#this is me forcing myself to practice digital painting and rendering the only way I know how. special interest fanart

[puffywuffy8904]

So how long do we think it is until we get a "live action" remake of Ducktales with horrifyingly realistic CGI ducks

[mamcollection]

Artist Gina Beavers Satirizes Our Insatiable Appetite for Personal Beauty in Her New Show at Marianne Boesky

Makeup as Muse: Gina Beavers

November 28, 2020

Despite my art history background and general love of art, I am less than eloquent when writing about it.  Nevertheless I will continue soldiering forward with the Museum's Makeup as Muse series, the latest installment of which focuses on the work of Gina Beavers in honor of her recent show at Marianne Boesky Gallery. Beavers' practice encompasses a variety of themes, but it's her paintings of makeup tutorials that I'll be exploring.  Since I'm both tired and lazy this will be more of a summary of her work rather than offering any fresh insight and I'll be quoting the artist extensively along with some writers who have covered her art, so most of this will not be my own words.

Born in Athens and raised in Europe, Beavers is fascinated by the excess and consumerism of both American culture and social media. "I don't know how to talk about this existence without talking about consumption, and so I think that's the element in consuming other people's images. That's where that's embedded. We have to start with consumption if we're going to talk about who we are. That's the bedrock—especially as an American," she says.  The purchase of a smart phone in 2010 is when Beavers' work began focusing on social media.  "[Pre-smart phone] I would see things in the world and paint them! Post-smartphone my attention and observation seemed to go into my phone, into looking at and participating in social media apps, and all of the things that would arise there...Historically, painters have drawn inspiration from their world, for me it's just that a lot of my world is virtual [now]."

But why makeup, and specifically, makeup tutorials?  There seem to be two main themes running through the artist's focus on these online instructions, the first being the relationship between painting and makeup.  Beavers explains:  "When I started with these paintings I was really thinking that this painting is looking at you while it is painting itself. It’s drawing and painting: it has pencils, it has brushes, and it’s trying to make itself appealing to the viewer. It’s about that parallel between a painting and what you expect from it as well as desire and attraction. It’s also interesting because the terms that makeup artists use on social media are painting terms. The way they talk about brushes or pigments sounds like painters talking shop."  Makeup application as traditional painting is a theme that goes back centuries, but Beavers's work represents a fresh take on it.  As Ellen Blumenstein wrote in an essay for Wall Street International: "Elements such as brushes, lipsticks or fingers, which are intended to reassure the viewers of the videos of the imitability of the make-up procedures, here allude to the active role of the painting – which does not just stare or make eyes at the viewer, but rather seems to paint itself with the accessories depicted – literally building a bridge extending out from the image...Beavers divests [the image] of its natural quality and uses painting as an analytical tool. The viewer is no longer looking at photographic tableaus composed of freeze-frames taken from make-up tutorials, but rather paintings about make-up tutorials, which present the aesthetic and formal parameters of this particular class of images, which exist exclusively on the net."  The conflation of makeup and painting can also be perceived as a rumination on authorship and original sources.  Beavers is remaking tutorials, but the tutorials themselves originated with individual bloggers and YouTubers.  And given the viral, democratic nature of the Internet, it's nearly impossible to tell who did a particular tutorial first and whether tutorials covering the same material - say, lip art depicting Van Gogh's "Starry Night"  - are direct copies of one artist's work or merely the phenomenon of many people having the same idea and sharing it online.  Sometimes the online audience cannot distinguish between authentic content and advertising; Beavers's "Burger Eye" (2015), for example, is actually not recreated from a tutorial at all but an Instagram ad for Burger King (and the makeup artist who was hired to create it remains, as far as I know, uncredited).

Another theme is fashioning one's self through makeup, and how that self is projected online in multiple ways.  Beavers explains: "I am interested in the ways existing online is performative, and the tremendous lengths people go to in constructing their online selves. Meme-makers, face-painters, people who make their hair into sculptures, are really a frontier of a new creative world...It’s interesting, as make-up has gotten bigger and bigger, I’ve realized what an important role it plays in helping people construct a self, particularly in trans and drag communities. I don’t normally wear a lot of make-up myself, but I like the idea of the process of applying make-up standing in for the process of self-determination, the idea of ‘making yourself’."

