2

Contents
chapter

Introduction Post-War Changes to Food Cultures

-The Rise in Working Women -McDonaldisation -Ketchups links to Fast Food

5.

1.
chapter

11. 13. 15. 19.

2.
chapter

The Pop Art Movement

-An Every-Day Subject Matter -Food in Pop Art

21. 23. 25.

3.
chapter

The Photo-Realist Movement

-Case Study: Ralphs Realism

33. 37.

4.

Ketchups Significance Today Conclusion References List of Illustrations Bibliography Appendix

47. 53. 57. 59. 61. 67.

Introduction
In every culture, in every historical period, food is thickly surrounded by symbolic cultural meaning. (Smart, 1999: 71) and in our western culture at this current period in history, I would like to put forward the idea that the food (or condiment, in this case) that is surrounded by the greatest symbolism, is Tomato Ketchup; and that we are in-fact living in a Ketchup Culture. My aims for this dissertation are therefore to catch up with Ketchup by conducting significant research that will enable me to discover how and why it is so significant. The inspiration for this project came from the uproar caused in my hometown of Worcester when a new American Diner opened and rumour spread that as a premium establishment, Ketchup would not be available to accompany your classic American cuisine. As it happens, this rumour turned out to be false however it still acted to bring to my attention the infatuation that people have with that little red bottle of sauce. Fresh in my mind, I began to notice the sheer variety of age, sex, race, and class of people that would opt for ketchup, whether in a fast food restaurant, local cafe or on the conveyer belt of supermarkets, I began to see ketchup as the one thing that everyone could relate to and recognise as normality, acting as a cultural glue for our nation. To give a brief history, despite usual presumptions that ketchup was born and bred in the USA, it was originally a product of China. The original Ketchup (or Catsup as it has also been known) was created in the 1690s from a recipe of pickled fish sauces (Trowbridge-Filippone, P. Online, 2007). Over the years the recipe has spread across the World and developed into the tomato version that we know and love today, with the first published recipe for tomato ketchup appearing in its cliched homeland of America. The fact that ketchup made its first American appearance in a pre-war cookbook reflects the attitudes of the time, indicating that it was a product that housewives would aim to make at home rather than buy in store.

Figure 1: Blue Label Ketchup, 1898

However, in Figure 1; an advertisement for Blue Label Ketchup dating back to 1898 was already suggesting that housewives were struggling to keep up appearances. The kind youd like to make at home if you could is an active persuasion for women to give up on their attempts to fulfil societys expectations of them and simply buy their families a bottle of ketchup from the grocers instead. Branding expert Wally Olins states that The first great period of branding began in the 1870s and 80s when all the technologies came together (Olins, 2003: 51) and it appears that Blue Label are a clear representation of that statement, encouraging store-bought produce. The genious lay not so much in inventing the product, or even in manufacturing and distributing it, but in communicating a simple, single, dramatic, frequently exaggerated and sometimes mendacious statement about it again and again (Olins, 2003: 52) Even today, despite the current trend of creating home-made meals, its very rare that any consumer would ever choose to make their own ketchup at home. On his own recipe for Tomato Ketchup, Celebrity chef Jamie Oliver openly commends the quality of current market leader, Heinz; Bizarrely enough for a chef, I really do take my hat off to Heinz, who have become the global brand of quality in the ketchup world. Its such an everyday cupboard product that youve probably never thought to make your own. (Oliver, 2008, Online) This not only reinforces my belief that Ketchup is one of the few things that unites our nation, but also acts to show that nobody desires or even thinks to make Ketchup at home because quality brands are making it readily available to us, worldwide.

The aim of this dissertation will be to investigate the cultural significance

that tomato sauce has on our nation, and how and why its impact on peoples lives has grown extensively throughout the course of its history. In order to do this I will use visual culture to investigate ketchups prevalence as an item of mass culture and consumerism. In Chapter 1, I will discuss the post-war changes to food cultures, looking specifically at the rise in consumerism post-war and how this was further exaggerated by the technological, cultural and social changes of the era. Moving chronologically through history, Chapter 2 will look at the Pop Art movement and their focus on mass culture, investigating where ketchup appears in the Artists work. Following this in Chapter 3, I will discuss the Realist Art movement using Ralph Goings as a case study and including his own thoughts, gained from an online discussion with himself (See Appendix 1) In this chapter I will look at how ketchup was significant within this movement and what the realists aimed to depict in their work. Finally, Chapter 4 will look at how I believe ketchups significance is made clear today and I will end with a conclusion as to whether I have fulfilled the aims set out above.

10

Post-War Changes to Food Cultures

In order to discover how we have come to live in such a ketchup-obsessed society, I will begin research looking at the Post-War era that granted so many revolutionary changes to society. These changes have continued to develop throughout the course of history ever since the War and the variety of such changes, including advances in technology and the rise of working women, all acted as factors which would lead ketchup into the forefront of our culture today. Following WWII, changes in technology, economy and social attitudes began to occur rapidly in the UK and USA alike, acting as factors contributing to the rising success of brands, including Ketchup. In the UK and the rest of Western Europe, we benefitted economically from the mixed economy that we had inherited following the War, which surprisingly delivered economic growth faster than the world had ever seen before, allowing the UK and Western Europe to transform into an industrial economy and society (DeLong, Online, 1997.) Meanwhile, In the USA, despite fears that a drop in military spending would bring back the hard times of the Great Depression, they too benefitted from strong and continuous economic growth of which pent up consumer demand, a housing boom, and a baby boom which then increased the middle class population; all contributing factors to said growth (Beggs, Online, 2011.) This led to an influx of new commercial businesses starting out across the western world and pre-war businesses such as Heinz, picking up where they left off, providing Americans with prosperity, jobs, and smiles whilst also being the source of a plethora of new products in the 1950s (Guimond, 1991: 177.)

