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Part 2 – Processes of Art: Students will revise their Part 1 assignment accordin
Part 2 – Processes of Art: Students will revise their Part 1 assignment according to feedback received and add onto their initial writing by analyzing the material processes through which their chosen artwork was made. 500-600 words
Part 2: Processes of Art
In Martine Gutierrez’s Demons, Xochipilli ‘The Flower Prince,’ p91 from Indigenous Woman (2018), we can clearly see these elements of art; line, color, and texture, and these principles of design; pattern, rhythm, and emphasis. Lines are very prominent structuring features of the composition: from the lines on the figure’s clothing, to the baby hairs slicked down on their forehead, to their braided hair that forms a sort of headdress. The lines on the clothing also communicate texture to us, and the texture of the flowers is mirrored in the border of the frame of the print. The flowers form a pattern, which is intensified by the repeated use of the colors pink, blue, yellow, a sort of offshoot of a primary color scheme. This also gives the overall composition a sense of rhythm and consistency, even when there are so many varied elements.
The line that goes from the left shoulder and follows that arm to where it meets the other arm and up to the figure’s face not only directs our gaze but also emphasizes the face of the figure. The pink makeup echoes the background and also contrasts the black of the hair, clothing, and black eye makeup. This gives us a sense of rhythm, but also again emphasis, as pink is the predominant color in the composition, and it directs our eyes to the eyes of the figure, where we meet their gaze. Bold colors and differing textures such as the clothing, jewelry, flowers, and even the frame of the piece contrast with the flatness usually associated with a photographic print. These elements of art and principles of design work in concert to give us a sense of the cultural identity of the figure, which is as vibrant as the gaze is demure.
This artwork is first, and foremost, a photograph, but we could also consider it to be a mixed-media piece, in that the frame is a crucial part of the composition (we might assume that Gutierrez chose to paint the frame so that it feels like part of the artwork, as opposed to a perfunctory display method), and not part of the original photograph. A cursory google search shows that a “photograph” can be defined as “a picture made using a camera, in which an image is focused onto film or other light-sensitive material and then made visible and permanent by chemical treatment, or stored digitally.” This particular photograph is made through analog processes rather than digital. Gutierrez shot this on celluloid film, which produced a color negative, and was then converted to a positive image through chromogenic printing (c-print) processes:
The colour negative or slide is exposed to Chromogenic photographic paper (wet process paper) that contains three emulsion layers, each of which is sensitised to a different primary colour. After the image has been exposed it is submerged in a chemical bath, where each layer reacts to the chemicals to create a full-colour image.
As the frame is a crucial component of the composition, it raises the question: why did Gutierrez choose to make this artwork through photography? A clue to this would be returning to the composition itself. In looking at the posing of the figure, played by Gutierrez, we can see that it is reminiscent of fashion photography, a particular subgenre of photography. The way the figure is posed, as well as the direct eye contact with the viewer, while withholding obvious emotional cues, is referential to editorial fashion photography. This is important, because, historically, we have not often seen people of color, particularly indigenous people, adorned in traditional clothing, and featured in high fashion magazines – at least not in ways that aren’t predatory or culturally appropriative. Therefore, this photographic work celebrates indigenous beauty while also subverting expectations of form.
References
Tate. “C-Print.” Tate. Accessed February 14, 2023. https://www.tate.org.uk/art/art-terms/c/c-print.
Martine Gutierrez, Demons, Xochipilli ‘The Flower Prince,’ p91 from Indigenous Woman, 2018, C-print mounted on Sintra, with hand-painted frame.
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