Radical Artsits: Timing and Approach is Everything

Radical Media: Rebellious Communication and Social Movements, “Mind Bombs: Woodcuts, Satirical Prints, Flyers, Photomontage, Posters, and Murals”, pages 158–180
Travels in Pornotopia, Citizen Designer, Rick Poynor, pages 58–63

I found the Woodcuts and Politics section of the "Mind Bombs: Woodcuts, Satirical Prints..." article to be very interesting. The artist Kathe Kollwitz came to be known as a radical thinker whose work reflected social issues of abortion, unemployment, gay rights, etc... Her woodcuts had simply imagery that started to appeal to the Nazi regime in the 1920's and 30's. Her work was soon adopted my the Nazi's. It is ironic and sad that an artist, whose voice spoke up for the victimized, ended up being pushed into working for a group that represented everything she was against. The article explained that her simple imagery was easily interpreted in different ways. Although it spoke to a wide audience, her open ended themes worked to her disadvantage.

The article continues with examples of art mediums that challenged political views and government policy. The radical thinking these artists had were masked in humor, simple imagery, word play, and exaggerated images. Political cartoons became a massive phenomenon at the turn of the century that informed metropolitan and country side populations. The patronizing themes of these cartoons and caricatures were despised by governments because of their influence in many social movements and revolutions.

Photomontage was a particularly mocking form of radical art. Mainstream pictures and articles were cut out, spliced, and reorganized to create and read socialist points of view. Taking the enemy's words and reforming them to create your own message was shocking and successful in getting attention. The timing and relationship these various art movements have with their message is what reinvented radical art. Taking a commonly used art form to slowly reinvent it's purpose was intelligently used. The crafty and cunning use of simple images and and exaggerated cartoons or montages of familiar images was what made these artists' points of view effective.

"Citizen Designer" brought up the fear of radical artists being grouped with terrorists during the late 1990's. If anyone spoke against corporate or government decisions, there was the risk of being seen as a threat. AIGA and publications such as Adbusters responded to this ridiculous claim by popularizing their voice and making it a national awareness.

In order for their message to be accepted by alike thinkers across the nation, it was vital for their message to relate to the public. I think it was essential for these groups, to some degree, become manipulators themselves in order for their message to be heard. It was about informing the public and generating a want for change without being too radical. Strategy was to target a specific sector and slowly expand and gain supporters.

This article also made a key observation. Reading this article now could seem arbitrary or obvious to the present day liberal thinker, but it is because these groups were successful that created this awareness. It may seem easy today to promote a radical message and gain support, and that is thanks to groups like AIGA, Adbusters, and the First Things First Manifesto.