11

Figure 2: 1948 Advert for Heinz Ketchup

12

The Rise in Working Women

One of the biggest contradictions of the late 40s and 50s came from social attitudes regarding a womans role. Womens desire to be the perfect housewife still rang true whilst they were also eager to have a career alongside this. This attitude is demonstrated in a way that relates to ketchup, in the comedy screenplay, The Thrill of it All (1963) starring Doris Day. Day plays a proud Doctors wife, Beverley Boyer. A scene in the film shows Mrs Boyer being caught off-guard whilst making her own ketchup by advertising mogul Mr Palmer who questions and mocks her housewifely actions, saying You bottle your own ketchup? Ive never seen anyone make their own ketchup before- its fascinating! This scene actively demonstrates the changing attitudes of the time. Mrs Boyers home- made Ketchup is used to signify her commitment to her role as housewife, whereas, Mr Palmers shock and humoured reaction to her activities are a signifier of mens changing expectations of a womans role. The increasing number of women in the workplace left them with far less time to complete household chores and cook healthy home-made meals for their families in the evenings. This change in cultural norms was likely to be a catalyst for the growth in eating outside of the home and therefore an ever-increasing number of restaurant environments crept up across the Western World. This 1948 advert for Heinz Ketchup shown in Figure 2 is a clear reflection of this change in the eating habits and womens roles within mass culture. The advert shows a man eating out in two different environments; a restaurant and a cafe. In both he is shown to be served by smiley women therefore showing womens new found role in the workplace whilst also depicting their unchanged attitudes in desiring to please a man. From the text within the image, it is clear that Heinz recognised the significance of this social change, considering it great enough to launch this advert, directly targeting restaurants and encouraging them to stock Heinz as their choice of ketchup. This also acts to signify the quality thats denoted from the simple act of branding a product.

13

Figure 3: Concept Design for Standardised McDonalds, 2008

14

McDonaldisation
The most recognisable chains of restaurants that grew out of this era were the ones that served fast food. The lower prices and multitude of locations enabled families to eat out more regularly and conveniently whilst the speed of the whole process meant they could return home quickly for a relaxing evening, hence their notable popularity. The continuing growth of the fast food industry ever since this time has been recognised by many as an undoubtedly interesting and important social, cultural, economic and environmentally consequential development. (Smart, 1999: 3) and the undeniable associations that these establishments have with Ketchup will prove a key part in understanding its social significance today. Fast food chains such as McDonalds would not have been able to become vast enterprises in such a short period of time, had mass consumerism of brands not also been on the rise. After the War, various companies would begin manufacturing products that were already available and therefore would be in need of distinguishing themselves from their competitors by creating a brand and unique selling point. This increase in branding combined with the contributing factor that an increasing number of households had televisions resulted in consumers being subjected to a level of advertising that theyd never seen before. Televisions influence had made seeing central to the whole meaning of the 50s and therefore Things and events of the decade were tailored to the visual sensibility (Umphlett, 2006: 23). In Brought to you by, Samuel notes television advertising to have been the loudest voice of the American Dream, promoting the values of consumption and leisure grounded in a domestic family orientated lifestyle (Samuel, 2001: 03) As this suggests, consumers therefore became more sophisticated in recognising the importance of brands and began to favour the familiarity and consistency that brands such as McDonalds, Heinz, and Campbells were offering to previously standardised products or services.

15

Figure 4: McDonalds Pick-Up, 1970.

16

Figure 5: Pit Stop (From High West), 1999.

McDonalds soon became the most popular fast food brand of the 50s and remains that way in todays culture where its logo; the Golden Arches, have overtaken the Christian Cross as the second most widely recognised symbol in the World. (Smart, 1999: 14) McDonalds have shown characteristics of a good global brand through a standardised menu, in-house fittings and advertising and promotion which enables the McDonalds consumer to participate in the hyperreal ideologies of Americana, family togetherness and social bonding. (Smart, 1999: 191) As an example of such, Figure 3 on previous page, was taken from a 2006 Design Collection, shows one of the 13 recent concept designs for a McDonalds interior to be replicated worldwide and therefore maintains the brands uniformity to consumers. As well as the efforts to maintain the brands continuity and familiarity to consumers, another significant factor played a key part in fast foods growth and popularity post-war. The increase in both car manufacturing and average family income resulted in a greater number of cars on the streets, so, siezing this opportunity, McDonalds along with a number of other cafes, diners and fast food restaurants began to locate along the roadside wherever possible, particularly in the USA where vast stretches of roadside had been deserted for miles. Figure 4, McDonalds Pick-Up, is a painting by Ralph Goings from 1970 where the relevance of the fast food restaurants roadside location is clearly shown by the truck parked outside. Similarly, in Figure 5 Pit Stop (From High West), 1999, a more recent depiction of a McDonalds restaurant is shown. The man-made logo is depicted clashing with its natural, mountainous location, yet the title suggests that the artist appreciates the brands whereabouts as a familiar pit-stop from his journey. This shows the importance of the use of bold logos and bright colours in branding when competing for a first place market share as they were post-war. Brands and roadside food providers competed for custom by using Bold forms, gaudy colours and garish signs brightly illuminated at night... to sharply contrast restaurants with their surroundings. (Carney (Ed.), 1995: 108)

17

18

Ketchups link to Fast Food

From investigating the rise of the Fast Food outlets which occurred as a result of the fast-paced post-war changes in culture, we are left to question whether consumers were actively choosing efficiency or simply being constrained to respond to the increasing time pressures, distractions and powerful forms of consumer marketing (Smart, 1991: 6). Either way, what we do know is that consumers were beginning to spend more time in restaurants and fast food outlets, which, as shown by Heinz in Figure 2, were all offering tomato ketchup as the sauce to accompany their meals whatever their target audience and theme. Looking back at my initial inspiration, It could be argued that ketchup does not just have a common association to fast food, but that it completes a large part of the satisfaction gained from fast food. It possesses qualities of a perfect contrast; sweet and salty, mild yet flavoursome, making it a great companion to bland foods such as those you would receive at these venues. This combined with constantly seeing bottles of Ketchup wherever they went, eating in or out, resulted in Ketchups identity as an everyday item becoming embedded into consumers minds and becoming known and loved by all.

19

Figure 6: The Pop Artists.

20

The Pop Art Movement

In order to understand how tomato ketchup has moved from just being a product on the shelves of supermarkets to become key iconography of mass culture, it is important to look at the Pop Art movement. This was the era that made the everyday a work of art and united the nation in its appreciation and understanding of such. The McDonaldisation of the western world had already given consumers a greater knowledge of brands and a desire for products of mass consumption, a social change drawn upon in the latter half of the 1950s as the Pop Art movement emerged to become something of a cultural revolution. The cultural revolution promoted anti-authoritarian education, womens liberation, new career structures and a freer approach to sexuality. (Osterwold, 1991: 7) An Art style had never before arrived hand in hand with such an alternative and fresh scope on the world that would lead the way in changing the cultural characteristics of the time and arguably ever since. In other words, with Pop Art came Pop Culture creating the movement, and whereas the older popular culture stood for the spirit of acceptance, pop culture represented a form of protest. (Melly, 1989: 1) The movement was based on the imagery of consumerism, of which the world had seen increase at a rapid pace: packaging, advertisements and comic books all became the key iconography. The movement had two aims; to discard any previous stereotypes of good and bad taste, in turn uniting high and low culture, and to promote the use of elements of the pop culture to comment on modern society. (Chilvers, Online, 1999) The movement gave birth to five significant figures that became famed for their influence on art and culture through Pop Art, as pictured in Figure 6 with model, Jean Shrimpton. Claes Oldenburg, Tom Wesselmann and Roy Lichtenstein stand to Jeans left, and James Rosenquist and Andy Warhol to her right. The image denotes a feeling of comfort as the artists appear at ease with both the photographer; their friend Ken Heyman, and each-other as peers. The pop artists looking in various directions, and the casual stances that they hold against the painted wall backdrop combine to make the viewer of this photograph perceive them as cool and consider the warehouse as the place to be, making them elite figures in society at the time.

