PAINting Torture

Sometimes the painting starts to relate very directly to either sights seen or experiences felt, other times it just goes off on a tangent that you really can’t articulate.

-Susan Rothenberg

I’d be lying if I said Fernando Botero’s interpretations of Abu Ghraib didn’t disturb me. How could I forget the pile of naked human bodies, stacked and left as a spectacle? Or even the pink blood and the urine being sprayed all over an exposed man's stomach and genitals? I’m actually in awe that he was able to create something so realistic and accurate without having looked at the actual torture images. Yet, at the same time my reaction to his images is less intense than the photographs. I think it’s easy to convince myself that these people aren’t “real” because of the different art form, but they are brought to life in a completely different way.

One also has to keep in mind how and where they are viewing the painting. Going to an art gallery or art museum is extremely different for me than seeing a painting off my computer screen. It’s a whole new experience when you have the painting, sculpture, drawing, and other art physically and literally in front of you in their organic form.

The men being tortured are portrayed as puffy, muscular, and stout. According to the text parallel to Botero’s images, the simplified style of the tortured subjects is supposed to allow more reliability for people. Their bodies always seem to be curved and in movement, more than likely because of pain. They are not only vulnerable because they are bonded up and stripped naked, but they are also blindfolded. This does make the subjects more relatable because the “windows of the soul” are being covered up, this could be anyone. The various skin colors also show that these men are from no specific or known culture. There are few characteristics about the men that make them unique in their appearance, which I think ties into the reliability aspect as well as the loss of identity and individuality. This makes sense because to most of the American soldiers who were torturing them didn’t give them an identity other than perhaps “terrorist” or “animals.”

I find the random blue-gloved hand in the image of the dogs attacking the victim interesting. It serves as a reminder of who is behind this occurring hell. This person is also holding onto a leash for one dog, as if it really matters because it’s about to bite the man’s neck off anyway. I think this is a good representation of who is in power in this situation and who literally holds the reigns of control. The blue sticks out on my mind, like it’s am image I will not forget. It’s actually disturbing. The hand looks like it’s covered in a medical glove, protecting the torturer from the hell they are dispelling. Here’s one last ending remark: the anatomy of the most vicious dog and the victim look alike. The ribs are bulging out of the sides of their puffed chests, their mouths are both opened a tad, their skin looks lumpy, and their bodies mirror one another in posture and pose. One major difference is the man’s hands are behind his back and he cannot fend of the dogs, which epitomize torture. Analyzing this image makes me wonder what the man said. Did he scream? Did he call for anyone? Wow, these paintings are getting to me more than I expected.

One last aspect I want to touch upon is the lingerie wearing and how this is used as a form of humiliation. I feel that this puts into perspective the conservative gender roles of the torturers. To them, this it’s funny to see a man in women’s attire and women’s bras. Putting a man in a bra would not be “humorous” in all environments, but in this one it “is.” This is all speculation of Middle Eastern traditions, but it might be offensive and taboo for a man to wear designated women’s clothing. I think one can really gain the dark sense of humor of the torturers by the lingerie.

I’m surprised there are so few artistic interpretations from Abu Ghraib. Have major events such as this, 9/11, and Katrina been captured through different mediums than photography? I have seen various artistic remakes of the Holocaust and times in history like the Great Depression, but not 21^st century events. Anyone who has seen otherwise please let me know because I would love to know about more recent interpretations! Do artists feel less need to capture our century because of the up rise of photography? I really hope not because I think we still need paintings and other creations besides photography. I think that we need these images that can help us escape from the subject being presented, or simply understand the subject in a different way.

Falling Man

I’ve been thinking a lot about the concept of framing as I’ve been reading Falling Man. One scene that stands out the most in my mind is when Lianne confronts Elena about her music. This is not only a verbal confrontation, but also a physical one. Lianne’s anger and prejudices build up throughout the book, but can be especially seen through her reactions to Elena’s music. Even though she does not know the exact origins of the music she concludes that they are of an “Islamic tradition” (DeLillo 67). I questioned Lianne’s knowledge of Middle Eastern cultures because it sounded like she was merely putting Elena and her music into a box. Not to mention, she talks about those who follow the Islamic tradition as “them” and says that “they” are all alike in their prayers (DeLillo 68). One of the most crucial parts of framing is diminishing individuality, which Lianne does here. She not only stereotypes the “different” music but she then makes assumptions about Elena and her (perhaps) “people.” Lianne has an air of superiority around her assumptions and “knowledge” of people of different racial and ethnic backgrounds. Though we don’t know Lianne’s entire life story, one can speculate that 9/11 further provoked Lianne’s need to frame specific people.

Lianne’s thoughts become more superior when she brings privilege and class into the picture. On page 68 she reflects that Elena and whomever she lives with doesn’t own, but they rent their apartment like “people in the Middle ages” (DeLillo 68). What if Elena is barely making rent? What is Elena and her family can’t get sufficient jobs based on their appearances, beliefs, or race? There is little we find out about Elena in this section of the book and we certainly know that Lianne knows nothing about her, other than what she has framed her as. By making this comment, Lianne’s lack of empathy turns into harsh criticism. She is saying that “they” don’t own their place like she does because she is privileged and is in an efficient financial position.

Framing can take also take a physical form. When Lianne goes to Elena’s apartment she describes her appearance. Elena is literally framed by her doorway in her “tailored jeans and sequined T-shirt” (DeLillo 119). Even her dog is framed at a certain point in the archway. Marko, Elena’s dog, is said quickly described my Lianne as “a hundred and thirty pounds, black, with deep fur and webbed feet” (DeLillo 119). I really like how Elena and Lianne are standing in two different dimensions: one in the hallway and the other in between their abode and hallway. I think it shows the separation between American and “other” cultures, white and people of color, Lianne and Elena. Lianne even uses “we” as if she and the other residents have agreed the music was too loud. I saw this as self-affirmation that she was right and it makes Lianne’s argument sound more legitimate.

Lastly, I want to focus on acceptable or appropriate post-9/11 behavior. Did any of you think it was offensive that Elena was playing her music after 9/11? Do you think she was purposefully trying to aggravate people? Elena says the music gives her “peace” and the neighbors haven’t approached her about its loudness (DeLillo 119). Do you think Elena is entitled to listen to something that calms her after 9/11? What does this show about Lianne? Lianne’s repetition of the word “circumstances” is something that Elena does not agree with. I think this can be read a number of different ways but I think Elena isn’t “ultrasensitive” in the way Lianne is about 9/11 (DeLillo 120). I think that there is a possibility that Elena can be framed in this scene as apathetic or separated from the entire event, as if she’s an enemy or doing wrong. It is not just the music that drives Lianne’s anger; it’s merely a catalyst.