SOVA 2009 Example Answers

NOTE: These are not the definitive answers.  And you may have different.  But they can serve as a good example.

1.       Over Mother's Head by Ng Eng Teng, 1990 [Fig 1]  Bronze Casting Singapore Art Museum

Figure 1

Figure 1 (back view)

(a)   Describe the subject matter of this work                                                                     

Over Mother’s Head by Ng Eng Teng is a bronze sculpture depicting a mother seated in a cross legged position holding a baby over her head.  She had no defining characteristics such as hair to identify her as a specific person, so it can be assumed she is meant to be a representation of a mother in general.  She is holding her face with her left hand, however its more in an exclamation of wonder or happiness than a heavy thinking pose.  Her right hand is held just above her head with her palm flat facing up.  On her palm her baby balances precariously with his legs and arms pointing upwards in a pose of being thrown in the air or squirming.  It can also be associated with poses of happiness or triumph. The pose suggests a contented or happy mother playing with her child. The baby is a boy which may also suggest an idea of superiority or accomplishment as in Asia a boy child is more desired than a girl child.  If a woman produces a boy then she has succeeded for the family.  A very interesting dynamic of this sculpture is when it is turned around the mother’s back side takes on a very definite representation of a phallic shape.  This reminds the viewer that the mother alone is not responsible for the creation of the baby.  The phallic shape also takes the place of the mother back, therefore suggesting that the man, the father is the real support of the family, perhaps not always visible but always behind the mother providing support.

(b)   Comment on the treatment of the human form by Ng Eng Teng.                               

The style of the sculpture is rather stylized in that the mother’s legs are very large and bulbous and her body is straight and conical.  The sculpture was created with bronze.  Instead of creating a smooth patina, the sculptor chose to create a rough textured surface out of the bronze suggesting there was some banging and moulding of the bronze into place. It also gives a more touchable appeal to the sculpture creating a more life-life appearance. The mother is seated cross legs with her right leg wrapped under her left.  The legs are so rounded and full, there is no detail  for the knees and /or muscle tone.  There is a line on the top of the left leg that suggests clothing but also suggests an organic-ness, as if the legs are bananas being peeled. There is no depiction of traditional women’s characteristics on her body such as breasts.  Her facial features are rendered very simply with a large pointed nose on a very circular round head.  Her hands are quite large and are supported by large forearms which suggest a more practical hardworking life than one lived in luxury.  Although the body language suggests that the mother and baby are engaged in an enjoyable activity, the mother’s face looks downcast, almost worried.  The back side of the woman is also bulbous, but as in the front where clothing was suggested, there is no clothing.  The rounded cheeks of the mother’s backside are very obvious.  However the mother’s back also is a very clear representation of a phallic symbol.  From the front of the sculpture it looks like the mother has a strange point emerging from the back of her head, but when one turns it around, one realizes it is the tip of an uncircumcised phallic entity pointing up to reach for the mother’s hand.

(c)   What is the significance of this object in the wider context of culture and society?   

This object discusses the importance of the mother and child.  The theme of mother and child has been a major theme in art.   However usually the mother and child are portrayed with the child supported by the mother, resting in her arms.  This is a strong Christian theme with artists such a Da Vinci portraying this scene for display in home and churches throughout Europe.  That this sculpture choses to portray a mother holding her child over her head shows a change in society’s ideas of motherhood.  Instead of a baby being someone that needs to be sheltered and supported within the bosom of the mother, it is now seen in some cultures as a trophy to prove one’s fertility and one’s worth.  The phallic symbol at the back of the culture pulls the idea of mother and child back to reality.  The much used theme Madonna and child seem to revere the idea of immaculate conception, but this sculpture shows that today’s society is more open to the realization of regular conception.  Today’s society accepts that both man and woman are needed to create a baby.  However, that the full figure of the mother is portrayed and only the phallic symbol of the man tells a somewhat disturbing vision that society may be developing, that the man is only as good as his prowess and his identity is irrelevant.  This could be in support of the popular conception that man do not view themselves as relevant nor necessary to be present during the upbringing of the children and tend to exit themselves at an early stage moving onto another sexual but not emotional relationship, thus becoming a nameless donor of life.