21

22

An Every Day Subject Matter

These five figures of Pop Art worked in distinctly different ways creating pieces of work directly identifiable to each one of them as individual artists, but also to the pop art movement as a whole through choice of subject matter. Melly comments upon the Pop Artists inspirations; Their temple was the Supermarket, their Old Testament the golden age of Hollywood, their saviour Elvis Presley, their sacraments the Hamburger and the Coke. (Melly, 1989: 144) In living through the post- war changes themselves, seeing first-hand that brands such as Heinz were becoming key to society, the artists made it their prerogative to take a half-loving, half-mocking look at the biggest and best world created by the advertising moguls (Lindey, 1980: 29) and then incorporate this into paintings. In subject, their art became accessible to everyone, merging the boundaries of the class system prevalent in art by allowing all members of society a common ground. In doing this, the Pop Art movement has been noted as a significant part of the American Dream by Rublowsky, where he says that; Pop arts imagery is unashamedly inspired by the joys of the assembly line, and its evocation of commercial advertising reflects the mirth and joy of todays scene... Art and viewer are both accessible and acceptable. Pop art celebrates reality and dismisses pretension. (Rublowsky, 1965: Foreword)

23

Figure 7: Rosenquist with Ketchup on Inspiration Board, 1964.

Figure 8: I Love You with my Ford, 1961.

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Food in Pop Art

As possibly the greatest signifier of consumerism, food was often the artists choice of subject whether it be packaging or the food itself. As quoted by Smart in my introduction, the topic of food is something that is always relevant to any class in any culture and is such a ritual in everyones day to day lives that the food inspired work created by these Pop Artists were bound to live on due to their ever- current relevance. Figure 7 shows James Rosenquist looking thoughtfully at his inspiration board. As you will see, the board is filled with adverts and scraps of commercial imagery, a substantial amount of which is food related. Both an advert for Heinz ketchup can be found here and a menu, which, central on the board, is also advertising the sale of Catsup (As ketchup is sometimes known.) His inspiration from food clearly transpired into his work whereby he was well-known for combining food, sex and cars into paintings, often with close up imagery of red canned spaghetti as shown in Figure 8: I Love You with my Ford, 1961. Roy Lichtenstein replicated comic strip styles and techniques to create ironic imagery using a series of dots. His work consisted mainly of people and food as its subjects, however in contrast to his peers he often chose to create images of fruit rather than the fast food that was popular in commercial imagery at the time. One rare piece that does depict an image of fast food was his 1962 image, Hot Dog shown in Figure 9 overleaf. One year later, the Hot Dog continued to be a key icon as it also became subject of choice for Claes Oldenburgs sculpture shown in Figure 10, Small Long Frankfurter, also overleaf. Despite using the same subject, it could be argued that Lichtenstein has depicted the ideal whereas Oldenburg has created a piece which looks more realistic, yet both are still identifiable as a Hot Dog and within the genre, by their simple use of red and yellow, two colours with mass associations.

25

Figure 9: Hot Dog by Lichtenstein, 1962

Figure 10: Small Long Frankfurter by Oldenburg, 1963.

26

Red and Yellow are two of the primary colours that we first learn as children.
This makes them instantly recognisable to all and emote feelings of simplicity. Red in particular is a colour symbolic of various feelings and emotions; red is a powerful and provocative colour (Steele, 2001: 1) and red is also the colour of revolution and radical politics (Steele, 2001: 3), which could suggest its appeal to the revolutionary Pop Artists at the time! Red and yellow are also often used together in branding, particularly in fast food, another reason for the colours to become synonymous to the work of the Pop Artists. Some of the worlds biggest brands have successfully built their empire using these colours, for example Coca Cola, McDonalds, KFC, Burger King, Campbells and of course, Heinz. All benefit from the use of the colour/s in their packaging, but very few products have the benefit of being red in colour themselves. But Ketchup does. In possessing such a bold colour, ketchup has the power to stand alone on shelves in supermarkets and be eye-catching whilst also being tempting to the palette possessing an edible quality. (Steele, 2001: 3) The colour of ketchup is undoubtedly part of the condiments mass appeal and therefore made it an ideal subject of choice in the Pop genre These pop colours were often used by Claes Oldenburg, creator of Small Long Frankfurter (Figure 10) complimenting the dominance of fast food within his work, and helping him to achieve his individual imagery through a fastidious purity of vision. By ruthless self-examination, by purging himself of everything extraneous to the visual experience, the artist has developed the rare ability to perceive the essence of an object with a minimum of social and psychological distortion. (Rublowsky, 1965: 5)

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Figure 11: Floor Burger, 1962.

Figure 12: Campbells Tomato, 1986

28

From this quote we can see that his images and sculptures of fast foods were meant to be a visual representation of how these foods actually looked rather than how consumers viewed them, hence the chaotic nature of the Frankfurter and Floor Burger (Figure 11) when placed next to Lichtensteins pristine and appealing Hot Dog vision. This was a method contrasted by Andy Warhol. As conceivably the most well-known and popular artist from the pop art movement, Warhol was famed for his use of not only food, but brands within his work. In a sense, Warhol wanted to create the opposite effect of Oldenburg in his work: he wanted to visualise products as they were portrayed to consumers in the media rather than how they actually looked, if there was a difference. In doing this, rather than choosing a group of objects or food (such as fast food), Warhol would choose the most well-known consumer brands as his subjects. Warhol for instance painted not realistic soup tins, but soup tins as they were represented in the more banal advertisements of his time. (Melly, 1989: 143) The soup cans in question became one of his most renowned series of works; the Campbells Soup cans. So ordinary a commercial image as the label on a can of soup. The manufacture and distribution of this product represents an investment, in many cases, of millions of dollars. No effort is spared to make the finished product as attractive as possible... The result is an image that quivers with accumulated energy- energy marshalled for the sole purpose of appealing to the consumers eye. (Rublowsky, 1965: 6) Here, Rublowsky discusses the work that goes into creating the packaging which needs to appeal to the consumer, and the possibility that this could have been Warhols inspiration. Figure 12 shows a relatively late piece from the Campbells Soup series Campbells Tomato, 1986. In this piece, Warhol recreates the exact details from the red and yellow soup label before confidently signing his name at the centre of the whole piece, almost as if it is his and he owns it. It is debatable as to whether the brands timelessness have in return made Andy Warhols work timeless or has it been Warhols choice of commercial imagery that has in-fact made these brands timeless?

