ed pauley, fall 2001
Images leave very deep impressions and make powerful
statements. When we hear the word “elephant,” for example,
we picture an image instead of the word. We can’t help it - even
though we think thoughts and express ourselves in terms of language.
Of course, words that conjure up images must be directly associated
with tangible things. Obviously, the word “and” doesn’t
suggest an image.
Images are universal. People worldwide understand
a picture of a tree. On the other hand, the English word for “tree”
is understood only by those familiar with the language. In using the
spoken word, we elude to the clarity and effectiveness of images.
If something is unclear, we say, “Paint me a picture.” We
also acknowledge the economy of images by using old sayings such as,
“A picture is worth a thousand words.”
Since the dreadful morning of September 11, Americans
have a variety of new images embedded in our thoughts. Our mind’s
eye repeatedly plays of the horrific events of that day, which most
of us experienced by watching television. Our mind’s cinema plays
and replays selected loops of time-lapsed video clips. We are able
to visualize the ominous silhouettes of passenger planes violently
piecing the glass skin of the World Trade Center, the expanding fireball
as powder black clouds bellow upward, followed by a brief clip of
110 stories disintegrating into a mangled heap of rubble.
Many witnessed the actual attacks in real time, while others saw news
coverage later in the day. Compare the media coverage of the concurring
plane crashes at the Pentagon and in Pennsylvania. In balance, those
two stories received little coverage. At any other time, each would
have dominated the airwaves for weeks.
Of course, the magnitude of each incident differed.
Thousands perished in Manhattan. I suggest however, it is the power
of the images captured on videotape, that most affects the general
public. Though videotape, we are all witnesses to crime. We are left
feeling shocked, greatly saddened and enraged.
Long before the advent of television, artists understood
the force of images. Historically, there are countless artworks that
attempt to connect viewers to profound experiences. The most successful,
move us and inspire us.
Pablo Picasso’s black and white painting, entitled Guerica, encapsulates
the horror of the moment. Terrified Spanish peasants glance helplessly
skyward as Nazi bombs rain down on them. Even animals are depicted
as innocent victims. The screams of German dive-bombers silence the
screams of the doomed. Fifteen square blocks of the village were leveled.
The artist isn’t concerned with identifying particular individuals.
Instead, the he employs abstract forms, intended to represent all
of humankind. The painting is a timeless and universal portrayal of
man’s inhumanity to man.
Aesthetically pleasing works of art can also be powerful
and symbolic. Childe Hassam’s painting Allies Day, May 1917 is
a beautiful and effective interpretation of World War I America celebrating
the entry into the war. We see the stars and strips lining Fifth Avenue
in New York City. The flag is a symbol of unity, which is a universal
human experience. In light of recent events, the work also becomes
a direct link to our past. Despite the distance in time, flag lined
streets look and feel the same. Americans are still proclaiming pride
and defiance in the face of common adversaries.
Through our eyes we take in the surrounding world.
Artists can often help us to make sense of it all. Both Picasso and
Hassam were able to cleverly depict defining moments, each in his
own unique style. Both understood, that through imagery, they could
express the period in which they lived more effectively. They realized
that humans are visually oriented creatures who can be are greatly
influenced by what they see - we respond to the power of the image.