2.       Let’s Go to a Paradise of Glorious Tulips by Yayoi Kusama 2009 [Fig 2] Mixed Media (Steel, Fibre, Reinforced Polymer, Urethane Paint, Plants) Orchard Central Roof



Figure 2



Figure 2  (alternate view)

(a)   Describe the appearance of this work                        

                                               

Let’s Go to a Paradise of Glorious Tulip is a inventive imaginative installation work on the roof of Orchard Central.  The brightly coloured polka dot figures evoke an idea of childlike simplicity and playtime fun.  The installation is encased within an organic amoeba shaped border.  It consists of one girl figure standing up with arms outstretched near the middle of the installation, three medium sized dogs that seem to be barking playfully at each other closer to the perimeter of the border creating a large implied triangle and three large flower-like figures that create a line down the middle of the installation with the girl. The height of the dogs and the flowers also create a diagonal line leading up from the ground to the girl, who is the tallest, giving her emphasis.  All the figures are painted in bright pure colours of pink, sky blue and yellow reminiscent of childhood dolls.  They are also all covered in different sizes of polka dots. The bright colours, polka dots and simplified creatures makes one think of a young girl’s birthday party, rather than a serious work of art.

(b)   Discuss the treatment of form, colour and space in this work.       

                           

The forms in  this work are very childlike and simple.  The girl figure in the center, although a 3D form seems very flat .  She is standing with her legs apart  and her arms reaching out like a childhood doll.  Her hair is flat to her head with plain pony tails sticking out.  She looks like a child’s drawing come to life.  The flowers are over sized and representations of flowers as opposed to real flowers that exist in nature.  Their stems are twisted. The one flower closest in the picture has many stamens pointing out, almost reaching for the grass, or like a fly swatter for one of the dogs to devour.  The dogs are also simply designed being representations of a mutt-type.  They are portrayed as if stopped mid jump with their tails sticking up like they are wagging.  The colours are pure colour, there is no shading or toning on the figures.  The colours chosen are rather ‘girly’ colours of pink, purple, sky blue and yellow. They suggest fun, frivolity and playfulness.  There are contrasting polka dots of different colours over everything. The only object with two different colours and sizes of polka dots is the girl’s dress adding further emphasis.  

(c)   Explain how effectively the artist has used polka dots to create a unique vision?    

Polka dots are by their very nature, child like.  The very first thing a child learns to draw well is a circle.  Then with bright colours, he colours it in and soon covers the page in polka dots.  The polka dots the artist has used are all perfect geometric circles.  They are all coloured in one bright colour each, with no toning or shading creating a 2D effect.  They are all coloured in a contrasting colour with their background to give them emphasis.  They are meant to evoke a child-like style.  However, they are too perfect.  They are all created with a perfect geometric form and well placed equally apart in a consistent pattern.  This suggests uniformity and regularity, as if the figures have been tagged by a computer program.  Although it is meant to suggest child-like simplicity, it instead suggests the opposite; sophisticated industrial manipulation.  If it was really intended to create a child-like world the circles would be un-even and placed randomly with different colours.  Instead it looks like it was manufactured in a factory and placed here to remind the world of a happy childhood that no-one could possibly remember.  The dots serve then as a warning to the viewer , to emphasize the impossibility of the scene and un-real expectations of child-hood memories it is commenting on.  

Section B: Structured Comparison Questions

Answer all of the parts (a-c) of each question you choose.

3.       City Life by Gerhard Richter, 2000 [Fig 3a] Oil on Photograph

City Vista by Thomas Yeo, 1983 [Fig 3b]  Collage





Figure 3a






Figure 3b



(a)   Compare the composition and subject matter of these works.                                  