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Figure 13: Stable Gallery Opening, 1964.

30

In 1964, Photographer Ken Heyman captured this image in Figure 13 showing the opening of Andy Warhols Stable Gallery. Although the photograph is black and white we can imagine the colour portrayed in the room whereby scattered boxes of Campbells Tomato Juice lined the floor and stacks of Heinz Tomato Ketchup boxes lined the walls. Golec describes how Two men, each carrying a briefcase and wearing a Trench coat, talk over a short stack of Heinz boxes...Warhols boxes were easily mistaken for the real thing. Certainly, the two men talking and leaning on a stack of boxes shows their lack of concern for objects bearing their weight. The two gentlemen may very well have discussed this very point, that these objects could not be artworks. Could they? (Golec, 2008: 113) This not only shows the exact techniques that Warhol adopted in re-creating these branded boxes, but demonstrates the publics ease in their presence. Andy Warhols use of Heinz Ketchup in this large-scale event signifies that the brand and product were a symbol of mass culture, relevant enough to recreate as part of his exhibition. In looking at Pop Art created by these influential figures of society during this era, we have been able to find evidence to show the significance of Heinz

a well-known consumer brand and also of ketchup being an indispensible every day product.
Tomato Ketchup in terms of being

31

32

The Photo-Realist Movement

The Realist movement of the 1960-70s was an art movement to overlap and be arguably overshadowed by, that of Pop Art movement. Despite this, I consider the movement to have been an important and often overlooked piece of the jigsaw that is representative of Ketchups significance in culture today. I will therefore be looking at the visual culture provided by the Realist movement in great detail in order to unearth the roots of Ketchups prevalence in todays society. The style of painting used in Realism was said to have emerged from the abstract expressionism that had been popular in European countries such as Germany following the War, whilst also drawing inspiration from pop art itself. Pop was an artistic philosophy, almost a complete way of life, bonded to a consumer culture that was in no hurry to disappear. Varieties of Pop Art are still being made today; more than forty years after the movement first launched itself. Super Realism seemed to occupy a much more restricted piece of territory. The general consensus was that it bloomed and faded within a very brief period. (Lucie-Smith, Online, 2004) Despite this restricted territory, the realist movement predominantly aimed to tell the truth in their work, and therefore their subject matters were very similar and possibly inspired by, the objects that pop artists had already depicted. The pop artists approach towards ready-made imagery paved the way for the super-realists use of photographs as visual sources. But whereas pop artists such as Warhol usually painted the glamorous or famous, the super-realists focus on the anonymous or unknown. (Lindey, 1980: 26) As this statement describes, the realists desire to visualise the truth and therefore not glamorise their subjects combined with the very exact style of painting, often resulted in these objects appearing in a more mundane light than consumers had formerly viewed them in Pop Art.

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Figure 14: American Salad by Ralph Goings, 1966.

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Within the realism movement, the sub-category that I will be looking at in the most detail is Super-Realism (as previously mentioned in Lucie-Smith) or Photorealism as it is sometimes referred to. In Surrealist Painting and Sculpture, Lindey references the interlinking of the three movements; Pop Art, Abstract Expressionism and Realism, by saying If abstract expressionism was the father figure which super-realism metaphorically kills, its mother was pop art. (Lindey, 1980: 27). The main way in which photo-realism was set apart from these related movements was because of its methods. As the name suggests, Photo-Realist artists used photographs as their sources to draw from and in doing so created their final images that would bear an identical resemblance to the photo that they had started with. In using these methods, it was sometimes seen as a return to pre-modernist attitudes: the re-emergence of the western realist tradition after its temporary immersion under modernism during the 20th Century (Lindey, 1980: 23) and therefore often resulted in harsh criticism. In order to visualise my points within this chapter I will be using the work and theories of Ralph L Goings as a case study, investigating his devotion to four decades of realism and the repetitive use of Tomato Ketchup within his work.

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Figure 15: Pool Crackers by Ralph Goings, 1966.

Figure 16: Abstract Composition, 1923-25

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Ralphs Realism
Figures 14 (previous page) and 15 are taken from a selection of Goings early work, both painted in 1966. The first thing you will notice about these images is that the despite individual images being painted in a realist style, in my opinion, the composition of these images resemble the angular clashing shapes that are typical of abstract art such as that shown in Figure 16, Abstract Composition by Kurt Schwitters, 1923-25. The paintings by Goings can therefore represent how the roots of Realism lie in abstract expressionism. At the time of these paintings, he was an Art student and reminisces about himself and his peers in an interview as being as much aware of the current art scene as what was going on in the classroom. He describes how... Everyone would go home at night and switch to their big brushes and their big canvases and make enormous messes... It took me a number of years after I got out of college to work my way out of Abstract Expressionism. (Goings, Online, 2004) Despite taking him a number of years to get out of the abstract expressionism genre of art, Goings devotion to painting every day items was clearly evident in his young career in the 60s where among other items and people, tomatoes featured regularly. The prevalence of tomatoes in his early pieces could be seen to represent his love for the colour red, which, similarly to pop artists, translates throughout his whole career. Whilst discussing this project in an online conversation with Goings he described red as being a most attractive colour and fun to work with, joking about times hearing art dealers comment that the more red in the art, the higher the price [sic.] (Goings, Online Conversation, 2011) By the 1970s Ralph Goings had broken away from his roots in abstract expressionism and embraced photo-realism, becoming the most famous painter to be a part of this movement. His interest in the every day items, as shown before in his work from the 60s, had grown and in taking inspiration from the success of Pop Art, Goings felt permitted to approach everyday subject matter. (Parks, Online, 1996)

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Figure 17: Pee Wees Diner, 1977.

Figure 18: Breakfast Menu, 1979.

