Critique Of Absolute Vodka AD September 27, 2010

The graphic advertisement I chose to critique is for Absolute Mandarin Vodka and was found in Cosmopolitan magazine. At first glance, this AD captured my attention because of the vibrant blue, orange and white colors the designer used. The overall mood of the AD is cool and refreshing. It is clean, sharp and bold. The AD consists of a large Absolute Mandarin Vodka bottle set in the center-left side of the page with half of an un-pealed orange upside down next to the bottle on the center-right side of the page. Underneath the bottle and orange are the words “absolute reunion” written in all capitals printed in white ink. Typography plays an important role in this AD. On one hand, there is the bold, capital, modern typeface used to write “Absolute Mandarin” on the bottle and “Absolute Reunion” at the bottom of the AD. However, on the other hand, the print on the bottle under “Absolute Mandarin” is traditional, elegant, and in scrip.  This gives the AD both a modern and traditional feel. Its saying: our product is well established and has been around for a while, yet its also a modern, hip product. The product of today!

The point of focus of this AD is on the Absolute bottle, which is illuminated by a bright white circle. The orange slice and bottle are not proportionate which of-sets the balance of the AD and emphasizes the larger bottle.  The consistency of color unifies this AD as the only colors used are blue, orange and white. In addition, the white circular area in the center of the background helps unify the AD as it illuminates the bottle and orange and creates reflections of the objects. The blue and orange hues in this AD provide a contrast between a warm and cool feeling. Perhaps this was intended to reflect the literal cool temperature of the Absolute vodka when you serve it, yet the warm feeling you get in your body after you drink it. The texture of this AD is smooth and sleek, and the lack of many geometric shapes gives the AD an overall simple, to-the-point visual effect.

This AD makes a number of statements. The fact that half an orange slice is situated next to the large Absolute bottle suggests the union of the alcohol and fruit. However the words the words “Absolute Reunion” also act as a signifier and can prompt consumers to think about other types of more personal reunions. For example, some viewers may think about the reunion of an old friend or family member who perhaps they would like to share their next drink with. Consumers are more likely to buy a product when they feel a personal connection to it, and I think that is what absolute is attempting to do with the tag line “Absolute Reunion.”  In addition, this AD almost has a nature-oriented feel to it as well.  The blue background with the white circular area in the center of the AD reminds me of a sunny day in June. The orange to the side of the bottle signifies freshly squeezed oranges in every bottle of Absolute Mandarin. Again, consumers are more likely to purchase a product they think is fresh and natural.

I do think that this is a well designed AD. It is not cluttered or overly wordy, rather it is simple, clean and to the point. Although the message is clear, I don’t necessarily think it has value. However, I do think the tag-line “Absolute Reunion” is a signifier for other types of reunions that may come to viewers’ minds, and those images/thoughts can have value for the consumers. I think the AD could have a number of effects on its audience ranging from purchasing a bottle of Absolute Mandarin to calling an old friend or family member for a long overdue reunion- perhaps over drinks?

Captain Morgan Graphic Design AD

A Glipse of East African Art September 20, 2010

BACKGROUND INFORMATION:

East Africa, including Madagascar, Tanzania, Somalia, Kenya, Ethiopia, and Sudan among others, is unique in that it is comprised of countless different people, cultures, and languages. It is recognized for its remarkable geography as it is the sight of two of “the tallest peaks in Africa,” Mount Keyna and Mount Kilimanjaro, the world’s second largest freshwater lake, Lake Victoria, and the world’s second deepest lake, Lake Tanganyika. Furthermore, despite it’s proximity to the equator, the climate of East Africa is distinct in comparison to other equatorial regions. East Africa is unusually “cool and dry for its latitude” due to the region’s “generally high altitude and the rain shadow of the westerly monsoon winds created by the Rwenzori Mountains and Ethiopian Highlands” (1).

The region’s “suitability for farming” made East Africa a location of interest to outside civilizations such as Arab, Portuguese, and other European peoples in the 12th and 13th centuries. The ancient trade between the various tribes in East Africa and the foreigners greatly influenced the region’s art.  One can see the influence of foreign religions (Christianity and Islam) within the architectural styles used to construct houses of worship during this time. Perhaps most notably is the Church of St. George built in the early 13th century in Ethiopia.

