The first and the second readings provide us with symbols that I believe they are aspects of fundamental changes in our existence. Both Foster and Katz give interpretations to the artwork of artist Richard Hamilton from different perspectives. In these interpretations, I find the three pieces of artwork, that is, Hommage a Chrysler Corp., 1957, AAH!, and Hers is a Lush Situation intriguing in the aspect that they typify the existence of a specific era. Primarily, the two readings provide a picture of people symbolized shoppers, and they manage to describe how the old civilization and international politics were consumed by capitalism. Although Foster and Katz present an excellent analysis regarding the artwork as mentioned earlier pieces, I believe there are similarities and differences in their interpretations.
According to Hal Foster, Hamilton is a multimedia artist, and through his work, Hommage a Chrysler Corp., 1957 , he demonstrates and reminds us how his way to art was possible through drawings. This is the reason why Foster believes that most of the traditional roles are outmatched by the popular arts, which have enabled Hamilton to come up with a complex artwork which at a far distant, appears to be a fantastic abstract. After paying close attention to Hommage a Chrysler Corp., 1957, Foster perceived that Hamilton was able to make a form of drawing out of a woman. To a greater extent, the author of the first reading visualizes a woman with large breasts and a hot body leaning over the bonnet of the car. Based on such interpretation, Foster attempts to glue our perception towards the fact that the car and the woman are inseparable since they are woven together to form one art that implies automobile was a design object during the 20 th century. In this way, Foster believes that Hamilton adopted symbols from different fields to create a captivating stylistic language for consumer goods. Therefore, this is one of the series where Foster compares cars with women using the visual language of the automobile industry. Similarly, the first reading reveals that Hamilton makes a connection between parts of the car and a woman's body, but this time around beyond the formal analogy. In Hers is a Lush (1958), the art is reflected to recall De Kooning’s series of women in a more abstract way. Regardless of whether Hamilton condemns or celebrates fetishization, the theme that remains to persist, according to Foster, is the car advertisement.
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In the second reading, Katz aims at investigating how cultural components find their way to fine art and why advertisement is unadulterated. Katz accords the quality of embracing contradiction to Hamilton's achievement in artwork, where he has managed to balance reactions of cynicism and reverence. The second reading illustrated how art had been used to distinguish between high culture and popular culture, fine art and commodity, nature and culture, and so on. For example, the author of this reading perceives that oxymoronic and protruding orifices have been used in the creation of Hers is a Lush Situation through which Hamilton opposes the connection between the automobile industry and human forms. Instead, he is perceived by Hatz to be in pursuit of deriving painting from the text: hers is a lush situation. The reading implies that the muscular machine is a more or less discreet figure; even tough women are reflected to have command and control. The art painting AAH! (1962) illustrates the interior of the car that has been represented as the human reproductive system. The interpretation here is that driving erotic machine depends on the gender of the motorist.
Based on the two readings, some things and concepts bring the two experts together. For example, both Foster and Hatz agree that Hamilton has contributed significantly to modern art. They both reflect the painting Hers is a Lush of Situation. However, they differ in how they interpret Hamilton’s drawings. For example, Foster pays more attention to how the body of the car is connected and compared to that of a woman. On the contrary, Hatz focuses on the cultural components of fine art. Foster believes that Hamilton adopted symbols from different fields to create a captivating stylistic language for consumer goods that visualizes the language of the car industry. On the other hand, Hatz believes that Hamilton uses oxymoronic and protruding orifices to balance reactions of cynicism and reverence.
These two experts target the car industry and art audiences. This is because they use technical illustrations to present their ideologies that can only be understood by the car industry and art people. In this way, Foster and Hatz demonstrate objective reasoning since they present their arguments based on opinions, and this is why they differ in one way or another. This means that the assumption presented in the two readings are valid and well researched to support their arguments. Importantly, these experts have used language full of emotional-arousing words to persuade and influence the target audience.