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Ralph Goings became famed for his use of pick-up trucks (previously seen in Figure 4) and diner environments as subjects. This dedication to painting diners led to his repeated use of Ketchup bottles within his work as They are a ubiquitous presence in American diners and cafes (Goings, Online Conversation, 2011). An example of such can be seen in Figure 17, Pee Wees Diner, painted in 1977. In this image he has created a still life that is recognisable to all, painting an arrangement of objects that we see and take for granted whilst eating out. Goings famously loved looking at reflections of light and saw beauty in objects that others wouldnt cast a second glance at; Embracing banality is very much the point of what Goings does. He wants to tell us that the most ordinary things are well worth looking at. (Lucie-Smith, Online, 2004) In using Ketchup as the centre piece to many of his compositions in the 70s and ever since, Goings has paid tribute to the condiment; seeing it as an item worthy of looking at in greater detail. He has done so in placing the glass bottle of ketchup at the forefront of the composition, and in painting it full and surrounded by non-food items, it appears more appealing to the viewer, thus helping them overlook its ordinary nature and see its beauty as an object. Similarly in Figure 18, Breakfast Menu, painted two years later in 1979, the plastic ketchup dispenser featured is purposely placed central to the composition, once again with its red colour acting to break up the white, half-empty objects around it, therefore making it the focal point of the painting. What I find particularly interesting about Goings work from the 70s, that is evident in Figure 18, is the lack of branded products despite his alleged inspiration from Pop Art. In Figure 17 the label on the glass bottle is facing away from the viewer, could this have been purposeful, perhaps to detract any influence from the brand name? Furthermore in Figure 18, Goings has chosen a diner location where ketchup isnt served in its branded bottles at all and is instead dispensed from a standardised plastic container. Nevertheless, branded or not, Ketchups dominance in these images is still evident and still significant to the audience.

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Figure 19: Pie and Iced Tea, 1987.

Figure 20: Still Life with Red Mat, 1988.

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Goings work progressed further in the 1980s, where a wider range of condiments were painted in an even more photographic realism. At this stage in his career, and beginning to pay more focus to Diners than Pick-Up Trucks, Goings began to be compared with world-famous Girl with a Pearl Earring artist, Vermeer, as he replicates details and

meticulously captures the nuanced play of light on chrome, glass bottles, stainless steel and Formica (Schwalb, 2005: 114)
This decade also saw Goings gain confidence in the introduction of brands into his work and Ketchup once again took centre stage, but this time with a Heinz label, as shown in Figure 19; Pie and Iced Tea, 1987 and 1988s Still Life with Red Mat in Figure 20.

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Figure 21: Sauces, 1994.

Figure 22: Double Ketchup, 1996-7

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Perhaps moving with the times in an increasingly brand-driven world, or perhaps having an increased personal interest and confidence in brands, Ralph Goings continued to paint the brands and labels he saw in Diners into his nineties portfolio too. Figure 21, called Sauces, from 1994 shows just that. The Ketchup is still evident in the composition, and although its label is not facing the viewer straight on, the addition of the stainless steel teapot to its left allows us to see that it is still Heinz branded. The addition of the Tabasco and A1 Steak Sauce (as easily recognisable to the viewer as ketchup) helps to show the speed that brand awareness grew within culture after the War and particularly between the 70s and 90s, and Heinz Tomato Ketchups prevalence within that. In my online conversation with Goings regarding the condiment, he said; I think Ketchup is a symbol of middle class life (Goings, Online Conversation, 2011) and he even painted Double Ketchup in 1996-97 shown in Figure 22. Could this be seen to suggest that Ketchup carries double the significance to society than any other condiments that are seen/used equally as often?

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Figure 23: Three Set Up, 2005.

Figure 24: Five in Place, 2005.

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As we reached the new millennium, Ralph Goings started to move away from the typical style of photo-realism that he had been known for and began to paint the same everyday items from photographs taken in his own workshop. He collected the items that he was most known for painting and said of his technique; I photograph the arrangement and work from those photographs rather than directly from the objects. But I have the objects, ketchup bottles, salt and pepper shakers and napkin holders all over my studio. (Goings, Online, 2004) His mention of ketchup as one of his objects in this interview further signifies the importance he felt it had to his work: work which had aimed to tell society the truth throughout his career. He began experimenting with the use of black and white plain backgrounds, as in Figure 23; Three Set Up, and Figure 24, Five in Place, both 2005, however he never lost sight of the relevance of Heinz Ketchup and has shown this with his continued inclusion of the sauce in his paintings even today. The work of Ralph L Goings has therefore helped me in showing that Ketchup has been seen as an item of mass culture throughout the length of his career. It shows that Ketchup as a product, despite the brand or bottle, is relevant and recognisable enough on a large scale to feature in the majority of paintings he created as the most famous artist of the photo-realist movement. His inclusion of ketchup throughout every part of his career so far shows its significance to him on a personal level and his desire to encourage viewers to see its beauty too.

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Figure 25: Pringles Chip n Ketchup Flavour, 2011.

Figure 26: Heinz Tomato Ketchup with Balsamic Vinegar, 2011.

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Ketchups Significance Today

In todays society I believe it is easy to see ketchups significance in a number of ways, so in this chapter, I will be referencing a few examples that I have noticed over the course of this research project to illustrate its ever-current importance. Firstly, despite being a tomato flavour itself, ketchup has become a flavour in its own right, which has been used in various brands (usually crisps!) such as Walkers, Seabrook and most recently, Pringles. Figure 25 shows an image of the Pringles Chip n Ketchup flavour which features as part of the limited edition Classic Take-away collection. What I find most interesting about this is the reference to ketchup as classic. Surely the most classic companion condiment to a cone of chips would be salt & vinegar, yet the makers behind Pringles have taken the bold move to steer away from these stereotypes and provide consumers with the combination that they find classic in todays society. In addition to ketchup becoming a flavour of its own, certain brands of ketchup, namely Heinz, have experimented with the introduction of other famous flavours within their sauce. For example, 2011 saw limited edition bottles of Ketchup with a hint of Balsamic Vinegar hit the shelves, as shown in Figure 26. The branding around this was sleeker with black labels making it stand out on the shelves thus providing a clear alternative to consumers. The choice of balsamic vinegar and branding around the special edition bottles could have been seen as an attempt to target the middle and upper classes who, despite probably still buying it, might have found themselves lost in the advertising of Heinz Ketchup before.

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Figure 27: Jamies Great Britain, 2011.