Both works are abstract and refer to a similar subject matter; the city.  However, City Life is created with oil paint over a realistic photograph and City Vista is created as a collage. 

City Life is horizontally balanced with strips of oil paint and sliced photo remnants depicting a street filled with colonial office buildings along the river.  The buildings are reflected clearly in the smooth surface of the river.  A bridge crosses the river on the right side of the work.  The artist has added paint colours in shades of green and yellow to suggest flames, suggesting that this part of the city may have been since the time the photo was taken burnt down.  The artist creates a rhythm of vertical lined texture in the background to contrast with the horizontal photo.  The background is painted in tones of red starting with white and then gradually darkening to black on the right side.

In City Vista, the artist places strips of colourful peach, yellow and white paper vertically across the canvas, reaching from the bottom and the top and being torn close to the middle.  The background which is exposed in the middle of the work is a bright sky blue.  There are also small squares of white and reddish tones that suggest a city scene.  A thin blue line crosses horizontally across the work about an inch from the bottom.

(b)   How has the artists used materials and colours in both works?                                

In City Vista, the colours are very pale and non-threatening.  The artist used strips of paper pasted vertically downwards to create an impression of large buidlings.  He then created some white and reddish tinged papers of various shapes and placed them in the middle, overlapping each other to give depth.  The majority of the paper used has a yellowish/peach tint which contrasts with the bright sky blue of the background seen through the gaps in the middle of the collage. This creates emphasis, leading the viewer’s eyes to the middle of the work.  It also gives an impression of hanging cloth and curtains, and the city vista is seen in the distance through the open window.

In City Life, the colours used are very dramatic. It seems like the artist juxtaposed two photographs together, ripping the top one into horizontal strips.  The back is unclear actually, if it is a photograph of a wood wall or an oil painting meant to resemble the same thing. The texture of the wood and the clearing at the right side tend to suggest the photograph. The artist used long smooth brushstrokes over the top photograph of a city on a river to further accentuate the river and the sky.  The artist also used an analogous colour scheme of yellow and green tones to create an impression of flames which contrasts starkly with the dark reddish tones of the wooden background.                                        

(c)   In your opinion, which of these two works is more effective?  Give reasons for your choice.                                                                                                                         

In my opinion, City Life is more effective as a work of art.  City Vista is quite non-threatening and passive, which in my opinion, equals non-interesting.  There seems to be not a lot of thought or work put into the piece.  The idea of a city vista is difficult to determine and recognize, which would make most viewers confused.  Even if one was to notice that it looks like an open window with flying curtains and the city in the distance, it is not clear enough and the colours not emotional or passionate enough to really engage the viewer.

City Vista caught my attention at once with its bright colours and bold strokes.  I was curious and wanted to decipher its meaning.  As I looked at it further I noticed it was based on a photograph of buidlings on a river.  I could not understand how the artist could get the background lines to blend seamlessly with the horizontal top strips without any appearance of stopping brushstrokes.   To this day, I am not sure if it is overlapping photos or a well painted background and that makes me curious, so City Visa still holds my attention.  Further, the added ‘flames’ add tension and excitement.

   4.      Hospital Series by Zeng Fanzhi  1994 [Fig 4a]  Oil on Canvas

Execution by Yue Minjun  1995  [Fig 4b] Oil on Canvas

Figure 4a





Figure 4b



(a)   Compare the treatment of subject matter presented in these two works.    

              

Both pictures depict Chinese figures in a very controversial situation suggesting a new brave rebellious attitude among Chinese artists.  In Hospital Series,  the focal point centers on a young man, clothed in a sort of gray uniform, seated on the edge of a brown plastic sofa.  His arms are clasped around his knee and he looks rather pensive as if he is not at all happy. He is in a waiting room, presumably a hospital as suggested by the title.  There is a man beside him on the couch, slouched over, half lying on the sofa, with his head over his arm. Red paint suggesting blood drips all over his back. There is a crowd behind the couch pushing a man in a gurney portrayed in varying degrees of detail realism till they become purely human forms of solid colour in the distance.  In the forefront of the picture there is  a roll of bandages, some blood soaked rages and a glass beaker.  On the front at the left side by the man’s foot is what appears to be a plastic bag full of blood.  The subject matter is a rather a horrific view of an overcrowded, un-sanitary hospital waiting room. This suggests a comment on declining health care and the importance or non-importance of human life and health.

