Apeshit: A Surge Of The Anthropomorphic

by Moksha Kumar

“If we look straight and deep into a chimpanzee's eyes, an intelligent self-assured personality looks back at us. If they are animals, what must we be?”

― Frans de Waal

Darwin may have surmised our evolution to be from the humble ape, but what we see now is a resurgence of the anthropomorphic and charged image of ape as man (and vice versa). Evolution is perhaps a myth to many, but it simply explains a part of how we, as humans, visualize our counterparts in animal form.

Clever, witty, and different; attributing these qualities to an animal may see a skeptic raise brows, but science and experimental observations have time and again only proven those skeptics wrong. Thus, moving into the visual aspect of this observation, how do we translate said feelings into art and if so, do these signify shifts in our relationship with the ape?

While we observe this with regard to the political context of the land, the use of the ‘ape’ in art is a significant precursor to loaded symbolism. Rameshwar Broota’s ‘The Same Old Story’ is a wonderful example, as the title itself alludes to a pattern of narrative that is repeated.  We see three apes dressed in bikinis and shorts, large bellies protruding outward and their faces bearing mixed expressions. A surreptitious stack of papers is held by the ape in the center, with a brown paper cover and tied together by a yellow string. The image is uncanny as it simply provides a vivid visual but no other context except for the title. So what indeed is the ‘same old story’ here?

Rameshwar Broota, The Same Old Story, 1970. Image courtesy of Sotheby's.

“Rameshwar Broota (b.1941) is an artist firmly rooted in the urban environment and though his art negotiates with the Indian socio-political milieu it is at the same time universal…

His ‘Ape Series’ and ‘Gorilla Series’ of the 1970's are a forceful comment on the greed and complacency of those in positions of power and authority, on the bestiality of man and are a satirical critique of a social order defined by avarice. In these works emerges his typical form, the ape-man combine, large, massive and towering over all else. Are these figures dehumanized human beings or animals that are humanized? In ‘The Unending Story’ (1971)"* from the Ape Series he comments on the bureaucratic system where a committee, constituted of three men and a woman, are seated sipping tea while presiding over the destiny of ordinary mortals.'’ The four faces particularize four different aspects —cynicism, indifference, helplessness and a mock sympathy.” - Jagtej Kaur Grewal

The apes in ‘The Same Old Story’ are both impassive and expressive, with them showing a level of emotion that is enigmatic. While one ape reaches out his hand over the ape in the center, the ape to the left seems angry. We cannot see the source of agitation entirely but we can surmise that the papers are quite important in the central ape’s hand and thus the shift in the attention or in this case - ‘power’.

The satiric allusions are not lost on the viewer and create a moment of introspection. The anthropomorphic vision is complete, as the apes are more like humans and draw us back to the comparison between animal and human behaviours.

Banksy, Devolved Parliament, 2009. Image courtesy of Sotheby's.

As one of the more forthright and prolific commentators on the social fabric of society, Banksy’s ‘Devolved Parliament’ is a direct translation of persona and power as bestial. The allusion to men in power as chimpanzees is disturbing and yet inherently true as the audience draws parallels between real life and the depiction on the canvas. As it is 36ft across and one of the largest canvases by the artist, the significance of the anthropomorphic details are not lost on the viewer. As blunt as the work is, the reality on ground is unfortunately a direct reflection of this cheeky commentary. The Instagram post on the artist’s official profile dates the work to 2009, where a part of the caption reads ‘Laugh now, but one day no-one will be in charge.’ Aptly surmised and well put, the quote speaks to both Rameshwar Broota’s satire and Banksy’s blunt portrayal of politics.

Moving to a softer approach towards the ape anthropomorphism, the work ‘Ape and the Flower’ by Ganesh Pyne is rife with meaning. While we do see an ape tied with a string, the presence of the flower disarms our perception and asks us to delve deeply into the visual presented to us. As though emerging from a twilight zone of sorts, this image coincides with the treatment of the monkeys on the streets in India. Often captured to amuse crowds and perform acts, the mini circus encompassed in this work is more silent. The flower seems to add to the calm, as though pervading a scent that ape immediately senses and calms down to. His eyes are closed in meditation, almost displaying a sense of poise.

While the imagery could very well indicate the way in which the artist perceives man to calm himself through his desires, it could also be a melancholic moment in the caged ape’s life, where he takes in the whiff of flowers, and thus dreams of freedom amongst the forest trees. Often haunting and riveting, Ganesh Pyne’s work does not fail to induce a sense of longing within the viewer. The audience is subject to a simple but loaded set of visuals so are we, the audience, the monkey in the work? Do we too seek distractions from our lives? What if we stopped to smell the flowers? Would it take away from the mundane? Simple but pertinent questions are raised to mind, and are completely opposite to the effect of Broota’s and Banksy’s work.

Incidentally, the ‘Bored Ape Yacht Club’, a collection of NFTs by the Yuga Club were sold for 24.4 million at a Sotheby’s auction in 2021 adding heat to the growing digital presence. This was a set of 107 artworks that featured an ape avatar made to look like myriad characters, and was quickly sold, solidifying the NFT culture rather significantly. Speaking to the anthropomorphic aspect, a set of 101 dogs (part of the Bored Ape Kennel Club) were also sold and were marketed as pets for the apes.

The difference here is the direct inclusion of pop culture and the mainstream trends.

Not only were the apes representative of human characters but also owned pets. As we know the hierarchy of the animal kingdom, it is interesting to see the ape symbolism elevated to owning a ‘pet’ or even exhibiting such characteristics. In the works prior, the traditional notion of the ape is not only alluded to but layered. For now, the evolution of the ape in terms of art is intriguing as it continues to challenge many establishments. In the case of Pyne, he challenged it through the subtle inclusion of the melancholy, Broota worked through an intense satire, Banksy blatantly stated the situation at hand and the ‘Bored Ape’ challenged our idea of evolution. In true futuristic fashion the NFTs create a dialogue that is indicative of the digital age or even a post-apocalyptic evolution of beasts. Perhaps we may reach a point where apes own pets, or even create art that is sold in auction houses, we may never know.