{"id":179,"date":"2023-07-19T17:02:34","date_gmt":"2023-07-19T17:02:34","guid":{"rendered":"https:\/\/ventil.rs\/blog\/life-style\/propaganda-with-an-ambiguous-message-thats-art\/"},"modified":"2023-07-19T17:02:34","modified_gmt":"2023-07-19T17:02:34","slug":"propaganda-with-an-ambiguous-message-thats-art","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/life-style\/propaganda-with-an-ambiguous-message-thats-art\/","title":{"rendered":"Propaganda with an Ambiguous Message? That\u2019s Art."},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Budweiser and Coca-Cola, sparklers and flags, a picnic with family and friends \u2014 it looks like a typical Independence Day in the United States \u2014 except that the flags are Confederate, and they\u2019re being buried in a shallow grave.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">This is the futuristic patriotic tradition envisioned by the multimedia artist Josh Kline in a three-channel video installation from 2017, titled \u201cAnother America is Possible,\u201d on view at the Whitney Museum of American Art.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Kline\u2019s piece seems heartfelt \u2014 suspiciously so. This cinematic vision of Americans harmoniously disavowing a racist symbol has the dreamlike clarity of a pharmaceutical ad. It\u2019s sappy, clean, resolved \u2014 a satire of progressive propaganda, goosing the libs.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Blunt sentiment, cushioned by an uncertain dose of parody, defines Kline\u2019s career-spanning survey at the Whitney, down to its grand, neocon-inspired title: \u201cProject for a New American Century.\u201d The 43-year-old New Yorker flirts with the idioms of contemporary propaganda \u2014 ads, memes, influencers \u2014 just as the artist duo <a class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/2023\/04\/26\/arts\/komar-melamid-zimmerli.html\" title=\"\">Vitaly Komar and Alexander Melamid<\/a> tackled the posters, flags, and slogans of the Cold War. (Their retrospective, \u201c<a class=\"css-yywogo\" href=\"https:\/\/zimmerli.rutgers.edu\/art\/exhibition\/komar-and-melamid-lesson-history\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">A Lesson in History,<\/a>\u201d filled the Zimmerli Art Museum at Rutgers University in New Brunswick, N.J., through July 16; a portion featuring work they made after relocating from the Soviet Union to New York in 1978 will reopen there in September.)<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Propaganda tries (often in bad faith) to win an audience to a particular belief. Kline, Komar and Melamid argue that art actually represents a messier, unsettling, uncertain reality \u2014 and therefore a more honest one. Rather than declaring a position, they dwell between irony and sincerity. This tang of ambivalence keeps their art from becoming the propaganda it evokes.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Komar and Melamid joined forces in the 1960s, working under the eye of the Soviet Union. (When they moved to New York later that decade, they turned their wit against capitalism.) They were part of a group of artists, called the nonconformists, who spurned and parodied Soviet propaganda by making art in its mold. One of their earliest interventions, from 1972, is a red banner bearing a slogan used to promote the Soviet space program: \u201c<a class=\"css-yywogo\" href=\"https:\/\/zimmerli.emuseum.com\/objects\/14222\/we-were-born-to-make-fairytales-come-true\" title=\"\" rel=\"noopener noreferrer\" target=\"_blank\">We Were Born To Make Fairytales Come True<\/a>.\u201d<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Unlike any state-sanctioned banner, however, theirs is signed like a painting. Claiming the party line in an artwork starts to unravel its power \u2014 in a museum, it\u2019s less than clear what that slogan means. Are artists purveyors of fantasy or revealers of truth? Can they be both at once?<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">This question becomes especially pointed in the duo\u2019s satires of Socialist Realism. A textbook form of art as propaganda, the style embellishes scenes of everyday workers and party heroes, hoping to inspire the people to greatness \u2014 and quell dissent. Their painting, \u201cThe Origins of Socialist Realism,\u201d from 1982\u20131983, depicts a goddess resembling Botticelli\u2019s Venus tracing Stalin\u2019s lamplit silhouette on a stone temple. This meeting of historical and mythological figures, rendered like an official ideal, does more than mock the supposed sincerity of the style; it undermines the claim that art should distill the world into plain truths.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Kline must walk a blurrier line than Komar and Melamid. In the 1980s, President Ronald Reagan liked to trot out a Russian saying: \u201cTrust, but verify.