As for the artist's process, it's a laborious one. Beavers regularly combs Instagram, YouTube and other online sources and saves thousands of images on her phone. She then narrows down to a few based on both composition and the story they're trying to tell. "I'm arrested by images that have interesting formal qualities, color, composition but also a compelling narrative. I really like when an image is saying something that leaves me unsure of how it will translate to painting, like whether the meaning will change in the context of the history of painting," she says.  "I always felt drawn to photos that had an interesting composition, whether for its color or depth or organization. But in order for me to want to paint it, it also had to have interesting content, like the image was communicating some reality beyond its composition that I related to in my life or that I thought spoke in some interesting way about culture."  The act of painting for Beavers is physically demanding as well: she needs to start several series at the same time and go back and forth between paintings to allow the layers to dry.  They have to lay flat to dry so she often ends up painting on the floor, and her recent switch to an even heavier acrylic caused a bout of carpal tunnel syndrome.

But it's precisely the thick quality of the paint that return some of the tactile nature of makeup application.  This is not accidental; Beavers intentionally uses this technique as way to remind us of makeup's various textures and to ensure her paintings resemble paintings rather than a photorealistic recreation of the digital screen. "The depth of certain elements in the background of images has taught me a lot about seeing. I think I have learned that I enjoy setting up problems to solve, that it isn't enough for me to simply render a photo realistically, that I have to build up the acrylic deeply in order to interfere with the rendering of something too realistically," she explains.  Sharon Mizota, writing for the LA Times, says it best:  "Skin, lashes and lips are textured with rough, caked-on brushstrokes that mimic and exaggerate wrinkles and gloppy mascara. This treatment gives the subjects back some of the clunky physicality that the camera and the digital screen strip away. Beavers’ paintings, in some measure, undo the gloss of the photographic image."

Beavers also uses foam to further build up certain sections so that they bulge out towards the viewer, representing the desire to connect to others online.  "Much of what people do online is to try to create connection, to reach out and meet people or talk to people. That is what the surfaces of my painting do in a really literal way, they are reaching off the linen into the viewer’s space," she says.  This sculptural quality also points to the reality of the online world - it's not quite "real life" but it's not imaginary either, occupying a space in between.  Beavers expands on her painting style representing the online space: "It’s interesting because flatness often comes up with screens, and I think historically the screen might have been read like that, reflecting a more passive relationship. That has changed with the advent of engagement and social media. What’s behind our screen is a whole living, breathing world, one that gives as much as it takes. I mean it is certainly as 'real' as anything else. I see the dimension as a way to reflect that world and the ways that world is reaching out to make a connection. Another aspect is that once these works are finished, they end up circulating back in the same online world and now have this heightened dimensionality – they cast their own shadow. They’re not a real person, or burger, or whatever, but they’re not a photo of it either, they’re something in between."

Let's dig a little more into what all this means in terms of makeup, the beauty industry and social media.  Beavers' work can be viewed as a simultaneous critique and celebration of all three.  Sharon Mizota again: "[The tutorial paintings] also pointedly mimic the act of putting on makeup, reminding us that it is something like sedimentation, built up layer by layer. There is no effortless glamour here, only sticky accretion.  That quality itself feels like an indictment — of the beauty industry, of restrictive gender roles. But an element of playfulness and admiration lives in Beavers’ work.  They speak of makeup as a site of creativity and self-transformation, and Instagram and other social media sites as democratizing forces in the spread of culture. To be sure, social media may be the spur for increasingly outré acts, which are often a form of bragging, but why shouldn’t a hamburger eye be as popular as a smoky eye? In translating these photographs into something more physical, Beavers asks us to consider these questions and exposes the duality of the makeup industry: The same business that strives to make us insecure also enables us to reinvent ourselves, not just in the image of the beautiful as it’s already defined, but in images of our own devising."

