The article by The New Yorker discusses the role of pop culture as a form of mass resistance or as a catalyst for social change. Political art remains in the spotlight when it comes to identifying the main form of pop culture that acts as an instrument for economic and political control. Alex Ross quotes Walter Benjamin, ‘“There is no document of culture which is not at the same time a document of barbarism”’ (newyorker.com), which relates to the visual activism utilized in the abolitionist movement. One visual aid that sticks out is that of a drawing of an African American hanging by his/her leg, being harassed by two white males. This image documents the culture of what slavery was like, releasing its barbarism into the media, which at that time would have had a much greater impact on the population as these images weren’t as widespread or as easily accessible. Illustrations help bring unseen issues inside a community to the surface, challenging the already questionable societal norms, such as slavery. “…Mass culture advances radical politics,” states Ross, “One great contribution that they made to the art of criticism was the idea that any object, no matter how seemingly trivial, was worth a searching glance” (newyorker.com). Seemingly trifling symbolism holds great power in steering political and social reform. Luca discusses the importance of political competence where a citizen utilizes his/her role in society to “advance her interests successfully as a member of various social groups” (18). Being able to decipher symbols in political art verifies this “political competence”.
Luca in, “Questions on Citizenship”, depicts what makes up a good citizen, which includes being involved in the country’s affairs, respecting the laws, and educating the children. In relation to political art, being able to decipher the underlying tone serves as that education. Art is a “safe” yet powerful form of activism, abiding by the laws, and it often deals with the current pressing issues of the nation. “Citizenship implies a ‘sense of community’” (19), as Luca mentions, and a tension arises when there is a need to critique that community; citizenship allows all people, even the “socially disempowered,” as Luca states, to gain competence, to defend their interests, and thus, to criticize their community. Political discussion or expression between citizens acts as a form of confrontation and communication, as we see is the case with political art. Moreover, in democratic life, symbols are vital as they connect distinct groups of people and provide a common ground. Luca describes symbols as being for a collective identification; for instance, the abolitionist art, due to its heavy focus on symbolism (from visuals to captions), the art pertained to a large and varying audience.
In general, Luca states that collective identification becomes challenging with immigrants as their political identities remain with their original nationality, religion, or language. However, as communication expands, separate communities embrace the same pressing social problems, which places the communication at risk of getting lost in the “nonsense”, as Luca describes it; “The critique of the media…produced a succession of complacent exhibitions of criticism” (28). Essentially, critique becomes part of what communication stands for. Similar to the delusions that communication can fall victim to, political art is also susceptible to being twisted. Jackson opens “Making it Otherwise” by saying, “…artists are afflicted by a more than ordinary inability to accept things as they are” (167). This reminded me of Paul Revere’s engraving of the Boston Massacre where, for the purpose of communication, Crispus Attucks, an escaped slave, was depicted as a white male and not African American. Jackson discusses art in a more spiritual and sacred manner, illustrating how art can be an extension of one’s body or soul if one ceases to materialize the artwork and look deeper into it, not just at its surface. Any art, not only political, is known to evoke this deeper sense as it serves as a stimulus for reform, evoking strong emotions, and resonating with the viewer–it reveals the unseen aspects of the world.
V.B.
