Rules for Rhetorical Art
Following a review of an exhibition of art by Joy Gerrard and Paula Rego, I distil some rules that any artist using rhetoric should consider.
Below are some lessons drawn from an exhibition I reviewed here by no means exhaustive. These should be born in mind by any artist making rhetorical arguments through art, regardless of their politics. As these things are not taught in university art departments (and even some of the more traditional art schools), they are worth spelling out, despite seeming obvious. Even obvious things are not taught now, because they can be used against the establishment and the status quo by the competent rhetorical artist.
1. Modulation of means wins the pictorial argument
In some art – Fox’s Book of Martyrs, Goya’s Miseries of War, some scenes of crucifixion, scourging and Ecce Homo of Christ, manuscript illustration, some Renaissance art and especially graphics – we see actual violence depicted, but this is usually not detailed. It is the force of simplicity that carries the argument, where detailed gore would sicken. In many paintings of violent subjects, details of the violence are hidden or implied. Implication works very well, as the imagination (impelled by the unconscious fears of the viewer) can be more affecting than literal depiction.
2. Partial description and hidden corollaries
When some facts associated with your argument undermine your case, elide them by concealing. Ignore or overlook what will dilute or contradict your message. Your work on the wall will go unchecked. The opponent cannot put up a contradictory painting or a label that refutes the art work. (Unless the display is deliberately intended as a show trial of the artist – another matter entirely.) In general, art is not a debate but separate statements. Only in publications will permit an artistic riposte to receive coverage the way the original (and usually more famous) art work will.
3. Pathos sways the audience
Use emotion to sway the audience and win your case. The way the audience feels is more important than what it thinks. To appeal to compassion and the better nature of the audience (please extend pity, please show empathy, please act to prevent this indignity) works better than a logical argument or a presentation of material advantage. Relying on appeals to humanity and compassion makes the audience sympathetic towards those one portrays as victims. It is easy to detach a person from their code of behaviour if you can present the case as an appeal to pathos on an individual basis, using extrapolation made unclear by the haziness of the nest of contradictions and unintended consequences.
4. Ethos of the artist bolsters the credibility of the argument and disarms logos
If you trust or like an artist, you are more likely to be sympathetic towards their statements. The credibility of the artist is also an argument from authority. This artist is collected by these people, has work in museum collections, has won awards, is famous, therefore they have a store of credibility which they can expend on backing causes that may not be worth backing or making arguments that are weak or faulty.
5. Good and suitably deployed technique
Rhetorical force is increased by persuasive ability. Displaying skill and craft adds authority to rhetoric. Learn the appropriacy of pictorial modes and means to enhance your argument. Recognition of your artistic technical ability leads the audience to think your rhetorical or logical skills are as well developed.
6. Use art history
Art history can be pressed into service by the knowledgeable artist. It can act as a prop that lends credibility to new art, by way of justification or endorsement. Rego’s technique and imagery evokes Goya’s, a master of the satirical and fabulous; by transference, Rego’s art achieves some of that credibility and authority. Becoming the spiritual heir to a tradition (claimed, imputed, actual or fictive) makes that new art an extension of the old. Thus, by transference of authority, Rego’s work is equivalent to a posthumous work of Goya. Gerrard’s work “reminds one of Constable’s”, and so on.
7. Fable and allegory are viable
Indirect narrative via established conventions of the fable and indirect depiction allow the artist to exaggerate and intensify emotion (point 3) and softens reality (point 2). The argument is conducted by equivalence. So-and-so is like Pinocchio or King Cnut or King Arthur. As that story and the moral values are already fixed (or at least familiar), the artist’s argument can be more summary or weaker. Satirical cartoons are very effective and use this approach to great impact.
8. Humour works
It makes propositions more palatable, encourages empathy, deflects criticism and makes contention seem unreasonable or meanspirited. It develops the artist’s ethos and allows the audience to feel on the wavelength as the creator, making the audience better disposed to any proposition by that artist.
9. Appeal to the senses through attractive colours, clear design, visual incident, etc.
Do not be afraid to make pleasurable art even if your message is serious. People respond strongly to pleasure and take delight in spending time with art that they enjoy in a sensual way, aside from any rhetorical content. Do not think that your seriousness is undermined by use of beautiful colours, attractive shapes, expensive materials. This had to be watched so that it does not degenerate into a pure pleasure seeking on the part of the artist, but in moderation it works well. For some art, forcefulness and indomitability work best, other times one can welcome the audience and delight in order to persuade.