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CRYSTAL CAMDEN
HOUSEBREAKING BABY
Elizabeth Jackson
13 JULY 2018
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Introduction
My visit to the Spectrum Gallery in the Tower district exposed me to the work and
medium of E. Z. Smith on the stilllife photograph of an infant looking up to an adult hand
holding a cattle prod. Specifically, the picture shows the naked infant seated on a cat litter
appearing terrified by the cattle prod pointed at her. The image, taken in blackandwhite,
provides a background reminiscent of a room with a tiled floor. Notably, the cat litter lies on a
mat placed on the floor while the child spreads the leg straight and the hands raised to the chest
level. The composition fails to display the face of the adult holding the cattle prod to help in
establishing the gender or appearance. However, the size of the hand compared to the child
indicates the age associated with an adult. In essence, the photograph presents controversial
aspects based on content and composition. When analyzed using the dominant theories of
modernist criticisms as well as the postmodern theories and philosophical positions, the
photograph reveals unsettling details. For example, through the psychoanaly03tic criticism, the
picture provides a disturbing perspective regarding the encounter of the child and the ethical
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conduct of the adult (Holt 87). Consequently, the criticism along poststructuralism indicates
the ability to interpret the photograph into different meanings depending on the context (Lazzari
and Dona 98). As such, the picture provides a myriad of viewpoints for analysis and
understanding without focusing on the intentions of the producer. Therefore, this paper offers a
critique of Smith’s photograph through the psychoanalytic criticism and poststructuralism
using the content and composition.
Psychoanalytic Criticism
In principle, psychoanalytic criticism focuses on the effects of the composition on the
viewers as well as the psyche of the producer demonstrated through the creative process (Lazzari
and Dona 98). For example, the photograph depicts the desperate stilllife state of the child
looking at the cattle prod held by the adult. The hand directs towards the face of the child while
the edge of the cattle prod points at the mouth. As such, the medium depicts the attack on a child
in a helpless state. In fact, the straight legs of the child indicate the distress and unsettle situation
the child faces. The aesthetic shows that the adult takes advantage of the child to intimidate and
oppress. The raised face of the child indicates the sign of surrender associated with fear and lack
of ability to fight back (Mack 345). The child looks intently at the adult to indicate the level of
concentration in the events taking place. In fact, the posture of the hands at the chest level
suggests the desire to run away despite the immobility due to weak muscles. The stilllife
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composition confines the viewer to sympathize with the child based on the helpless state and the
denied happiness by the adult. Essentially, the composition fails to demonstrate the ideal
interaction between the children and adult whereby happiness and love should permeate. The
photograph also fails to show the facial expression of the adult to identify the emotional
accompaniment associated with approaching the child. Further, the picture fails to reveal the
intention of the adult in pointing the cattle prod at the child (Holt 87).
PostStructuralism
Fundamentally, the poststructuralism critique focuses on deconstructing the systemic
notions into open perspectives (Lazzari and Dona 99). It embraces the application of diverse
aesthetics in identifying the component of the art as well as interpretation of meaning. For
example, the subjecting the photograph to varied perspectives provides a myriad of
interpretations and understanding. Viewing the child as a victim of intimidation from the adult
offers a tender feeling and the desire to interrupt the oppression. Consequently, considering the
stilllife photograph as a playing session between the child and the adult provides an empathetic
gesture. As such, the viewer adores the scene and acknowledges the efforts of the adult towards
making the child happy. The composition of the two viewpoints demonstrate distinct
perspectives in establishing the activities portrayed in the photograph. However, the picture fails
to provide the reliable details for accurate interpretation and understanding (Mack 345). For
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example, the lack of the adult face denies the viewer an opportunity to identify the emotional
aspects of the person holding the cattle prod. As such, the act of pointing the gadget at the child
fails to offer a clue to the intention of the adult. Besides, the intent look on the face of the child
entails flatness and indicates uncertainty of the gesture. The photograph fails to illustrate what
the child sees on the face of the adult thereby leading to an unclear deduction. Moreover, the
position of the hands at the chest level provide diverse perspectives including excitement and
fright. For instance, the expression of the child by lifting the hands depicts a reaction to the
gestures of the adult. As such, the photograph fails to provide the accurate meaning through the
posture of the child.
Conclusion
Indeed, the dominant theories of modernist criticisms and the postmodern theories
facilitate the process of art analysis as demonstrated in the case of Smith’s photograph. For
example, the psychoanalytic criticism shows that the picture fails to portray the ideal interaction
between the children and adult whereby happiness and love should permeate. It also fails to
reveal the intention of the adult in pointing the cattle prod at the child. Consequently, post
structuralism critique demonstrates that the photograph fails to provide the reliable details for
accurate interpretation and understanding. Perspective fails to illustrate what the child sees on
the face of the adult thereby leading to the unclear deduction. The stilllife photograph also fails
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to provide the accurate meaning through the posture of the child. Therefore, the critique exposed
the weak links in the photograph.
Original Photo
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Information from Spectrum Gallery Public outrage article
Citations
Holt, David K. “Postmodernism: Anomaly in ArtCritical Theory.” Journal of Aesthetic
Education, vol. 29, no. 1, 1995, pp. 85–93. JSTOR, JSTOR,
www.jstor.org/stable/3333520.
Lazzari, Margaret R, and Dona Schlesier. Exploring Art: A Global, Thematic Approach. Boston,
MA: Wadsworth / Cengage Learning, 2012. Print.
Mack, Roxie Davis. “Modernist Art Criticism: Hegemony and Decline.” The Journal of
Aesthetics and Art Criticism, vol. 52, no. 3, 1994, pp. 341–348. JSTOR, JSTOR,
www.jstor.org/stable/431432.