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During my investigation of ketchups social significance today I also noted how the little red bottle of sauce is appreciated by chefs and mere mortals in the kitchen alike, acting to bond us in mutual admiration and reduce food snobbery that often divides the working and middle classes. Ketchup is spoken about by Jamie Oliver in episode 4 of Jamies Great Britain, shown as a screen shot in Figure 27. This series films a tour around Great Britain, seeking out our most famous recipes for what society considers as typically British food and tracing them back to their origins to making us appreciate the benefits we have gained from our links with other cultures. Salt and pepper- its on every table in every house, every restaurant... and ketchup, yknow, tomatoes; came through Peru to America- that aint British [sic] (Oliver, Television Programme, 2011) The mention of ketchup not only gives viewers of the programme a common ground to relate with their kitchen superlative, Jamie Oliver, but also demonstrates how the sauce has been celebrated, acknowledged and even adopted as British, into todays society. Ketchup has obviously had the same effect in America, becoming an everyday product in their culture and has even been accepted into smaller groups within society where many other goods are not. The impact of this can be clearly seen in another channel 4 production, Living with the Amish. This series shows a group of stereotypical British teens embarking on a journey to Ohio to experience living the life of the notoriously private Amish folk who live entirely free of worldly possessions; making their own clothes, growing and pickling their own food etc. However, in episode 1 of the series, the teens settle down for a traditional Amish family dinner and we see a bottle of Heinz ketchup sitting on the table. How is it that a product of such mass consumption, Ketchup, has passed through the Amish boundaries of acceptance? I am unable to answer this question as it is, however it does once again act as an example to show the significance that ketchup has in uniting even obscure groups within society.

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Figure 28: Squeezy Tomato.

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The size of ketchups influence and significance within society can further be proven through its present

as a collectible.

desirability not only as a food item but

Historically branded ketchup bottles have been seen to sell at auction houses and dealerships at the equivalent level of Coca Cola bottles, which I would argue carry an equally meaningful significance but at a much more visible level, but possibly the most sought-after collectibles are in-fact the kitsch squeezy tomato ketchup dispensers that were once popular in diners and cafes across the world. Figure 28; Squeezy Tomato, shows an image of one of these, found in a book dedicated to Kitsch Collectibles, helping to visualise that ketchup is not simply our favourite choice of condiment, but the known collectability of related items and its importance to the kitsch trend also has overwhelming significance to culture in terms of design history and carrying stereotypes of cool too.

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52

In Conclusion
At the very beginning of this dissertation, I quoted author, Barry Smart: In every culture, in every historical period, food is thickly surrounded by symbolic cultural meaning (1999) I chose to use this quote to introduce my research as it spoke strongly about the topic of food. A topic that I believe has mass influence on society but is widely disregarded in the impact it has. I then put forward my own opinion that Tomato Ketchup is the food item to carry the most cultural meaning today, and set out my aims to find out if my thoughts rang true, and to research how and why Ketchup has gained such a high food status, becoming the King of the Condiments today. My research throughout has been full of surprises, right from the outset; whod have known that the Tomato Ketchup that we know and love in the Western World today actually originated from the East and began life as a product of pickled fish? In looking at a brief production history, I was then able to begin researching the ways in which ketchup has become so popular over the years, first investigating Post-War changes to food cultures. Within this chapter I paid particular focus on how the rise in working women combined with various other factors had led to the McDonaldisation of society, and then how this fast-food lifestyle and increased branding helped to raise the profile of Tomato Ketchup both in and out of the home. I then went on to look at Ketchups presence within art movements, looking first at Pop Art, which revolutionised attitudes within society, and blurred the boundaries of high and low culture. Prior to my researching this chapter, I am happy to admit that I had pre-constructed expectations that Pop Arts focus on mass culture and consumerism would be sure to provide great imagery of tomato ketchup, especially after discovering the sauces ever-increasing popularity in Chapter 1. However, what I actually found was that despite the heavy branding and mass consumption of ketchup since the 40s, its presence within Pop Art was minimal.

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Total Word Count: 7883 Quotes: 1040 = 6846.

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This was an interesting discovery but minimal or not, some of the most elite artists of the era did use ketchup in some works which does still show it had relevance to mass culture and that it was instantly recognisable to society. They say every cloud has a silver lining, and in this case its true. Through the lack of ketchup visuals found in pop art, I was able to widen my search and discover the Photo-Realists, and in particular Ralph Goings who consistently used Ketchup imagery throughout his career in his Diner works. Fascinated, I conducted thorough secondary research into his career and I was even able to have an online conversation with Ralph Goings himself in order to gauge how Ketchup was significant to him, his art, and society on a whole too. In simply using day to day observations as a source of primary research throughout the course of this dissertation, I was able to find evidence of ketchups significance to society today. By approaching trips to the supermarket, browsing at the library, watching TV etc. with an open mind, I was able to find examples of this that it is likely I would have otherwise overlooked. In conclusion, my research has proven that Tomato Ketchups significance to culture has grown throughout its lengthy history, with Heinz Ketchup in particular continuously increasing its status as an iconic brand since the early 1970s. The ways in which ketchup is significant today is visible for all to see if we open our eyes to view the banality of everyday life in a new light. Whether we consider its significance as a food bonding our nations, or see its significance as a brand and quirky piece of history, I believe that we do all live in a Ketchupobsessed culture and it will remain that way for years to come. After all, when Heinz planned to discontinue their salad cream in the late 1990s, it was nothing but the sheer outcry from the press and consumer protests that forced the brand to reconsider, and sales of salad cream then soared! So with this in mind it is certainly interesting to look back on my initial inspiration, the outrage caused when ketchup was not to be served in one restaurant, and to consider the reaction of the world if ketchup manufacturers were to suddenly grind production to a close for good. Hopefully following this study, its significance to society will become clear and ketchup will gain the recognition it has earned.

