Lecture 2: A 20,000 Year Non-Linear History of the Image

Figure 1

Figure 2

‘A 20,000 Year Non-Linear History of the Image’ was a initiatory lecture on the history of the image. The cave paintings in Lascaux Caves, France were the first recorded medium of ‘visual communication’ (figure1) , but even more contemporary artists now such as Cy Twombly displays the use of pure mark making (figure 2). I thought it was  interesting that the markings in the caves could have been an attempt to communicate with power, relating to todays work in the sense that an artist produces visual messages and expressions, with the aim that a large amount of people will take notice. The power of communication is something to bare in mind when designing as the artist needs to ensure that the correct message is being conveyed to the audience and that it is being delivered in an appropriate context.

Figure 3

The power of influence was something discussed as a theory suggests that art galleries tell us how we should feel about a piece of work. The quiet and appreciative behaviour in which we are supposed to adopt when in a gallery, instantly lead us to believe that work being displayed is of great importance and that we should show some elements of worship towards it. Artists such as Rothko are particularly talented at  communicating emotions and evoking physical feelings by only using one or two colours. The rooms (figure 3) displaying his pieces of work have to be isolated away from other paintings as the walls are the only ones in the gallery that are a slight grey, the temperature is slightly cooler, the lights are dimmer and the paint does not allow for a reflection to be seen at all. The stories that surround these paintings and the story of Rothko’s suicide may be the reason that many of the viewers do leave in tears. The viewers may subconsciously think they must feel these particular emotions.

Figure 4

The idea of art galleries telling us to see certain pieces of art to be a higher level of importance compared to others is very clearly demonstrated in The Louvre, Paris.  At the entrance, immediately there are signs directing people to the room that the Mona Lisa is in. We were asked to question if we think the viewers thought it was important because of the skill of the artist, or because they were told that they should see it as an important painting. Personally I think it is them being told - the painting is protected by bulletproof glass and advertised as the most important painting in the gallery, so the visitors will automatically feel obliged to appreciate this painting over the others in the gallery. 

Figure 4 clearly illustrates the scale of the crowds that gather around the painting to take photos and post all over social media. A variety of theorists have stated that an experience hasn't been experienced until it has been documented on social media.