This ambiguity is particularly apparent in Beavers's 2015 exhibition, entitled Ambitchous, which incorporated beauty Instagrammers and YouTubers' makeup renditions of Disney villains alongside "good" characters.  Blumenstein explains: "So it isn’t protagonists with positive connotations which are favoured by the artist, but unmistakably ambivalent characters who could undoubtedly lay claim to the neologism ambitchous, which is the name given to the exhibition. Like the original image material, this portmanteau of ‘ambitious’ and ‘bitchy’ is taken from social media and its creative vernacular, and is used, depending on the context, either in a derogatory fashion – for example for women who will do absolutely anything to get what they want – or positively re-interpreted as an expression of female self-affirmation.  Beavers also applies this playful and strategic complication of seemingly unambiguous contexts of meaning to the statements contained in her paintings. It remains utterly impossible to determine whether they are critically exaggerating the conformist and consumerist beauty ideals of neo-capitalism, or ascribing emancipatory potential to the conscious and confident use of make-up."

More recently, Beavers has been using her own face as a canvas and making her own photos of them her source material, furthering her exploration of the self. "Staring at yourself or your lips for hours is pretty jarring. But I like it, because it creates this whole other level of self,” she says.

This shift also points to another dichotomy in Beavers's work: in recreating famous works of art on her face, she is both critiquing art history's traditional canon and appreciating it, referring to them as a sort of fan art.  "I think a lot of the works that I have made that reference art history—like whether it's Van Gogh or whoever it is—have a duality where I really respect the artist and I'm influenced by them, and at the same time I'm making it my own and poking a little fun. And so, a lot of these pieces originated with the idea of fan art. You'll find all sorts of Starry Night images online that people have painted or sculpted or painted on their body. It comes out of that. And I just started to reach a point where I was searching things like 'Franz Kline body art,' and I wasn’t finding that, so I had to make my own. Then it started to get a little bit geekier. I have a piece in the show where I am painting a Lee Bontecou on my cheek, that's a kind of art world geeky thing—you have to really love art to get it."

Ultimately, Beavers perceives the intersection of makeup and social media as a force for good.  While the specter of misinformation is always lurking, YouTube tutorials and the like allow anyone with internet access to learn how to do a smoky eye or a flawlessly lined lip.  "I think for a lot of people social media is kind of like the weather. We don't have a lot of control of it, it just is. It gives and it takes away. There's no doubt that it has connected people in ways that are great and productive, allowing people to find communities and organize activism, it can also be a huge distraction...I approach looking at images there pretty distantly, more as a neutral documentarian, and I come down on the side of seeing social media as an incredibly useful, democratic tool in a lot of ways," she concludes.

On the other side of social media, Beavers is interested on how content creators help disseminate the idea of makeup as representing something larger and more meaningful than traditional notions of beauty. "I was super fascinated with makeup and all of the kinds of costume makeup and things you can find online that go away from a traditional beauty makeup and go towards something really wild and cool...I also had certain paintings in [a 2016] show that were much more about costume makeup, that were going away from beauty. That’s the thing that gives me hope. When I go through makeup hashtags on Instagram, there will be ten or twenty beauty eye makeup images and then one that’s painted with horror makeup. There are women out there doing completely weird things, right next to alluring ones." In the pandemic age, as people's relationships with makeup are changing, "weird" makeup is actually becoming less strange. Beavers' emphasis on experimental makeup is more timely than ever.  I also think she's documenting the gradual way makeup is breaking free of the gender binary.  She says: "I mean with makeup, and the whole conversation around femininity and makeup—I think for a long time when I was making makeup images, there were people that just thought, 'Oh, that's not for me,' because it's about makeup, it's feminine. But it’s interesting, the culture is shifting. I just saw the other day that Alexandria Ocasio-Cortez did a whole Instagram live where she was putting on her makeup and talking about how empowering makeup is for trans communities...some people see make-up as restrictive or frivolous, but drag performers show how it can be liberating and life-saving."  Another point to consider in terms of gender is the close-up aspect of Beavers's paintings.  With individual features (eyes, lips, nails) separated from the rest of the face and body and removed from their original context, they're neither masculine nor feminine, thereby reiterating that makeup is for any (or no) gender.

All I can say is, I love these paintings.  Stylistically, they're right up my alley - big, colorful and mimicking makeup's tactile nature so much that I have a similar reaction to them as I do when seeing makeup testers in a store: I just want to dip my hands in them and smear them everywhere! I also enjoy the multiple themes and levels in her work. Beavers isn't commenting just on makeup in the digital age, but also self-representation online, shifting attitudes towards makeup's meaning, the relationship between painting and makeup, and Western art history.

