Clark, T. Art and Propaganda, London; Calmann and King Ltd

The book, as a whole, examines the relationship between propaganda and art, by showing how political purpose can be advertised through art. It also depicts how styles can be associated with certain political powers.
Clark investigates the use, desired effects and actual effects of propaganda throughout the 20th century. This non-fiction book almost has a narrative as it tells the evolution of government run artwork; from the boom of mass-media propaganda techniques during the Second World War to the AIDs epidemic and the aftermath of the Vietnam War that provoked artists in the late 20th century to convey strong political opinions. The author seems to take a non-biased position on the varying topics throughout the book; he gives the impression of taking an “academic” point of view, and tries to denounce the negative connotations that surround the word ‘propaganda’. Clark states facts more than opinions, which allows the reader to make their own informed decisions.
It appears to me that the purpose of the book is first and foremost, to inform of the history of propaganda and to identify the link between propaganda art and the political issues at the time. I feel that it does this excellently, by describing the political unrest or movement, then analyzing the effects this had on artists, and in some cases the strict guidelines (that the government enforced) that they had to adhere to.
When reading, I was particularly encapsulated by a sub-heading, “Organizing the Psyche of the Masses”.  The chapter describes in detail the increase in the Soviet states control over art following the 1917 revolution. It explains the Soviet governments strict rules (all artists had to follow one style) that were founded in 1934 and the ‘function’ of art in new revolutionized Soviet Russia. “Government had entirely altered conditions for the patronage, audience and sites of art”, this fascinated me as the extreme efforts that the government went to in order to control art in the communist state, is clear evidence of the impact that art can have on a culture.

Bibliography;

Art and Propaganda- Clark, T.

This is a small piece of work that I produced in the first few weeks at WSA. In terms of timeline, it takes place near the end of my first sketchbook having already been directly influenced by David Shrigley and Walter Swennen. Both artists use short sharp text that looks as if it has been hastily written and written with a sense of freedom, in relation to its carefree aesthetic.
I was investigating femininity and masculinity, specifically points in which the two cross and the relationships between them. At the same time I did not wish to have an indisputable view or statement that overshadowed the viewers own opinions on the work. Instead I aimed to create an uncertain and questionable air surrounding an underlying theme of femininity, in essence the intent was to leave the viewer somewhat perplexed at the statement.

To develop the work further I would firstly experiment with scale, most probably making it much larger. I like the idea of having a large confusing assemblage of text dominating a space so that it is near impossible to ignore. I like the simplicity of the image so I would possibly just explore different colour and compositions, rather than building layers. I feel that by complicating the image it may belittle the text.