Since many early inhabitants of East Africa were nomadic, their art had to be functional, light weight and easily transportable. Thus, a great deal of East African art can be seen on clothing, pottery, baskets, and other daily items. In addition, East African art was seldom used for decorative purposes, but rather it was used for religious ceremonies, to promote cultural values, and to honor the dead.  In the last 40 years, African artists have shifted away from “traditional” African art and have begun to incorporate their personal freedom and creativity into their works.  Today, we can see the influences of African art on the Modern Art movements such as Cubism, Abstract Expressionism, and Fauvism.

EXAMPLES:

East Africa is famous for their pole sculptures, which are poles carved in the shape of a human body yet have many animal features and geometric designs on them as well. A common theme in African art in general is the interrelatedness of forms as seen in pole sculptures with the combination of the human body with animal features. This coincides with the notion that spiritual forces inhabit all of nature and  therefore everything and everyone are interconnected. Pole sculptures are typically found next to graves and are associated with the ancestral world and death.

Religious influence on East African art is highly evident in many of its most recognized pieces. One of the most prominent architectural structures of East Africa is the Church of Saint George in Lalibela, Ethiopia. The last of the eleven rock-hewn churches built in Lalibela, it is one of a few monolithic structures, a type of construction specific to the city. A symbol of great history and sacredness, the Church of Saint George remains the most famous of the churches and is a common pilgrimage site to the members of the Ethiopian Orthodox Christian religion.

The importance of craftsmanship and function in East African art is apparent in everyday items used in their society. Since many of the early inhabitants of this region were nomadic, everything they owned (including art) needed to be easily transportable. Thus, artists began to incorporate their art into everyday items such as cooking utensils, clothing, baskets, bowls, and much more.  Art then became practical and convenient for these nomads.  Currently in East Africa, status within a group is reflected in the elaborateness of objects used on a daily basis.

A significant element of East African art is the element of functionality. Many of the ethnic groups in eastern Africa lead semi-nomadic lives. Thus, most pieces of art were created to be useful and easy to transport. For instance, this Tanzanian sculpture is also a gourd. The upper half of the sculpture, or the “torso,” is removable. When opened, a hollow space is revealed and is used to contain medicine.

Elaborate beadwork typically used to decorate an individual’s body is an integrated part of East African culture. These beads have a specific function in East African society beyond fashion purposes.  Different patterns and colors represent age, marital status, occupation and many other defining characteristics of an individual.  These beads are worn as jewelry, on clothing and sometimes in people’s hair.

EAST AFRICAN DESIGN IN MODERN SOCIETY:

We can see East African design in many modern day beaded necklaces. Although the beads on the necklaces don’t necessarily correlate to one’s age, sex, marital status, etc,  they do have a similar beaded pattern and multi-layers of beads on one necklace.

In the early 1900s, traditional African sculptures sparked the interest among European artists like Picasso. This influence lead to hybrid art forms that came to be the Cubism, Abstract Expressionism, and Fauvism movements. These new styles were comprised of the “highly stylized treatment of the human figure in African sculptures” and post-Impressionist painting styles as depicted in this example of a Picasso portrait (left). When compared to the African Mask (right), the form of the human facial structures have many common features.

Here is an example of African influence on modern design. These are images of some of today’s biggest models wearing designs of American fashion designers from the last couple of years. If the fabric isn’t straight from the region itself, the patterns are very apparently taken straight from African clothing.

