Drawing offers alternative ways of knowing, understanding or engaging with the world. Drawing is a form of expression, many use it to express their views or connect with peoples attitudes and emotions towards the world we live in. Drawing in this sense can be applied in many different ways. This essay seeks to address issues surrounding what drawing can offer an artist in terms of communicating ideas by the most suitable means of the artists.
Ralph Steadman’s political drawings have been described by Encyclopaedia Britannica writer Naomi Blumberg as ‘grotesque’ while Alex Suskind of The Daily Beast journalism referred to as ‘ghoulish’. In many cases the context of Steadmans drawings were so extreme, he was fired from The Times in the 60’s due to his work being ‘too seditious’, as described in The Guardian by Alexis Petridis. Steadman experienced much disapproval for his ‘satirical’ drawing style. For instance, Sleaze Frenzy (Fig 1), which was commissioned by New Statesman magazine. The drawing demonstrates Steadmans opinions towards politics. Here only the politician bottoms are presented, Steadman felt this representation wouldn’t feed the politicians egos. Steadman explained people didn’t respond well to this imagery because the politicians ‘weren’t being portrayed’ in the usual fashion (through portraits). The brown based colour palette and aggressive splatters within the drawing all impact connotations of disgust towards the image. The materials Steadman most commonly uses for drawing is Indian inks, he then begins the drawing process spontaneously. Starting with ink splatters, for which he then pulls the rest of the drawing from. In addition to pushing the boundaries of political cartoon context, this style of automatism drawing has allowed Steadman to distinguish his visual style. It could be argued the aggressive traits within Steadmans imagery is most potent through the ink splatters. Here we see the potential the accidental could have in terms of emitting complexity and raw emotion within a drawing.
Fig 1. Ralph Steadman
As the ever-present ink splatters speak loudly in terms of defining a certain ugliness around the subject he is drawing. Steadmans social activism has been effective through it’s brutality not only in the extreme characters and contexts, but through the emotions presents in his marks, the rough nature of his drawings are more entertaining to admire, while the dangerous quality makes the viewer appreciate the work even more. Here we see how drawing can offer an artist an identity, an opportunity to connect with the world, even through extreme or unconventional means of expression.
Steadman applies his drawing as a tool for projecting his views to the public. Through his unique approach to political cartoons Steadman imposes his opinions onto his work which is evident in the harshness of strokes and blatant
mockery of politicians. Therefore when you see his work there is already a single sided view implanted in your mind of the information presented to you. The artist is being assertive, they are imposing a viewpoint to the observer. This is a case of biasness within the act of drawing, something very difficult to avoid, perhaps the minimal amount of bias within a drawing can be achieved through a simple, smooth pencil drawing. This would act as a photo would almost, in that you are presented only with the bare information of the imagery, as opposed to the drawing being accompanied by an atmospheric editorialisation.
In opposition to Steadmans comedic approach to expressing social views the contrasting imagery of Sue Coe’s illustrations shows another example of the impact drawing can provide in terms of expressing view points. Steadmans work embodies colour and mixed techniques in a cartoon based visual, Coe’s work is more dismal and horror based in it’s approach to communicating ideas, for instance, ‘You consume their terror’ (Fig 2) was one of many illustrations featured in Coe’s self authored book Cruel; Bearing Witness to Animal Exploitation. Coe’s work features concepts surrounding police brutality’s, rape and more commonly known, animal cruelty. In her later work Coe began creating reportage art, the illustrations created for Cruel were captured by sneaking into slaughter houses. Most of the visuals present within Coe’s work are very
Fig 2. Sue Coe
Fig 3. Sue Coe (Cropped)
bleak in their interpretation, suggesting disgust towards the topic. This is evident in Coe’s illustration entitled Muesling (Fig 3), with the dark and dismal colour pallet, with harsh blood red splatters. Sue Coe’s intense and radical style mainly derived from her time in New York, there Coe realised what worked in terms of her expression ‘is a very realistic depiction of that struggle.’ This is very evident in Coe’s approach to communicating topics of social injustices and animal brutalities. Coe’s approach is more literal in it’s message, such as the cover for Cruel (Fig 4), which features the uncensored slaughtering of a lamb. Both artists work expresses an aggressiveness, in the hope to provoke people to react to the image. However, as with Steadman’s efforts, Coe’s work it would seem only stirred the world of art rather than impact society, for instance when Coe’s work started to become recognised it contributed greatly to the art genre of neo-expressisonism. While Steadmans work impacted political and cartoon art, as oppose to his original intent of social change. The two artist greatly differ in their approaches to their subject matter. For instance rather than create a mockery to invoke a certain social view Coe uses raw, uncensored truth, staged in a murky and desolate environment. This could be seen as a form of bias reportage, it works in the artist favour for getting across their views in a very effective way, as these shocking images cause you to reflect greatly on the information being presented about politicians or animal cruelty.
