Adapted from Stephen Harmon and Stanislav Rivkin

All Images argue something, just like written rhetoric. But unlike written rhetoric, visual rhetoric may be less straightforward. It might require additional analysis to understand the argument .

• What is analysis?

• What is analysis?
• Ana – up, in place or time, back, again, anew
• Lysis – a loosening

• What is analysis?
• Ana – up, in place or time, back, again, anew
• Lysis – a loosening
• Analysis – to unloose, undo

• Ana – up, in place or time, back, again, anew
• Lysis – a loosening
• Analysis – to unloose, undo
– A detailed examination or study of something so as to determine its nature, structure, or essential features.
– Also: the result of this process; a detailed examination or report; a particular interpretation or formulation of the essential features of something.

• What is analysis?

• What is analysis?
– Taking something apart to understand how it works or what ideas and assumptions might be present.
• But what should you examine when you analyze visual rhetoric as opposed written rhetoric?

1.) Depictions—What might be some of the artist’s assumptions about how something or someone appears or behaves?*
2.) What premises does the artist seem to rely upon in her premises?
3.) What is the pattern of those depictions and premises?
How do they relate or inform one another? Do they combine to form certain ideas?
4.) What is the central idea/conclusion/argument of the piece?
*The primary difference between analyzing written rhetoric and visual rhetoric is Step 1: Depictions. Visual rhetoric has many unique modes of depiction.

Types of Depiction in Visual Rhetoric:
An Incomplete Guide
• Composition— how the artist guides your eye around the image, the shapes made by the placement of objects
• Juxtaposition— how things are placed in relation to one another

Depiction in Visual Rhetoric
(continued)
• Figures— clothing, posture, facial expression, gestures, line of sight, objects held
• Objects— what’s written on them, what they are pointing at, juxtaposition, etc.

Depiction in Visual Rhetoric
(continued)
• Symbolism – anything that might represent an idea or attitude instead of just a person or object, including color
• Perspective – the perspective the painting forces us to take on the scene
• Colors – how these affect all of the above

• Show how ideas interact
• Locate a larger theme
– Representations of class or gender, for example

1.) Depictions—What might be some of the artist’s assumptions about how something or someone appears or behaves?*
2.) What premises does the artist seem to rely upon in her premises?
3.) What is the pattern of those depictions and premises? How do they relate or inform one another?
Do they combine to form certain ideas?
4.) What is the central idea/conclusion/argument of the piece?

Let’s practice these steps together, using the following images…

What does this image mean to you? Write down your thoughts in 1-2 sentences.
Guernica, By Pablo Picasso

Freedom of Speech, Normal Rockwell

Jacob Lawrence, Tombstones,
1942. Gouache on paper, 30
7/8 × 22 13/16 in. (78.4 ×
57.9 cm). Whitney Museum of American Art, New York; purchase 43.14
© 2010 The Jacob and
Gwendolyn Lawrence
Foundation, Seattle / Artists
Rights Society (ARS), New
York

Ram’s Head with Hollyhock, By
Georgia O’Keeffe

What does this image mean to you? Write down your thoughts.
Andy Warhol, Electric Chair, 1971, from the portfolio Electric Chair. Color screenprint, 35 3/8
× 47 7/8 in. (89.85 × 121.6 cm). Edition of 250. Printed by Silkprint Kettner, Zurich; published by Bruno Bischofberger, Zurich. Whitney Museum of American Art, New York

David Wojnarowicz, Untitled (One day this kid . . .), 1990. Photostat, 30 × 40 1/8 in. (76.2
× 101.9 cm). Edition of 10. Whitney Museum of American Art, New York

Mary Ellen Mark, The Damm Family in Their Car, Los Angeles, California,
1987. Gelatin silver print, 14 9/16 × 14 3/4 in. (37 × 37.5 cm). Edition no.
12/75. Whitney Museum of American Art, New York

Republican Automatons, By
George Grosz (1920)

Arthur Tress, Boy in Burnt Out Furniture Store, Newark, N.J., 1969. Gelatin silver print, 15
× 18 7/8 in. (38.1 × 47.9 cm). Artist Proof. Whitney Museum of American Art, New York;

Nam June Paik, V-yramid, 1982.
40 televisions and videotape, 186
3/4 × 85 × 74 in. (474.4 x 215.9 ×
187.9 cm). Whitney Museum of
American Art, New York

Three Flags, By Jasper Johns
What does this image mean to you? Write down your thoughts.

Comparing/Contrasting, Generally
(…and specifically with Images)
• Make sure the images have at least some significant similarity in either their objective, theme, substance, topic, depiction, etc
.
Using music as an example, you won’t learn as much about the artistic message of the Beatles by comparing them to Taylor Swift as you might learn about the Beatles if you compare them to the Rolling Stones. Both are full bands, from the same era, and the same country, experienced unprecedented success, and had many of the same influences. And yet, they went in different directions with their music and approach. Because of their many similarities, you could examine their differences and get a better idea of how and why they thought differently from each other, whereas you couldn't’t even begin to understand or explain the difference between the Beatles and Taylor Swift.
It’s too large to properly examine with any insight.

Comparing and Contrasting Recap and
Tips
• Prioritize comparing underlying assumptions of (somewhat related) images
• Don’t try to compare everything. Focus on just a few key differences.
• Avoid stating the obvious

Compare & Contrast the Following
Images…