Timely critique of exploitative appropriation? Disgraceful publicity stunt?
Disgraceful publicity stunt?
Timely critique of exploitative appropriation?
Viewers may take the stance that ‘Not So Plain Jane’ is a painting soley about Jane Austen. However, I wanted to create a portrait that dealt with the ideas behind ownership and appropriation of the author's image alongside the history of the places that claim a form of possession over this iconic literarily figure. 2017 felt an appropriate time to explore these ideas as it marks the 200th anniversary of Jane Austen’s’ death. My process as an artist is about engaging with the viewer bringing them closer to the surface of my painting. With ‘Not So Plain Jane’ I wanted to make a painting that would also allow me to take this one step further by organising several pop up exhibitions, literally bringing the portrait of Jane Austen directly to the public, in the hope of encouraging further connection, communication, discussion and debate. There are several geographical locations eager to stake claim to certain stages of Austen’s short life. Winchester and Bath being two of the most prominent. I wish to offer an alternative perspective on the bicentennial celebrations to look passed the conventional images of the author that we are all familiar with and hopefully challenge the views to see how a literary icon and her image has in some instances been simplified into a commodity for tourism. The idea around consumption and ownership of Austen’s image influenced the composition of the painting. I felt it was appropriate that the focal point of the portrait should depict Austen’s head presented on a platter, garnished and ready for consumption. The use of a fork in her neck Illustrates the marking of ownership echoed in the use of text ‘Our Girl.’
Not so plain Jane will be placed on public display across Winchester, Bath and London this summer. It is my hope that people will visit one of the sites where the painting will be positioned and share their thoughts hopefully encouraging debate and discussion.
If you are unable to visit the painting on its travels this summer ‘Not So Plain Jane’ will be appearing as the cover art for the 5th issue of Winchesters satire magazine SMUG.
'Not So Plain Jane' Acrylic on Canvas 50cm x 40cm 2017
By Dr. Serbastian Rooks
____________________________________________________________
'Artist's Shit' Piero Manzoni 1961
'Equivalent VIII' Carl Andre 1966
'Salome Holding the Head of John the Baptist' Caravaggio c. 1607/ 1610
When I first heard rumours that a new contemporary portrait of the author Jane Austen was to be created and exhibited during 2017, I was completely intrigued. With close to three decades of experience studying human behavior with regards to art, and how certain sets of individuals cope with some of the art worlds most notoriously controversial creations I felt compelled to write something regarding this new portrait of Jane Austen. I hope to dedicate much more extensive study with regards to the reactions to this new artwork as 2017 progresses and concludes.
Although this new portrait of Jane Austen is far from controversial in the true sense of the art world, it could pose a problem across some sections of the society within the cities in which it is planned to be exhibited such as Winchester and Bath. The geographical locations chosen all hold significance to certain aspects of the author’s brief life. In my experience there is always a danger that when an iconic figure so ingrained within the DNA of a historic place, public discomfort and discombobulation can often ensue. As a society we have come a long way from the outrage of Carl Andre’s meticulously placed house bricks at The Tate and the subsequent acquisition of Andre’s artwork by the publically funded institution. The reaction, outrage and hyperbole surrounding the young British artist of the early to mid 90’s seems anachronistic today, even Piero Manzoni’s cans of his own shit is now often met with a smirk and a shrug. However, this new painting of Jane Austen could still strike a nerve.
On first viewing ‘Not So Plain Jane’ offers little to spawn outrage or court controversy. It is important to identify that aside from the fact that the main focus of the painting is of a severed head, there is no blood and the expression on Austen’s face is quite simply nonplussed. It displays no harrowing facial grimise or gore as with say Caravaggio’s ‘Salome with the Head of John the Baptist’. The features of ‘Not So Plain Jane’ are totally in keeping with how we have all come to comprehend the various depictions of Austen over the decades, that of an individual with a calm, aloof gaze staring into the distance.
To truly assess the potential impact and reaction to this artwork, we need to discuss the unique aspect of this new painting of Jane Austen. It is important to address how this artwork could most certainly cause some citizens of Winchester and Bath discomfort and discombulation, as they experience what I like to call the veneration effect. The veneration effect is based on a complex relationship, which can develop over many years, cultivated within reserved communities whose cities hold a significant historical relevance. These locations hold a very strong vested interest in protecting their icons whilst maintaining their relevance within the context of today’s modern world. This self-appointed obligatory need to remain custodians brings forth with it a deep sense of reverence for significant icons such as Jane Austen. The author clearly holds sway and brings forth a deep routed sentimentality which has lasted throughout countless generations. It would also be remise not to address the lucrative nature of a decent tourist draw to which a strong icon such as Jane Austen clearly offers. To put it rather crudely, to some a modern interpretation of a local deceased luminary is quite simply seen as bad for business.