Fig 4. Sue Coe (Cropped) Similarly to Steadmans drawing, Coe has experienced much censorship due to her works extreme context. A more extreme example of censorship within commissioned drawing can be explored through Marshall Arismans illustration for Time magazine (Fig 5), depicting the death penalty. Arisman’s illustration was finally rejected by Time magazine, on the grounds that the image was too violent to feature on the cover. The jolting inflictions suggested through the harsh brush marks and contrasting colours emphasis the violence taking place in the image. Here Arisman is honestly presenting the tough realities of the situation, the very reason for the horror present in the piece, in relation to this Arisman argued; ‘There’s nothing more violent than the death penalty’. Arisman believes people don’t mind witnessing a photograph of a disturbing scene, however,
they dislike something violent that has been purposely created as a substitute created by an illustrator. This is a topic discussed by Gary Embury in the article; The New Visual Journalism feature in Varoom lab, whereby Embury argues new reportage imagery is ‘lacking in ambition’, as much commissioned work strives to be ‘beautifully constructed’. Highlighting the issue of what censorship enforces in terms of diluting the artist original intended message or content. Seeing capital punishment is not something we choose to look at, this invokes the notion of what we see is socially acceptable. Should an artists way of expression have to comply with what is socially acceptable, some wonder why would a person choose to purposely represent subject matter of this kind? When a drawing is censored (in this case) the originally is filtered. Embury discusses how ‘aesthetically pleasing’ imagery of which is mostly featured in commissioned work is ‘lacking
Fig 5. Marshall Arisman
in any real issue-based context’. Perhaps this too is what makes daring work such as Arisman, Coe and Steadmans so compelling, as it expresses what perhaps we all feel about social issues.
Despite the fact Sue Coe and Ralph Steadmans work embodies a common cause would Coe’s provocative imagery of apartheid and corruption of worked if placed in a humorous light? A image of a slaughterhouse would of been a challenge to place in a comedy context, this may be due to the realities of these instances being too harsh to contemplate in any other representation. These two varying approaches indicate the indispensable aspects of the communication drawing can offer an artist. Drawing provides a freedom to express an idea by the most suitable means to the artist, as they are inviting the observer to sympathise with their views. With this in mind commercial agencies often find illustration extremely useful in implanting the required view of their selling piont into the observers mind. Everything down to the brush strokes and colour palettes attribute to this, but how can this compete with a photo in commercial advertising? Drawing offers more pull on emotions, due to manipulation of technique, for instance the anger charged marks present in Steadman (Fig 6) and Gerald Scarfe’s (Fig 7) work. Or the smoky and moody impact of Sue Coe’s illustrations, the way the contrasting blood red pierces the grey, dismal scene pre-
Fig 6 Ralph Steadman (Cropped)
Fig 7. Gerald Scarfe (Cropped)
sented in Coe’s slaughterhouse paintings can be quite disturbing or unsettling, particularly with the emphasis placed on the dominating, satirical characters present, which impose a extreme nightmarish scene. A photo of a slaughterhouse would do the same to capture the horror of killing an animal, however it would be an image open to ones own interpretation. However, with the capabilities of photography these days in terms of editing, stage setting and clever lighting, a similar image could be composed through a photo. Perhaps not in the case of the extreme and scary human figures you are forced to engage with in Coes’ work, but both could have equal shocking effects. David Hockney argues ‘Everybody is more interested in a drawing’, this he says is down to the ‘skill involved’, he explains that the skills in photography are ‘easily acquired’. Hockney holds the view that ‘recreating is appealing to everyone’, this is supported in an article by Sharon Tanton called The Power of Illustration, whereby Tanton explains how ‘A great illustration grabs attention and holds it for longer.’ Tanton further explains how illustration is becoming more of an attraction to companies such as ‘Facebook, Google and Linkedin’, as ‘a great visual is as important as the words for getting people to click’.
There is richer substance present in the emotional work of Steadman and Coe’s political illustrations, this demonstrates further how drawing can create an effect on our emotions that perhaps is greater than that of photography, this may be due to the lack of constraints within drawing in and endless possibilities given through the use of materials and mark making. This is the freedom drawing offers to activists such as Steadman, Scarfe, and Coe. Further more drawing can aid in creating an identity, such as brutal images that stick in the mind, resulting in the artists work perhaps being more memorable.
