Consumerism is often a difficult concept to conceive in one’s mind, let alone through a piece of art. At the Nelson Atkins Museum of Art, many pieces are on display that show consumerism in a variety of ways, though they do so incredibly subtly. Three pieces, “Explosion,” “Matisse in Nice,” and, “Blind Mickey’s Blues,” all represent consumerism while showing critical art theory in practice. Using bold or delicate lines, accessing negative space or not, and contrasting colors in order to show how consumerism has the power to change people, as well as corporations, and countries, the pieces force us to think about our lives and everyday actions.
“Explosion,” a lithograph by Roy Lichtenstein is an interesting comment on consumerism. The use of negative space allows for the color of the explosion to be the focal point of the piece. The lines in the pieces are bold and primarily curved in an effort to add to the effectiveness of the explosion. Small dots, indicating debris, as well as more bold lines that comment further on the explosion take up the negative space around the explosion itself. The tone of, “Explosion,” is contrasting, with the background being white, and the rest of the colors being dark blues, reds, and variations of orange and yellow. It is dramatic in style, perhaps in an effort to draw attention to American consumerism, and how dramatic it is. Due to the dots that serve as debris around the explosion itself, the texture of the piece is rough and slightly uneven, though this serves in the piece’s favor, as it is supposed to appear as if a bomb has gone off. The movement is flowing, rather than swirling, though neither of these words are indicative of consumerism in the U.S., unless one equates consumerism here with a swirling, flowing vortex of debt.
“Matisse in Nice,” is an interesting piece that shows what could be an early version of Photoshop. Splicing and manipulating photos of celebrities and models has become a lucrative, vital part of marketing, driving consumerism all over the world. The piece shows a curvaceous woman splayed on a couch, and a man painting her. However, he is painting her slightly smaller and what may be considered more appealing to the eye of the masses. The lines are bold and the colors are dramatic. Everything in the painting is different, if one looks at it deeply enough. There is a small potted plant next to a chair. In reality, the woman is sitting on a couch and there is no potted plant. Her hair is blonde; in the painting, she is a brunette . There is no negative space; dramatic, straight lines take up the entire piece. Nothing flows or swirls. If one did not examine the piece closely enough, we would not even notice the painting within the painting was any different from the woman on the sofa. This is where the representation of consumerism lies, as we see this happen often in everyday life. The bodies of models are manipulated daily to sell a product or make something look appealing, and we rarely examine it in comparison to the real thing. Subsequently, we rarely compare the product in the advertisement to the real thing. In the end, we often receive far less than our money’s worth. The asymmetry of the piece forces us to reexamine our own lives and how advertising companies market to us, or how consumerism distort products every day. For a piece created in 1992, the concept is ahead of its time.
William T. Wiley’s piece, “Blind Mickey’s Blues,” is a different interpretation of the cartoon mouse we have all grown so used to seeing on our televisions . The lines of the piece are thin, delicate, and simple. They suggest the blind mouse, though smiling, could snap at any moment. His blindness becomes a frailty based on the lines alone. The tone of the piece is subtle and muted. Though the negative space is taken up with a soft blue, and the mouse is a stark black, the colors are muted and toned down. Nothing about the piece is dramatic. One has to look quite closely, in fact, to see Mickey Mouse has been outfitted with a mustache and goatee. Even his sunglasses are muted. The texture of, “Blind Mickey’s Blues,” is rough and course. The colors are often left unfinished near the lines and the edge of the piece, showing white, as well as thatching, and cross-hatching. It makes the piece look messy and unclean. The shapes in the piece look very elongated. While Mickey is recognizable, he looks stretched somehow, perhaps as a reflection of the wallets of many American’s and, thus, a reflection of consumerism. The mascot of Disney’s corporation is an appropriate reflection of consumerism because many throw their money into this particular industry, as well as the entertainment industry. Moreover, they often do so blindly. The piece is made all the more pertinent when one considers the after-effects make the spender upset, sending them into the throes of “buyer’s remorse.” They are sad, which would reflect the blues. The piece is a true reflection of consumerism in all its elements, as well as artistic form.
In sum, these three pieces hanging in Nelson-Atkins Museum of Art are the embodiment of artistic form, and a representation of consumerism. “Explosion,” makes the audience examine how detrimental consumerism can be. “Matisse in Nice,” is subtle, but shows the impact of advertising and marketing on consumerism in a way that makes it more relatable. “Blind Mickey’s Blues,” allow us to analyze art, as well as consumerism from the point of view of the consumer, as well as the marketing industry. The pieces are multi-dimensional and beautiful. They make us think and react.
Works Cited
Lichtenstein, Roy. Explosion. Nelson-Atkins Museum, Kansas City. Lithograph.
Sharks, Inc. Matisse in Nice. Nelson-Atkins Museum, Kansas City. Color Lithograph.
Wiley, William T. Blind Mickey's Blues. Nelson-Atkins Museum, Kansas City. Color Lithograph.
