A discussion of the relationship between politics and art.
Written in 2007; 855 words; 2 sources; MLA; $ 30.95
Paper Summary:
This paper examines how politics have long served as an impetus for artistic creation. The paper explains that artwork commonly reflects not only a personal vision, but a communal one, touching on themes that are recognizable to a large body of people. The paper further explains that while often seen as polar opposites, the political world and the art world are in fact not separate entities, but frequently intermingle. The paper looks at how, throughout the past several centuries, political establishments around the world have provided creative fuel for a wide array of art and how in recent years governments from various countries have begun extensively funding new museums and exhibitions, enabling art to reach the attention of the masses. The paper also suggests that while governments around the world have worked hard to censor art they deem politically dangerous or obscene, they have also worked towards funding projects by artists past and present. In conclusion, the paper shows that whether for good or evil, politics and art are parts of a whole, bouncing and reflecting off of each other.
From the Paper:
"Politics, being the shared link between a mass of people, have naturally entered into the artistic repertoire of important and frequent themes. From Diego Rivera's "Man at the Crossroads," depicting Trotsky and Lenin in Rockefeller's commissioned all-American mural, to Dana Shutz's "Men's Retreat," showing Bush's cabinet walking blindfolded through the forest, artwork has often been about political subversion. Politically motivated artwork is not restricted to paintings either, there are literally millions of films, photos, plays, sculptures, drawings, music, and other forms of art that all deal with a need for political change.
With such radical work, however, comes censorship. The political world has innate control over the art world because of its power."
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