Jill Gibbons also uses reportage drawing as a way to expose truths about society. Gibbons imagery does not suggest a view of the matter she is drawing, there is no underlying humour or brutality, this may make Gibbons work seem more honest. Gibbons most famous work, War Mart (Fig 8, 9, 10), records how Gibbons went undercover to an arms fair, where she sketched what she witnessed taking place. These drawings have a rough, sketchy quality, probably as a result of not wanting to be spotted taking these drawings, the sketchiness might even reflect an element of nervousness due to the unsettling of weapons, or the prospect of being caught. There is a simplicity to her drawings, Gibbons drawings account for the overall look of the people there, with glimpses of the weapons. Here there is no allowance to inject any atmospheric
Fig 8. Jill Gibbon (Cropped)
Fig 9. Jill Gibbon (Cropped)
Fig 10. Jill Gibbon (Cropped)
methodologies, or emotional techniques to imply any view on the situation being captured. The simple line drawings are more concerned with capturing information, this relates back to the argument of what drawing can offer in contrast to photography, as cameras are not permitted in places such as the arms fair or war zones. Gibbons drawing is used a a tool for communicating information in a almost non-biased form. Gibbons drawing style for War Mart shares a similar trend with the work of Ronald Searcle, a satirical cartoonist of whom was imprisioned by the Japanese in World War II. Searcle created drawings to document his time spent captured (Fig 11, 12), these sketches are rough, simplistic and mostly feature human reactions to war. These drawings were complied into a book by Searcle called To the Kwai and Back; War drawings. War artist Jules George explained ‘On a trip like this it’s best to do rapid fire sketches, with movement’, in those situation of reportage drawing, George say he relies ‘on the power and energy of the initial drawing’. This is another instance where drawing poses a unique quality of being able to not only capture a situation but emotions experienced by the reporter. When these emotives are injected into the artists work the same feelings are interpreted by the viewer, as often with visual materials there is no need for explanation, as the meaning is felt. War art was originally commissioned during the 19th Century when photography was not developed enough to be used, but people wanted to know how wars were being fought. The War art of Paul Nash
Fig 11. Ronald Searcle
Fig 12. Ronald Seacle
has been described by many as having a powerful impact in the scenes created, such as We Are Making a New World (Fig 13) and The Mule Track (Fig 14). These paintings are similar in atmosphere to the work of Sue Coe, they present a dark, and unhopeful environment. Nash’s paintings poses a dark colour palette, in many cases display broken trees, and a scared landscape as the result of war. In terms of creating a sense of the impacts of war when compared to the war drawings by Kathe Kollwitz of which features mainly the outcomes war has on people, which context works better in appealing to deeper emotions?
Both Nash and Kollwitz were creating imagery to communicate the atmospheres of the wars taking place at the time. Kollwitz drawings recording the happenings in Germany during World War II were created using charcoal, etchings, inks, and woodcuts, these mono and greyish dystopian scene. The use of woodcuts in particular were to express an aggressiveness, due to the strength required in it’s method, this can be seen in The Volunteers (Fig 15), as the harsh marks contribute further to the tough realities Kollwitz was communicating. Kollwitz was also trying to bring about a social change with her work. Kollwitz drawings of the byproducts of war feature mainly the effect it has on women and children. The emotive power these images can poses suggests the potential drawing can offer by means of story telling. The human experience we
Fig 13. Paul Nash
Fig 14. Paul Nash
Fig 15. Kathe Kollwitz (Cropped)
Fig 16. Kathe Kollwitz
Fig 17. Kathe Kollwitz
witness in drawings such as Pensive Woman (Fig 16) and Poverty (Fig 17) connects on a greater level to our emotional side, as it reminds us of our own life. We naturally see the value of human life as greater than that of a tree such as the ones featured in Nash’s war paintings. The form of reportage used by Nash and Kollwitz differs greatly to that of Gibbons and Searcle as these drawings do not poses the same instantaneous qualities they do, therefor the impression provided to the viewer is one that again is biased in it’s nature. As Gibbons and Searcle’s reportage drawing were created in secret, this brings in the idea that perhaps their drawing style for these images did not derive so much from choice as from necessity, whereas Kollwitz had time and materials to create her war time reportage drawings. While Sue Coe and Kollwitz reporatge is more controlled and selected, it allows for the artist to imply more directly what they want to say with the image, for instance Coe’s drawing Me Drawing in a Slaughterhouse (Fig 18), which provides a less bias image compared to Kollwitzs atmospheric, and crafted Help Russia (Fig 19). Both forms of reportage brings relative information concerning society, however while one is more emotive in it’s form, such as the work of Kollwitz and Steadman, on the other hand reportage work such as Gibbons and Searcle are perhaps not as entertaining to read as they lack more emotional qualities.