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Introduction (Smart, 1999: 71) (Trowbridge-Filippone, P. Online, 2007) (Olins, 2003: 51) (Olins, 2003: 52) (Oliver, 2008, Online) Chapter 1 (DeLong, Online, 1997) (Beggs, Online, 2011) (Guimond, 1991: 177) (Smart, 1999: 3) (Umphlett, 2006: 23) (Samuel, 2001: 03) (Smart, 1999: 191) (Carney (Ed.), 1995: 108) (Smart, 1991: 6) Chapter 2 (Osterwold, 1991: 7) (Melly, 1989: 1) (Chilvers, Online, 1999) (Melly, 1989: 144) (Lindey, 1980: 29) (Rublowsky, 1965: Foreword) (Steele, 2001: 1) (Steele, 2001: 3) (Steele, 2001: 3) (Rublowsky, 1965: 5) (Melly, 1989: 143) (Rublowsky, 1965: 6) (Golec, 2008: 113)

References

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References Continued...
Chapter 3 (Lucie-Smith, Online, 2004) (Lindey, 1980: 26) (Lindey, 1980: 27). (Lindey, 1980: 23) (Goings, Online, 2004) (Goings, Online Conversation, 2011) (Parks, Online, 1996) (Goings, Online Conversation, 2011) (Lucie-Smith, Online, 2004) (Schwalb, 2005: 114) (Goings, Online Conversation, 2011) (Goings, Online, 2004) Chapter 4 (Oliver, Television Programme, 2011) Conclusion (Smart, 1999: 71)

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List of Illustrations
Introduction Figure 1: Blue Label Ketchup (1898) by Curtis Brothers Co. in Shaw 1898: 71. Chapter 1 Figure 2: 1948 Advert for Heinz Ketchup(1948) by Heinz in Land of Lost Content, Online. Figure 3: Concept Design for Standardised McDonalds (2005) by McDonalds Design Team (ERDOS) in Lemruger 2006: 25. Figure 4: McDonalds Pick-Up (1970) by Ralph L Goings in Goings, Online: Work The 1970s Figure 5: Pit-Stop (from High West) (2009) by Andrew B Myers in Myers, Online: 2010 Part 1. Chapter 2 Figure 6: The Pop Artists (1964) by Ken Heyman in Rublowsky 1965: 1. Figure 7: Rosenquist with Ketchup on Inspiration Board (1964) by Ken Heyman in Rublowsky 1965: 99. Figure 8: I Love You with My Ford (1961) by James Rosenquist in Guggenheim Museum, Online: Past Exhibitions. Figure 9: Hot Dog by Lichtenstein (1962) by Roy Lichtenstein in Rublowsky 1965: 181 Figure 10: Small Long Frankfurter by Oldenburg (1963) by Claes Oldenburg in Bridgeman Education, Online. Figure 11: Floor Burger (1962) by Claes Oldenburg in Bridgeman Education, Online. Figure 12: Campbells Tomato 1986 (1986) by Andy Warhol in Salsi 2007: 174 Figure 13: Stable Gallery Opening (1964) by Ken Heyman in Rublowsky 1965: 112

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List of Illustrations Continued...

Chapter 3 Figure 14: American Salad by Ralph Goings (1966) by Ralph L Goings in Goings, Online: Work The 1960s Figure 15: Pool Crackers by Ralph Goings (1966) by Ralph L Goings in Goings, Online: Work The 1960s Figure 16: Abstract Composition (1923-25) by Kurt Schwitters in Bridgeman Education, Online. Figure 17: Pee Wees Diner (1977) by Ralph L Goings in Goings, Online: Work The 1970s Figure 18: Breakfast Menu (1979) by Ralph L Goings in Goings, Online: Work The 1970s Figure 19: Pie and Iced Tea (1987) by Ralph L Goings in Goings, Online: Work The 1980s Figure 20: Still Life with Red Mat (1988) by Ralph L Goings in Goings, Online: Work The 1980s Figure 21: Sauces (1994) by Ralph L Goings, in Goings, Online: Work The 1990s Figure 22: Double Ketchup (1996-7) by Ralph L Goings in Goings, Online: Work The 1990s Figure 23: Three Set Up (2005) by Ralph L Goings in Goings, Online: Work The 2000s Figure 24: Five in Place (2005) by Ralph L Goings in Goings, Online: Work The 2000s Chapter 4 Figure 25: Chip n Ketchup (2011) by Anon in My Supermarket.com, Online: Groceries. Figure 26: Heinz with Balsamic Vinegar (2011) by Anon in Daily Mail.com, Online. Figure 27: Jamies Great Britain (2011) by Channel 4 Productions in Jamies Great Britain, Episode 4: Television. Figure 28: Squeezy Tomato (2001) by Anon in Ward: 2001: 64-65.

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Smart, B. (1999) Resisting McDonaldization. London, Sage Publications Ltd. Steele, V. (2001) The Red Dress. New York, Rizzoli International Publications, Inc. Umphlett, W.L. (2006) From Television to Internet: Postmodern visions of American Media Culture in the twentieth century. Madison NJ, Rosemount Publishing & Printing Corp. Visser, M. (1996) The Way We Are: The astonishing anthropology of everyday life. New York, Kodansha America Inc. Ward, P. (2001) The Authoritative Guide to Plastic Collectibles: Wacky, Fun and Kitsch. Leicester, Silverdale Books. Yalom, I. (2005) Fat Lady in D. Jarrell & I. Sukrunguang (eds), Scoot over, Skinny. Orlando, Harcourt Books. Additional Sources: Articles/Reports Bonito, V.A. (2000) Goings Essay- Get Real. North Carolina, Duke University Museum of Art. Mintel. (2009) Restaurant Brands- UK June 2009. London, Mintel Oxygen Mintel. (2010) Bottled Sauces- UK November 2010. London, Mintel Oxygen Schwalb, H. (2005) Art News- Ralph Goings Review. New York, Milton Esterow Audio Visual Fast Food Junkies Go Native. (2008) Television Programme, Channel 4 Monkey Productions, 15th January. Jamies Great Britain: Episode 4. (2011) Television Programme, Channel 4 Productions, 15th November.

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Living with the Amish: Episode 1 (2011) Television Programme, Channel 4 Productions, 24th November. The South Bank Show: Alison Jackson on Andy Warhol. (2009) Television Programme, ITV1 Productions, London, 4th October. The Thrill of it All. (1963) Film, Ross Hunter Productions Inc. and Arwin Productions Inc, 1963. Tonight: Big Mac Fights Back. (2008) Television Programme, ITV1 Productions, London, 2nd May. Warhols Cinema: Mirror for the Sixties. (1989) Television Programme, Channel 4/ Konick International Production, 1989. Interviews Lydia Taylor, 2011, Student: Online Conversation with Ralph L. Goings, 4th December 2011. Websites Alarcon, C. (2009) Heinz Campaign. Available at: http://www.marketingweek.co.uk/heinz-launches-biggest-brand-campaign/3005639.article. Accessed on 16/05/2011. Anon. (2011) Ketchup- Epinions. Available at: http://www.epinions.com/content_1874567300. Accessed on 22/05/2011 BBC News. (2004) Comfort and Boredom- Eating Rife. Available at: http:// news.bbc.co.uk/1/hi/health/3590086.stm. Accessed on 22/05/2011 Beggs, J. (2011) Post War Economy 1945-1960. Available at: http://economics.about.com/od/useconomichistory/a/post_war.htm. Accessed on 20/11/11 Bridgeman Education (2011) Claes Oldenburg. Available at: http://www. bridgemaneducation.com/ImageView.aspx?result=14&balid=166466. Accessed on 27/11/11 Chilvers, I. (1999) Pop Art. Available at: http://www.encyclopedia.com/ topic/pop_art.aspx. Accessed on 22/11/2011.

