This volume focuses on the uses and abuses of art as propaganda in the 20th century, but starts by setting the scene with precedents from the past. Toby Clark draws on a variety of media, including posters, photographs, film stills and other ephemera not usually considered within the context of "art" to make this the most provocative book on modern art today.
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By Jo Bennie
VINE™ VOICE
Format:Paperback
Clark writes a comprehensive coverage of art propaganda in chronological form.
The first chapter charts propaganda's beginnings in suffrage, the avant garde and revolution, chapter 2 covers Fascism, chapter 3 Communism, chapter 4 Wartime, and chapter 5 up to the present day, protest art, Vietnam, AIDS and feminism.
In some ways this is a really good book, covering the art of propaganda through its most potent forms in Nazi Germany, wartime Britain and communist USSR to the present day, but I felt it was also a bit lacking. As a book about art I would have lot more commentary on how the pieces of art worked, explanation of symbolism, interpretation of the use of light, colour etc. Clark just gives historical background to each piece which is useful but incomplete.
The last chapter fails to address street art, a major form of protest. Also, there is not enough coverage of the monumental statuary and architecture of fascism and communism. Could have been a much better book.
The first chapter charts propaganda's beginnings in suffrage, the avant garde and revolution, chapter 2 covers Fascism, chapter 3 Communism, chapter 4 Wartime, and chapter 5 up to the present day, protest art, Vietnam, AIDS and feminism.
In some ways this is a really good book, covering the art of propaganda through its most potent forms in Nazi Germany, wartime Britain and communist USSR to the present day, but I felt it was also a bit lacking. As a book about art I would have lot more commentary on how the pieces of art worked, explanation of symbolism, interpretation of the use of light, colour etc. Clark just gives historical background to each piece which is useful but incomplete.
The last chapter fails to address street art, a major form of protest. Also, there is not enough coverage of the monumental statuary and architecture of fascism and communism. Could have been a much better book.
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