Critique of “Legs” By Louis Bourgeois September 13, 2010

“Legs,” by Louise Bourgeois, is a simple contemporary art sculpture created in 1986. The 80s were a pessimistic time for many progressives in America. “Legs” was created in the aftermath of what many artists see as the decline of leftist politics after
the 60s and 70s in America. This piece consists of two long, thin, black legs mounted on a white wall.  Upon first glance, “Legs” demands viewers’ attention as it is bold and isolated. The stark contrast of the emaciated legs against the white wall is almost daunting.  Although “Legs” appears to be a simple sculpture, there is an important social message behind the work.
“Legs” is three-dimensional and symmetrical. The legs are straight and vertical which creates a feeling of length and height. The lack of non-linear shapes in Bourgeois’ work conveys a sense of rigidity and stiffness. In addition, the legs are disproportionately long and thin compared to the normal proportions of a human body. There is no single point of orientation or point of focus in this work, rather the entire sculpture demands one’s attention.
Bourgeois was a GLBT and woman’s rights activist. In this piece she critiques the standards for beauty in our society, particularly our culture’s expectation that women must be thin to be perceived as beautiful.  The unrealistically long and thin legs mock the standard for female beauty in modern society as it is impossible for women to have legs like the ones in the sculpture “Legs.”  The sculpture might as well be the unattainable proportions of a barbie doll or the airbrushed models in popular magazines. The rigidity resulting from straight lines and the lack of non-linear shapes symbolizes the lack of flexibility and variety provided by the current beauty standards. This can also be observed through Bourgeois’ contrasting of the black legs on the white wall which in the typical post modern fashion evokes a critique of dichotomized gender and sexual roles such as male/female or gay/straight. If anything this sculpture mocks the typical Western conception of beauty as a whole.
It is very easy for me to relate to Bourgeois’ sculpture and message since after all I am a young female living in 21st century America. It is impossible to ignore the fact that the media has created an unattainable standard for beauty that does not reflect the average female in U.S societies. The average woman comes in all shapes and sizes, most however do not meet the media’s criteria of tall and thin, thin, thin. Bourgeois touches on this idea of unattainability by exaggerating the length and thinness of the legs in her sculpture.
Although I appreciate the message behind Bourgeois’ work, I don’t particularly like the sculpture itself.  I find “Legs” to be very bland and boring. The lack of any non-linear shapes and lack of color makes the sculpture seem depressing to me. Although this was likely intentional on Bourgeois’ part as it fits with the overall message she is trying to convey, it still makes the sculpture boring in my opinion.
However, on the other hand, I do think the message behind Bourgeois’ sculpture certainly has value for others, specifically women.  She is making an important statement about the unrealistic standards women are held to in our society today.  Many women suffer from self-esteem issues and body-related disorders because they believe the only way they’ll be beautiful is if they look like the women they see on TV, in the movies and in magazine.  This is a serious issue facing young women in Euro-America nowadays and the only way something will be done about it is if more people speak up about it, as Bourgeois did.

Clyfford Still. “1962-D”

This painting is divided into five sections of colored areas that do not form any concrete images. The point of orientation is the small red blurb in the center of the piece. It’s red hue is emphasized by the white and black blandness on either side.

Stuart Davis. “Rapt at Rappaport’s”

This artist uses bold colors which compliment each other asymmetrically. In addition to words, the artist uses a number of cultural symbols which convey their own meaning in context such as an “&” symbol and a cross. The artist’s use of lines helps guide the viewer’s eyes through the painting.

Willem de Koonung. “Woman”

This piece is very abstract. The artist has distorted a woman in a yellow dress. In a typical portrait the point of orientation is usually the face, by breaking up the woman’s face in this portrait the artist makes the viewer work harder to find the point of orientation. My eyes are drawn to the strong red color of the woman’s lips.

Oscar Bluemner. “Morning Light”

This composition is made up of primarily square and circles. The shapes are positioned and colored in such a way that they form a landscape. This technique starts with the grid outline that can still be discerned by the viewer. In order to add more detail to the landscape the contrasting of light and dark colors on the left side of objects such as the trees and the houses show that the sun is coming from the left side of the painting. In this way two simple shapes are transformed into a detailed landscape.

Louise Nevelson. “Black Wall”

This artist uses only one color, a metallic grey, which gives the piece an industrial feel. Therefore, the contrast in the piece must is accomplished by juxtaposing various shapes. The straight lines from the boxes create a grid that break the sculpture up into smaller individual sections.

Louis Bourgeois. “Legs”

This piece is symmetrical and has a stark contrast between the black legs and the white wall. The linear (legs) are straight and vertical which creates a feeling of length and height. The lack of non-linear shapes conveys a sense of rigidity. Also, the legs are disproportionately long and thin.