Art As Propaganda

standards of art and its views on social roles” (Hamilton, 114). White Western society plays the

In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and

Insurgencies are a lot like businesses in that they both must expand or else they will die. In order for both to grow, they need to get their message out to their potential recruits or customers. To do this, businesses use marketing to convince people to buy stuff; insurgent groups use propaganda to gain recruits. There is a difference, though, in the associations made with the colors used in their messaging. Changing insurgent propaganda to incorporate the color blue has the potential to reduce the likelihood of people joining insurgent movements because of the associations made to different colors by the human mind. Most businesses, especially banks, use blue in their color schemes

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

Activists make their messages and movements known through art in order to express messages, validate identities, and to make struggles known, calling themselves ARTivists to show that there is an often undervalued intersection between the two. But before the coining of the term, activists have been creating art to advance themselves and their communities. ARTivists within the Chicano community have especially been creating art in order to validate and record their own experiences. ARTivism is crucial in today’s society and culture as it intersects art and politics in order to emphasize injustices that are deeply rooted within these structures. By decolonizing and deconstructing exploitive structures, ARTivists liberate the oppressed while creating a more socially conscious future by allowing the oppressed to create their own voice and tell their own stories.

Art can be expressed in many forms but one of the best has got to be political art, as it expresses art in a relevant form for many to understand, it doesn’t require knowledge in history. It puts out a statement in a bold way so that people may better understand what is trying to be expressed. Many artists use art in topics like reproductive rights, equality, gun control, human rights, the environment and war to express desire for change. One of the most outspoken political artists is Barbara Kruger, who has had her work installed in many well-known museums. Kruger has become even more known because of her relevance using art to criticize well-known public figures like Kim Kardashian and George W. Bush, she has also been a proud supporter of reproductive rights. One of her most known works is “Your body is a battleground” which was printed in 1989 in her support for the “March for Women’s Lives”. To show the positive and negatives sides of the inner struggle, the good and the evil. She has a reputation of supporting feminism ideas but she hasn’t stopped there, she’s even had her work put on display in the Hirshhorn Museum. She has gotten the attention of The New York Times and The Los Angeles Times because of her distinctive contemporary works. The beauty of her art is that it relates to many, her art ranges from domestic violence to compulsive shopping and everything in-between, it is also really easy

Julius Caesar's reign was an unfavorable and chaotic period for Rome, and after his death, a large portion of the empire was handed down to his adopted son, Gaius Octavian. From the ashes of his father, Octavian was able to build an Empire unparalleled. Later, the name Augustus was given to him by Senate. Augustus ostensibly maintained the form of the Roman Republic while in actuality creating the Roman Empire. He introduced the administrative reforms that led to the Pax Romana with its flourishing of trade and the arts. Although Augustus's ascension to power could have not been without it bequested by Julius, it was his use of art and propaganda that reinforced the legitimacy his position.

The readings for week five were Cubist Collage, the Public, and the Culture of Commodities by Christine Poggi and In the Name of Picasso by Rosalind Krauss. Poggi and Krauss take two somewhat different approaches to examine the usage of signifiers and language in Cubism collages. Poggi takes a more personal approach at the beginning of his piece by discussing Braque and Picasso’s juxtaposed attitudes and actions towards the public and mass culture by discussing the way in which Picasso and Braque’s artworks were displayed through small dealers specifically Kahnweiler. [125] The paradoxical element arrives from the usage of mass produced materials like newspaper or wallpaper in the Cubist collages. Through this, he challenges not only the “hierarchical distinctions between high art and mass culture” that would come to be a basis for much of twentieth-century modern art, but also challenges idea of the

the past and present of the value of art and how the world is mending its ways.

This book indicates that Grose was responding to a number of matters involved with the discourses going on toward art history. The introduction makes mention of a past tendency among historians of art to seek to discern and make claims of the distinctiveness of American Art. Groseclose contends that such attempts are undermined by the diversity of region and class groups, and by the similarity and interconnection between American and European art. Though in the course of the book the emphasis for countering this unified distinctiveness had tended to focus on dynamics of changes over the century and socio-economic distinctions.

The papers of history books, is full of the names of artists who died in poverty, and who weren't cherished for what they had created. For many years, it has been argued that one of the ways in which this can be prevented, is the government intervention. Although, it has been amply mentioned from time to time, by differnet scholars, that governments should not intervene in people's lives, and the government's stepping in is extenuated in just a scant of situations, but sometimes, there isn't an alternative way.

Can propaganda be defined as art? I believe that propaganda can be art and art can be propaganda. I believe everything we see on television and social media can be defined as art, so does that mean that the pieces of propaganda on social media be counted as art? In an article found on BBC, Alastair Sooke states, “When it comes to visual art, common sense suggests that propaganda is at odds with greatness (Sooke 2014)”. In my words, propaganda is defined as a thing or idea that is false, and is made to manipulate the minds of other people. Even though art is not always false, it can be manipulating to the minds of individuals in many ways. It can make people feel happy, sad, scared and maybe confusing. Sometimes, art that you look at could be a symbol of propaganda without your knowledge. Some forms of art can be considered propaganda, but others cannot and is made to entertain the

Art is all around us. There are many different forms of art. It can be something created, captured, or it can be already existent. Not a single person is to say what makes something art because there is a different definition for everyone. However, there are a couple factors that come into mind whenever someone decides to declare something as art. In this essay I will be comparing and contrasting four different pieces of art. I will be discussing each art piece’s form, time period of creation, intention or purpose, and value. These four pieces of art are Michelangelo’s Pieta, Fountain by Marcel Duchamp, Mark Rothko’s No.61, and the “Oyster Dress” by Alexander McQueen. These works of art come in all different shapes and sizes but they are valued

Notable artist, Vincent van Gogh, is credited with saying that the purpose of “Art is to console those who are broken by life.” This quotation seemingly implies that through exposure to art forms and the process of creation, feelings of comfort and healing will naturally result in the individual. However, while art may often support a cohesive nature in the ‘self,’ it can also serve to undermine this sense of satisfaction and wholeness. Specifically, in both Stephen King’s Misery (1987) and Emily St. John Mandel’s Station Eleven (2014), the texts demonstrate these negative consequences of creation by subsequently revealing the destabilizing effects of art or artistic expression on the individual’s psychological and social performance. The exploration of this thematic trend occurs through the symbol of the “constant reader” as a representation of the theme of obsession, the recurring archetype of the Muse, and patterns of action of transitional shifts in character persona. As such, it is through these tropes that the works ultimately come to question the degree to which there is a distinction between the use of Art as a device for creation and for that of destruction.

The relationship between art and commerce has always been subject of hot discussion. Many people look at creativity as a vehicle for economic interest, while others view it as pure dedication for personal creative needs. The world as we live in today sees the creative industry, including visual and performing arts, sound recording, book publishing, and movie making, a highly commercialized global enterprise. People constantly buy and sell art products in a highly active market. Although it is difficult to conclude whether art and commerce is perfectly compatible or mutually exclusive, one thing is true, that the relationship between the two has not stayed constant throughout the history of art. From the early Renaissance period to contemporary and modern time, we see art gets intertwined with business more and more. There are multiple well known historical examples demonstrate the dynamic evolution of creative expression, though new system also brought challenges.