What do you think of Beavers's paintings? 

[site-specific-vada-baldwin]

Presentation Prep

I wrote a script and pre recorded my presentation which was useful since I had a lot of video and digital work to show. this also helped me be able to say what I wanted to in the presentation. 

So I wanted to do write design because I didn’t really know what it was and I wanted to try a different style of designing, in order to widen my understanding of the design process and designer/director/writer collaboration. I also liked the idea of working with an existing site and developing a performance that is unique to that space. Taking theatre out of its traditional space was also an exciting prospect because it makes theatre accessible to a wider range of people. I also wanted to improve my model making skills and really get to grips with working digitally. In my manifesto that I wrote at the begging they key point for me was to get the right balance between the site itself and the design I produce, making sure not to over power the site I was working with.

Why bca

I chose the bare chested adventurer for a few reasons. when we visited the site with Bridget, the way she described the text was really clear to me and it felt exciting to focus in on this small section of life that one existed in this house. I loved the idea of the houses physical state being reflective of the emotional deterioration of the characters inhabiting it ad the idea that the house itself was a character. I really wanted to find an interesting way of giving the house a voice and a presence. As you can see from the pictures of the site, it has so much to offer allready and I felt o could really get stuck into making the piece specific to the site.

Process

So the process has been different to other design projects, with agog research and developmennt of ideas. I liked going back to my research throughout the process. I began with ideas of puppetry and making the house a character and it having this almost malevolent hold on the people that live there. initially I was researching the themes of drug use and how that impacted the characters emotional statee, I then got too caught up in this, taking a completely different route, looking at video mapping and the function of the brain, but when I took a step  back, I revisited my original ideas which helped me gain focus again. Niro board was really useful for me because I had all my ideas on one page and I could easily see them together. This helped me decide which design elements worked together.so I ran with the main focus of bringing the ouse to life. I found a poem by Robert cording which reads “ I have come to love slowly how old houses hold themselves” this sparked ideas of the house being a person or even multiple people and I asked myself lots of questions about how they would interact with the charactersannd if they should speak, but after discussions with Bridget we decided it would be more effective for the house to be alive in a more subtle way. this ultimately worked better wit my other ideas for the actual visual design.

So my initial inspiration for this was

 this image. It got me thinking of having the scenes around the house like a museum of this familys history.  This idea let itself well to the scenes and movie the audience around the space, making the most of the site.

Image 2. This image of scaffolding inside a building was the second key image for me. having the inside and outside come together since the house is already over grown with nature stood out to me. Because Scaffolding is ususlly seen on the outside of buildings, having it on the inside really empasises the feeling of unease I was looking to create in the performance and it also helps demonstrate that this family is broken and needs to be supported.

I then went on to researching magical realism. I watched pans labryth and realised that the design of it and the themes (particularly the feeling of hopelessness and a battle with a negative force ) was something I wanted for my performance. I then went onto watch the shining as the design is intended to be off putting which helped me discover ways of making my audience feel as unsettled as Laura does in this house.

Combining the framed scenes with a more magical element of puppetry and movement would really emphasise the power the house has on the characters which is why Seth finds it hard to leave so I began to find ways of realising this.

The way I imagine bringing the house to life would be using practical elements that are of the house which would create a kinetic space. I would do this in the performance buy having ivy reaching out towards Seth as if the house it trying to keep him there, having dust falling when Gillian gets angry, having water run down walls when a tap is turned on, leaves falling over the characters, rubbish rustling in a corner, and wallpaper peeling off the wall. Id also use sounds that again are like echos of the people who once lived here, maybe a phone ringing unanswered ,footsteps or  a doorbell  Lucy suggested I show my ideas of puppetry and movement and the house being alive in this way through a film, but I realised it was quite difficult to get this across so the film gives more an impression of the family history in the piece with some of those practical elements.

Play film.

The idea with costume was that each character looked as if they were consumed by the house in varying degrees. 