Fig 18. Sue Coe (Cropped)
Fig 19. Kathe Kollwitz (Cropped)
Perhaps there are no limitations to what drawing can offer in terms of communicating information, thoughts and feelings. Superior in it’s what it’s vast contexts can offer in comparison to photography, perhaps without censorship the potential of drawing might be greater. Bias plays an important role in this, and offers personality to seep through imagery, in a way that can teach and suggest interesting viewpoints to a observer. This essay has considered examples of artist of whom have embraced more violently charged imagery to voice their views, by means of confronting the viewer with drawings possessing well considered, emotional and in some cases repulsive forms of reportage. The versatile nature of drawing has in some part been demonstrated in the way this essay has engaged with the horror based themes explored in this research which has discussed the many differing forms drawing can offer an artist.
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Image References Fig 1. Sleaze Frenzy, Ralph Steadman (1997) http://www.thedailybeast.com/articles/2014/04/27/the-gonzo-artist-behind-ralph-steadman-s-most-famous-work.html Fig 2. You Consume Their Terror, Sue Coe (2011) http://www.graphicwitness.org/coe/ Fig 3. Muesling, Sue Coe (2004) http://www.gseart.com/Artists-Gallery/Coe-Sue/Artworks/Coe-Sue-Mulesing-Cutting-Off-The-VaginalFolds-With-No-Anesthetic-2597.php Fig 4. Cover for Cruel; Bearing Witness to Animal Exploration (2012) http://www.printmag.com/article/witness-to-slaughter/ http://www.upc-online.org/bookreviews/searing_imagery.html Fig 5. Untiled, death penalty for Time magazine, Marshall Arisman (1984) https://www.societyillustrators.org/marshall-arisman Fig 6. Fear and Loathing in Las Vegas Hunter S. Thompson Portrait, Ralph Steadman(1970) http://www.thedailybeast.com/articles/2014/04/27/the-gonzo-artist-behind-ralph-steadman-s-most-famous-work.html Fig 7. Margaret Thatcher and John Major, Gerald Scarfe (1979) http://www.bbc.co.uk/news/uk-england-tees-31711778 Fig 8. Red Dress, Jill Gibbon (unknown) http://reportager.uwe.ac.uk/ projects14/warmart/index.htm Fig 9. Reps, Jill Gibbon (unknown) http://reportager.uwe.ac.uk/projects14/warmart/index.htm Fig 10. Too Much, Jill Gibbon (unknown) http://reportager.uwe. ac.uk/projects14/warmart/index.htm Fig 11. Dead man on barbed wire fence, Ronald Searle (1942) http:// davidmhart.com/blog/C20111228141034/E20120105155943/index. html Fig 12. Cholera Line, Ronald Searcle, (1943) http://davidmhart.com/
blog/C20111228141034/E20120105155943/index.html Fig 13. We are Making a New World, Paul Nash (1918) http://www. iwm.org.uk/collections/item/object/20070 Fig 14. The Mule Track, Paul Nash (1918) https://gerryco23.wordpress.com/2014/02/18/paul-nash-and-world-war-one-i-am-no-longeran-artist-i-am-a-messenger-to-those-who-want-the-war-to-go-on-forever-and-may-it-burn-their-lousy-souls/ Fig 15. The Volunteers, Kathe Kollwitz (1921-22) https://www.moma. org/collection/works/69683?locale=en Fig 16. Pensive Woman, Kathe Kollwitz (1867-1945) http://www.artnet.com/artists/käthe-kollwitz/pensive-woman-a-7uRzS1Gug9eyZrs4JmoRlA2 Fig17. Poverty, Kathe Kolwitz, (1893-94) http://www.mystudios.com/ women/klmno/kollwitz-poverty-1893.html Fig 18. Me Drawing in a Slaughterhouse, Sue Coe (1988)http://www. printmag.com/article/witness-to-slaughter/ Fig 19. Help Russia, Kathe Kollwitz (1921) http://germanexpressionismleicester.org/leicesters-collection/artists-and-artworks/kaethe-kollwitz/help-russia/