Both the artist’s and the audience’s political, religious, and social opinions are expressed via art. Since art is expensive, governments and churches are typically the only groups that can afford it. Political satire can oftentimes be risky territory for artists, particularly for those who reside under oppressive regimes. This paper focuses on exploring contemporary art as an example of social commentary using examples from Chapter 22.
Art frequently expresses the political, religious, or social beliefs of both the creator and the audience. Governments and religions are frequently the only groups that can afford art since it is expensive. Additionally, governments and churches utilize art as a means of expressing who they are, what they believe, and what they want other people to think because they want to have the most impact possible. Additionally, it’s common for artists to wish to express strongly held opinions through their work. This presentation could have thousands of slides and still not come close to providing a complete review of the political, religious, and social art that is currently available. Various are only a few instances of how art has been applied to these circumstances.
According to Chapter 22 of the textbook, after World War II, the Nuclear Arms Race began, which was unimaginable to the artists who turned to satire to express their dread and disdain for contemporary conflict. A prominent example of this is found in Stanley Kubrick’s film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, which was inspired by the concept of “mutually assured destruction” (MAD) (Chapter 22 Art). Thus, artists after World War II used their talent to show a social commentary on the events.
As noted in Chapter 22, “the true artist can articulate a vision of what humanity can trust. In the midst of alienation, the artist can bring community, and in the midst of ugliness, beauty. The artist, in short, acts not only as a voice of protest but also as a voice of hope” (“Chapter 22 Overview”). For many years, the situation of politics and society has been the subject of artistic commentary. Artists have remarked both directly and subversively on everything from vanity and excess to corruption and greed through caricature, satire, symbolism, and allegory and have made fun of everyone from the faceless masses to the privileged elite. Political satire can occasionally be dangerous ground for artists, especially those who live under the rule of repressive regimes. This is because political satire is frequently widely disseminated through prints and other reproducible media and because such images have the power to strike a meaningful chord and leave a lasting impression.
Art can serve a societal purpose by questioning our perceptions of the world we live in and how we interact with it. Cultural and social identity, civil rights, sexual politics, racial and gender equality, and globalization are just a few of the societal themes that artists reflect, translate, and mediate (“Chapter 22 Overview”). Artists occasionally produce pieces that operate as windows, bringing insight and focus on complex issues, presenting distinctive interpretations, and asking challenging questions for the audience. These works are frequently motivated by personal convictions.
In summary, art is a vehicle for the expression of the political, religious, and social views of both the artist and the audience. Governments and churches are often the only organizations that can afford art because it is expensive. Political satire is frequently dangerous ground for artists, especially for those who live in totalitarian regimes. There are times when artists create works that act as windows, bringing clarity and emphasis to complex situations, offering unique perspectives, and posing difficult questions for the audience. Personal convictions are typically the driving force behind these works.
Work Cited
“Chapter 22 Art.” Web.
“Chapter 22 Overview.” Web.