In Execution, four Chinese boys have stripped off their clothes and are standing in a line, execution style.  They are standing in front of a dark red Chinese  wall, reminiscent t of those that encircle the Forbidden City in Beijing.  Four boys in white t-shirts and black pants are holding their arms out as if they are carrying rifles and aiming them at the boys in line.  The boys in line are wearing unreal exaggerated expressions of hilarity, as if they are laughing hysterically.  There is a boy at the far right of the picture facing the viewer.  He is wearing a t-shirt of a comical creature sitting by a yellow river.  He is also wearing the same absurd expression.  The intensity of the laughing expression of the boys and the horrific connotations of the scene creates a puzzlement to the viewer, suggesting the old maxim, “I don’t know whether to laugh or to cry”.

(b)   How does each artist make use of form, composition and colour?   

                   

Both artist’s focus on the human form in a semi realistic  stylized way.  Both also understand the dynamics of composition design using a sophisticated planning of line and shape to create emphasis within thei  composition.

In Hospital Series, the artist has placed the man, the focal point on the left. He is drawn in a slightly larger size than the rest of the figures and although he is wearing sunglasses and his eyes are shaded, he is looking out at the viewer.  The heads of the crowd behind him create an implied line leading  up to the figure just behind .  Then the man on the gurney creates a  diagonal line down to the edge of the page.  When combined with the line created by the slouching man on the sofa, this creates a large implied triangle  thus formally balancing the composition.  The artist has  chosen to depict most of the figures in shades of grey and red, expect directly behind the man, the artist has used green to add form to the patients shoulders.  Also the artist has used turquoise on the man’s shoulders to further add emphasis.            

Execution is also formally balanced with the implied diagonal line from the rifles to the laughing  unclothed men. And from the angle of their feet, back to the firing range.  The artist has also created an interesting emphasis on the first man in line with all the other men turning their faces in his direction.  The laughing men at the forefront, thought to the emphasis is in fact not.  His titled head creates a direct implied line straight to the first target man.  The artist makes much use of shading and shadows to add drama to this scene.  The figures are coloured in pale shades of white and skin tone with black pants.  This contrasts strongly with the bright flatness of the red imperial wall with yellow border at the back.                       

(c)   What do these works suggest about the culture that is depicted?       

                      

Hospital Series make a social commentary about the decline of health care.  The comment being made is that the ill are not looked after efficiently and the waiting rooms of hospitals are over crowded.  Hospitals are unsanitary and health-care staff are overworked and understaffed. Workers do not have enough time to dispose of their rubbish, before moving on and people are left to bleed to death in the waiting room.  This suggests the culture is unhappy with their current situation and they do not trust the government who are supposed to be looking after their welfare. It suggests discontent and distrust.  The man’s expression in the forefront, with his lips pursed  and his brows furrowed.  The fact that is his wearing his sunglasses and holding onto his knees, seems to clearly reflect the artist’s attitude of irreverence to the governing party and annoyance that things have been able to get so badly.

That boys play such a horrific game as firing line in the Execution and laugh hysterically at how seriously they do play it, forcing those due to be shot to undress is a disturbing comment on the irreverence towards the governing party and the history of the country.  Furthermore, it suggests a strong rebellious attitude on part of the artist.  Instead of upholding cultural traditions, he chooses to mimic and poke fun at the seriousness of the Chinese Imperial might, making a joke out of death and the power of the government to inflict death upon its citizens.
Both paintings show a decided change in the culture of China.  In the past, the government was greatly feared and most people would never speak out critically in any instance.  This pictures show a growing discontent and a growing freedom of expression among the Chinese culture.