August 7, 2017-May 27, 2018
Presented by Jaleen Grove
How are various concepts of “the body” implicated in the act of illustrating, in the resulting illustrations, and in how viewers interpret them? And how do we account for the picture-morgue of historical illustration that built today’s visual culture and that informs illustrators’ education today? Historian of illustration Dr. Jaleen Grove presents her research on American and Canadian illustration past and present, exhuming illustration’s “missing persons,” graphic bodies of work, bodies of women in pictures and of female illustrators, artists’ and viewers’ bodies in neuroscience, and cartoonists’ and illustrators’ bodies in contemporary practice. An Associate Editor of History of Illustration (Fairchild Books/Bloomsbury, 2018, 592pp), and Associate Editor of the Journal of Illustration (Intellect), Dr. Jaleen Grove has been working in and writing on aspects of illustration since 1990. Her publications include Oscar Cahén: Life and Work (Art Canada Institute, 2015), Walter Haskell Hinton, Illustrator of the Popular American West (Knoxville: Ewing Gallery, University of Tennessee, 2010), and articles in Canadian Art Review (RACAR), Journal of Writing in Creative Practice, andJournal of Canadian Studies. Grove is the Postdoctoral Fellow in Popular Print in the Dowd Modern Graphic History Library at Washington University in St. Louis.
What are the visual tools that illustrators use to effectively engage and direct our attention? One device is the depiction of the telling gesture. Hand-and- arm movements, postures and facial expressions are potent ingredients of non-verbal communication. Gestures and facial expressions reveal emotional states from happiness and surprise to anger, fear and shame. Often, concentrated emotional states coincide with pivotal turns in stories. The depiction of telling gestures serves as a key element of the narrative illustrator’s expressive repertoire. While some gestures such as the shoulder shrug or the furrowed scowl may be universal, others reveal the attitudes of particular times and places. We can envision a history of the telling gesture, which traces the connection between gesture, emotion, values and meanings across time. Illustration from the mid-nineteenth through the mid-twentieth century is a perfect medium to explore this thesis because the illustrator’s role expanded greatly during that era. Appealing to popular audiences, American illustrators developed languages of gesture and facial expression that conveyed human emotions, narrative turns and social implications. Utilizing work from the museum’s Secord Collection of Illustration, this exhibition traces the connection between gesture, emotion, narrative, and values from the Golden Age of Illustration in the late nineteenth century to the mid-twentieth century. Curated by Dr. Steven Leuthold, Professor of Art History, NMU School of Art & Design.
Background Image: James Montgomery Flagg. Untitled, 1927. Watercolor Illustration for Liberty Magazine, From the Secord Collection of Illustration, NMU/DeVos Art Museum Permanent Art Collection.