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Daily Mail Online. (2011) Ketchup with Balsamic Vinegar. Available at: http://www.dailymail.co.uk/femail/article-2054273/High-class-Heinz-Ketchup-gets-gourmet-makeover-new-balsamic-vinegar-variety.html. Accessed on 12/01/12 Daily Mail Online. (2007) Ketchup with Everything: Why Tomato Sauce helps fight heart disease. Available at: http://www.dailymail.co.uk/health/ article-499905/Ketchup-Why-tomato-sauce-helps-fight-heart-disease. html#ixzz1NIG1Zj7E. Accessed on 24/05/2011 DeLong, J.B. (1997) Post WWII Western-European Exceptionalism. Available at: http://www.j-bradford-delong.net/econ_articles/ucla/ucla_marshall2. html. Accessed on 20/11/11 Elliott, S. (2011) Kids Love Ketchup. Available at: http://recipes.howstuffworks.com/fresh-ideas/dinner-food-facts/kids-love-ketchup.htm. Accessed on 22/05/2011. Flickr (2009) Ketchup Nation. Available at: http://www.flickr.com/photos/ ph_en/5297575806/ Accessed on 18/05/2011 Foiret, C. (2011) Andrew B Myers Photography. Available at: http://trendland.net/andrew-myers-photography/# Accessed on 30/10/11 Gardening Guru. (2006) History of Tomatoes. Available at: http://www. tomatogardeningguru.com/history.html. Accessed on 17/11/11. Goings, R. (2011) Four Decades of Realism: Work. Available at: www. ralphlgoings.com Goings, R. (2004) Interview with Louis Zona; Director of Butler Institute of Art. Available at: http://www.ralphlgoings.com/. Accessed on 30/11/11 Gray, R. (2011) TV-Eating. Available at: http://www.telegraph.co.uk/science/ science-news/8514093/Eating-in-front-of-television-leads-to-snacking. html. Accessed on 23/05/2011 Guggenheim Museum (2011) Past Exhibitions- James Rosenquist. Available at: http://pastexhibitions.guggenheim.org/rosenquist/highlights2.html. Accessed on 28/11/11. Heinz (2010) Media. Available at: http://www.heinz.co.uk/media/422656/100403%20-%20travellers%20touchdown%20to%20a%20 tast%20of%20home.pdf Accessed on 16/05/2011

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Independant. (1996) History of Popular Culture. Available at: http://www. independent.co.uk/life-style/the-history-of-popular-culture-1-tomato-ketchup-1344244.html . Accessed on 22/05/2011. Kerrigan, L. (1998) All about Ketchup (Catsup). Available at: http://www. globalgourmet.com/food/sleuth/0799/#axzz1MVn7n5wk Accessed on 20/05/2011 Lucie-Smith, E. (2004) Ralph Goings- Americas Vermeer. Available at: http://www.ralphlgoings.com/ Accessed on 30/11/11 Myers, A. (2010) 2010 Part 1. Available at: http://www.andrewbmyers. com/2010part1.html. Accessed on 30/10/11. My Supermarket (2011) Pringles Classic Take-Aways. Available at: http:// www.mysupermarket.co.uk/#/asda-compare-prices/crisps/pringles_classic_take_aways_chip_n_ketchup_165g.html. Accessed on 30/11/11 Oliver, J. (2008) Homemade Tomato Ketchup. Available at: http://www. foodnetwork.com/recipes/jamie-oliver/homemade-tomato-ketchup-recipe/ index.html. Accessed on 15/11/11 Package Machine. (2009) Uploads. Available at: http://www.packagemachine.org/wp-content/uploads/2009/10/d30b2cba40review.jpg.jpg. Accessed on 18/05/2011 Parks, J. (1996) Watercolour Magazine- The Watercolours of Ralph Goings. Available at: www.ralphlgoings.com. Accessed on 30/11/11 Richmond, S. (2009) Salad Cream. Available at: http://blogs.telegraph. co.uk/technology/shanerichmond/100002724/the-observer-the-newspaper-equivalent-of-salad-cream/. Accessed on 12/01/12 Talking Retail (2009) Heinz Campaign. Available at: http://www.talkingretail.com/products/product-news/heinz-campaign-helps-sales-soar. Accessed on 16/05/2011. Trowbridge-Filippone, P. (2007) History of Ketchup. Available at: http:// homecooking.about.com/od/foodhistory/a/ketchuphistory.htm. Accessed on17/11/11. Wordpress. (2011) 1957 Time Capsule. Available at: http://1957timecapsule.files.wordpress.com/2011/01/heinz-ketchup.jpg.

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Appendix
appendix

1.
appendix

Online Conversation with Ralph L Goings

69.

2.
appendix

Tutorial Record Sheets

70.

3. Research Project Declaration

74.

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Appendix 1: Online Conversation with Ralph L. Goings

On Nov 30, 2011, lydia-taylor@live.co.uk wrote: Message: Hi There, I am a third year student at Nottingham Trent University and I am currently writing a dissertation piece investigating the Social Significance of Tomato Ketchup. From your work it seems like a dominant feature, if you have time to reply to this e-mail, Id be fascinated to know why you chose it to be central to several of your works and what interest you have in the topic? Kind Regards, Lydia Taylor. On Dec 05, 2011, ralph@ralphlgoings.com wrote: Hi Lydia, Thanks for visiting my website. Your dissertation piece sounds interesting... so you are more interested in ketchup or Art? I think ketchup is a symbol of middle class life. But I paint ketchup bottles because they are a ubiquitous presence in American diners and cafes. Im more concerned in my still life paintings with the composition than any symbolic implications of the subject matter. Viewers will see what they want to see. So, ultimately, I am more interested in Art than ketchup. Ketchup is red, a most attractive color and fun to work with. Ive heard art dealers comment that the more red in the Art, the higher the price (joke). So there we are(?) Good luck with your dissertation. Regards Ralph G

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Appendix 2: Tutorial Record Sheets

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Appendix 3: Research Project Declaration

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