So first we have Gillian, the grandma, she has simple clothes with  Layers of fabric that represent all the history built up around her.She is weighed down by her life ad she is now blending Ito the walls with the graffiti, she has lost most of her identity but her sparkly shawl and  She wears a cat broach which was inspired by the cat she kills in the original story show that the woman she one was was a little glamorous. and an awful 70s fur rug sits at her feet hi lighting how sort of grim she has become. 

Next is Keith, yes he is still very much of the house but he has more of himself present, he has rock climbing equippment  suggestive of his adventurous days. The yellow tie around his head suggests he is a bit of a joke to other people, his mad busies ideas ever work. His shorts blend into the graffiti and dirt of the house, he has spray pain on his arms and legs he doesn’t bother to remove when he paints. He wears a surfing brand t-shirt from the 70s when he bought it as a younger adventurer  he wears it with his watch to time the waves but he no longer surfs.

He also has a dressing gown that is almost like a beech towel that he would remove during the performance.

Next is Seth, he sits looking sad and worn down, his clothes are stained and imprinted with some graffiti but he is less consumed by the house than Keith, he watns to leave , the grey and blue of his clothes are quite dull and come from the house . The stripes on his shirt are the. Colours of Lauras clothes so that he mirrors her a little, showing he wants to leave and be with her but he can’t

And last we have Laura, she doesn’t blend into the house at al, she is quite normal, she has dirty white trainers from the site to show she dosnt belong there.

Its summer so she has shorts but its Wales so a huge jumper, her clothes. Odd socks because o one is perfect.

Render 1

Here is how I imagine the main room of the house would look. The audience has been lead to this point by Laura, listing to words of the text and sounds of the house and they enter the house, this is where we meet. Seth sitting on the scaffolding that is suggestive of a bedroom, ivy reaches out to him,  It has probably collected there as he spends a lot of time here and the house is constantly reaching out to him through this use of ivy. the scaffolding is old, over grown and was probably one of keiths failed attempts to fix the house many years ago. Seth would sit not playing his cello probably looking out of his window at the sea 

Model

The next moment I chose to focus on is the kitchen scene between Seth and his dad Keith. They talk and make fritters. I wanted the scene to be in this room of the house because it is a bridge between Keith and Seths spaces, a place they can meet in the middle and the audience can observe this from the end of the kitchen. 

 I wanted to use the site as it is and build onto of it in order to give an impression of what the house would have been like Almost like the past and present merging together to create a feeling of the characters being ghosts in their own house

 My aim with the design was to further the feeling of ueasemin subtle ways much like I the shining. There is a 4 seater table but only 2 chairs in the kitchen, the other chairs are placed randomly else where in the site, to suggest that Andrea the mother left years ago. Because of this the design of the kitchen would be outdated for the time. This late 90s early 200-s house has a dated 80s carpet in the kitchen which isn’t practical and to an audience today this would be more rare, the ugly marble pink tiles which were taken from a tile I found at the site would also look. Very 80s. They almost grow. Out from the corner suggesting there would  have been a full room of them. I chose the outdated AGA cooker that would be common in a farmhouse is rusty. 

 Graffiti on the walls and furniture that Keith has done himself read smoke and worlds best fritters.. rubbish piles in the corner, pizza boxes, beer bottle and banana peels and a rusty sink hangs off the wall.

The carpet is also becoming a part of the earth and the vines are taking over the walls. This is actually less over grown than the site itself.

I also wanted to mention that I made one of my walls with mount board and no foam board to see how I could use it to make designing more sustainable and it was really useful to do, I think ill use it again.

Image 3. This image was the inspiration for my next and final moment. When I saw this image it was exactly how I pictured the end of the performance. Keith and Seth sitting among their rubbish and old belongings which Seth removed from the house having one last Sesh leaving the audience wondering if they will actually change their ways or if they will carry on as before. The house looks inviting, drawing Seth back in, Keith is a part of the house, also tempting him to to go. This image for me was one that was clear from the beginning and really helped guide the rest of my design.

 Reflect

So at the beginning I said I wanted to improve my model making and digital skills which I think I have, im really happy with my costumes. I also thing I got the balance of site and design right. My film didn’t really communicate what I wanted it to but it was helpful for me to realise the difficulty in communicating movement in a design and actually that id need to consider how this movement would be realised in the show.