\u201d Komar and Melamid went their separate ways in 2003, still largely committed to painting and conceptual art, not new media. Today, the country that won the Cold War is polarized by two political parties, and Kline\u2019s \u201cProject for a New American Century\u201d seems inundated with the cynical, murky morality of the internet.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Like an ambiguous political meme, Kline\u2019s work has a way of wrong-footing you for believing its message, but shaming you for doubting. Where Kline appears to endorse positions on climate change (he incorporates video testimonials from actors playing disaster survivors), income inequality (3-D prints of dismembered wage workers on carts and in boxes), police surveillance (his infamous statues of Teletubbies in riot gear) or any of the other issues treated in the Whitney survey, he\u2019s really just making art. Calls to action seem na\u00efve. It\u2019s all an artist can do to portray the fractured, heavily mediated political landscape of the last decade, marred by deceptive video editing, deep fakes of public figures, troll farms, Twitter bots and other forms of dissemblance.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">Nowhere is the sentiment as convoluted as in Kline\u2019s take on the wars in Iraq and Afghanistan. The 2015 video \u201cCrying Games\u201d uses outdated face-swapping software to paste pictures of the former President George W. Bush, the former Secretary of State Condoleezza Rice, and the other architects of the wars onto actors dressed in prison jumpsuits, muttering and blubbering. \u201cI\u2019m sorry,\u201d says a fake Secretary of Defense, Donald Rumsfeld. \u201cAll those people \u2026\u201d<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<div>\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">The work is a dark joke \u2014 it probably won\u2019t change minds, and it certainly won\u2019t un-ruin lives. But then, there\u2019s something beautiful about the way the shoddy digital mask glitches and falls away, revealing a look-alike of the former vice president Dick Cheney, mucus and tears streaming down his face. And there\u2019s a palpable sadness in the emptiness of Kline\u2019s righteous gesture, a sucking void at the video\u2019s center: the impossibility of truly mourning the war\u2019s victims.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Propaganda-like art won\u2019t undo the damage and confusion of actual propaganda. What Kline\u2019s work does, though \u2014 and Komar and Melamid\u2019s, too \u2014 is make space for ambivalence. Art shouldn\u2019t tell us what to think, and we shouldn\u2019t want it to.<\/p>\n<p class=\"css-798hid etfikam0\"><strong class=\"css-8qgvsz ebyp5n10\">Josh Kline: Project for a New American Century<\/strong><\/p>\n<p class=\"css-798hid etfikam0\">Through Aug. 13, Whitney Museum of American Art, 99 Gansevoort Street, Manhattan; 212-570-3600, whitney.org.<\/p>\n<p class=\"css-798hid etfikam0\"><strong class=\"css-8qgvsz ebyp5n10\">Komar and Melamid: A Lesson in History<\/strong><\/p>\n<p class=\"css-798hid etfikam0\">Reopens Sept. 6, Zimmerli Art Museum, Rutgers University, 71 Hamilton Street, New Brunswick, N.J.; 848-932-7237, zimmerli.rutgers.edu.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\"\/><\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.nytimes.com\/2023\/07\/19\/arts\/design\/josh-kline-komar-melamid-review.html\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Budweiser and Coca-Cola, sparklers and flags, a picnic with family and friends \u2014 it looks like a typical Independence Day in the United States \u2014 except that the flags are Confederate, and they\u2019re being buried in a shallow grave. This is the futuristic patriotic tradition envisioned by the multimedia artist Josh Kline in a three-channel&#8230;<\/p>\n<p class=\"more-link-wrap\"><a href=\"https:\/\/ventil.rs\/blog\/life-style\/propaganda-with-an-ambiguous-message-thats-art\/\" class=\"more-link\">Read More<span class=\"screen-reader-text\"> &ldquo;Propaganda with an Ambiguous Message? That\u2019s Art.&rdquo;<\/span> &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":180,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/static01.nyt.com\/images\/2023\/07\/20\/multimedia\/20propaganda-notebook5-gclq\/20propaganda-notebook5-gclq-facebookJumbo.jpg","fifu_image_alt":"","footnotes":""},"categories":[6],"tags":[],"class_list":["post-179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-life-style"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.8 (Yoast SEO v22.1) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Propaganda with an Ambiguous Message? 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