Thanks to the generosity of a Winchester resident who wishes to remain anonymous ‘Not So Plain Jane' is to be placed into a guilt Italian frame dated circa 1886. Jane needed to be framed and what better place than Hardings picture framers of Warsash Hampshire. Jeremy Weston owner and master framer handles a plethora of intriguing projects from original Banksy artwork to Toulouse-Lautrec and even the odd Picasso. So ‘Not So Plain Jane’ sits in capable hands indeed. It was surprising to find out that in fact Jeremy Weston is actually a distant relative of Jane Austen. it is one hell of a cliche, but isn't it a small world!
A contemporary portrait of Jane Austen aiming to be brought to the public via pop up exhibitions across the UK during 2017.
BY
By Dr. Serbastian Rooks
____________________________________________________________
'Artist's Shit' Piero Manzoni 1961
'Equivalent VIII' Carl Andre 1966
'Salome Holding the Head of John the Baptist' Caravaggio c. 1607/ 1610
When I first heard rumours that a new contemporary portrait of the author Jane Austen was to be created and exhibited during 2017, I was completely intrigued. With close to three decades of experience studying human behavior with regards to art, and how certain sets of individuals cope with some of the art worlds most notoriously controversial creations I felt compelled to write something regarding this new portrait of Jane Austen. I hope to dedicate much more extensive study with regards to the reactions to this new artwork as 2017 progresses and concludes.
Although this new portrait of Jane Austen is far from controversial in the true sense of the art world, it could pose a problem across some sections of the society within the cities in which it is planned to be exhibited such as Winchester and Bath. The geographical locations chosen all hold significance to certain aspects of the author’s brief life. In my experience there is always a danger that when an iconic figure so ingrained within the DNA of a historic place, public discomfort and discombobulation can often ensue. As a society we have come a long way from the outrage of Carl Andre’s meticulously placed house bricks at The Tate and the subsequent acquisition of Andre’s artwork by the publically funded institution. The reaction, outrage and hyperbole surrounding the young British artist of the early to mid 90’s seems anachronistic today, even Piero Manzoni’s cans of his own shit is now often met with a smirk and a shrug. However, this new painting of Jane Austen could still strike a nerve.
On first viewing ‘Not So Plain Jane’ offers little to spawn outrage or court controversy. It is important to identify that aside from the fact that the main focus of the painting is of a severed head, there is no blood and the expression on Austen’s face is quite simply nonplussed. It displays no harrowing facial grimise or gore as with say Caravaggio’s ‘Salome with the Head of John the Baptist’. The features of ‘Not So Plain Jane’ are totally in keeping with how we have all come to comprehend the various depictions of Austen over the decades, that of an individual with a calm, aloof gaze staring into the distance.
To truly assess the potential impact and reaction to this artwork, we need to discuss the unique aspect of this new painting of Jane Austen. It is important to address how this artwork could most certainly cause some citizens of Winchester and Bath discomfort and discombulation, as they experience what I like to call the veneration effect. The veneration effect is based on a complex relationship, which can develop over many years, cultivated within reserved communities whose cities hold a significant historical relevance. These locations hold a very strong vested interest in protecting their icons whilst maintaining their relevance within the context of today’s modern world. This self-appointed obligatory need to remain custodians brings forth with it a deep sense of reverence for significant icons such as Jane Austen. The author clearly holds sway and brings forth a deep routed sentimentality which has lasted throughout countless generations. It would also be remise not to address the lucrative nature of a decent tourist draw to which a strong icon such as Jane Austen clearly offers. To put it rather crudely, to some a modern interpretation of a local deceased luminary is quite simply seen as bad for business.
In speaking at great length with Simon the artist behind this work, it is quite clear that ‘Not So Plain Jane’ was conceived to convey a note of concern with regards to the nature of ownership and appropriation around the tragically short life of Jane Austen. Perhaps the deeper question is that although there has always been a subtle battle for a prominent stake in Austen’s heritage, it will be compelling to observe how respective tourist boards choose to mark the bicentennial of Jane Austen’s death which falls on July 18th 2017. It is quite clear that with regards to the inclusion of this new contemporary portrait to the countless organized exhibitions of Austen’s knickknacks, ‘Not So Plain Jane’ will certainly be dismissed from proceedings and regarded as a drunken distant relative forced to dance alone in a corner. From a professional standpoint I remain cautiously optimistic that the people of Winchester Bath and Basingstoke will remain calm when faced with this new interpretation of their cherished Ms. Austen. For those however who do find themselves struggling with ‘Not So Plain Jane’ or any form of spontaneous act of free-spirited expression to life in general I would recommend standing in front of a large mirror and asking yourself this question "Why So Serious"?
Dr. Sebastian Rooks runs a small modern art phobia clinic and help group in Romsey and he will be organizing several gatherings in Winchester across the summer. If you or anyone you know of might be struggling with modern art phobia please feel free to visit one of these free clinics. For more information visit www.rooksartphobiacentre.com
Dr Sebastien Rooks has been working with the Tate for the last ten years. He offers free clinics preparing individuals in a highly successful programme helping to defuse public trepidation on entering the Turner Prize show.
Dr Rook’s forthcoming publication ‘Why So Serious’ will be available in the Autumn of 2017 available on Amazon and in all good book stores.
