions of the public really matter as we are not the rich elite? Or can our voices unify and outnumber those in power?
• Voting by Pawel Kuczynski (2013)
• Why have I chosen this image? I have enjoyed Kucsynski's satirical work for some time and feel his Voting illustration is one of my favourites and one of his most powerful. Using a very simple concept, of politician as farmer, he successfully shows how the general public are seen as nothing more than a herd of sheep - with a master who has a great need to steer 'us' towards their side. We need to be governed and kept under control or all hell would break loose.
• Descriptive analysis: Using a muted colour palette, the eye is drawn primarily to the coloured box as well as the herd of sheep being led towards it. The illustration is hand-drawn with shadow and texture coming through and it generally has a cold feeling about it. Nothing is inviting or warm and it is made up of mostly blank space - a sense of emptiness? Devoid of feeling and compassion from the political system?
• Contextual analysis: Aimed towards the working classes who make up the majority of a nation. We are one - all identical with no regard for race, gender, age or ability. We aren't a race of individuals but a body of sameness where only our vote is required and not our thoughts or opinions. There isn't much information that I could track down about the illustration, as Kuczynski's website is limited in content and doesn't detail the thought process or context behind his work. From what I can gather, he creates work on a freelance basis, in a satirical context, without the work necessarily going to print as editorials. His work is open to interpretation but he states he is anti-war.
• Descriptive analysis: Using a muted colour palette, the eye is drawn primarily to the coloured box as well as the herd of sheep being led towards it. The illustration is hand-drawn with shadow and texture coming through and it generally has a cold feeling about it. Nothing is inviting or warm and it is made up of mostly blank space - a sense of emptiness? Devoid of feeling and compassion from the political system?
• Contextual analysis: Aimed towards the working classes who make up the majority of a nation. We are one - all identical with no regard for race, gender, age or ability. We aren't a race of individuals but a body of sameness where only our vote is required and not our thoughts or opinions. There isn't much information that I could track down about the illustration, as Kuczynski's website is limited in content and doesn't detail the thought process or context behind his work. From what I can gather, he creates work on a freelance basis, in a satirical context, without the work necessarily going to print as editorials. His work is open to interpretation but he states he is anti-war.
• Theoretical analysis: Postmodern tones with satire and humour as the main focus; parodying a voting card and marrying different concepts in an illustrative way. The grass is greener if you vote for this politician. Political ideology. Manipulation. Mass behaviour. We are bound, sub-servant and must break free. "Foucalt's insights on how learning and information are the best forms of power in governing masses, are pretty insightful in understanding how morality and indignation can easily be used to direct and influence the masses." (Life on Mercury, 2015. https://lifeonmercury.org/category/politics/)
• Guns Cause All of This Trouble! by Rob Smith, Jr. (2012)
• Why have I chosen this image? Created during the same year of Zeegen's article, this illustration by Rob Smith, Jr. comments on how American society can be shocked at mass shootings while their children are playing video games involving the very same thing - only virtually. Video games today are being used to train soldiers, in fact. What does this tell us?• Descriptive analysis: With a cartoon / comic aesthetic, this illustration comments on gun control, mass shootings in schools and violent video games aimed at children - and how all are linked together in an ironic way. The main subjects at play are people and technology.
• Contextual analysis: Created in 2012, at the same time as Zeegen's comment of illustration being void of any meaning, I feel this is a prime example of good political illustration with content and comment. Though focusing on American politics, Smith Jr. is making a link between video games, mass shootings and the lack of gun control - something many people don't seem to want to face and associate. How can change be made when politicians and celebrities have a colourful gun collection and post selfies of themselves hunting for sport? How can you purchase a violent video game for your child and not see how bloodthirsty they are towards pixelated populations? Is the development of technology detrimental to us as a human race? Have we come too far that we are now reverting back to our archaic, animalistic ways? However, it isn't just video games. TV shows, movies, music videos and toys all portray guns in a 'cool' light, often used as a powerful phallic metaphor in old Spaghetti Westerns.
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