The Political Portrait

The leader's portrait, produced in a variety of media (statues, coins, billboards, posters, stamps), is a key instrument of propaganda in totalitarian regimes, but increasingly also dominates political communication in democratic countries as a result of the personalization and spectacularization of campaigning. Written by an international group of contributors, this volume focuses on the last one hundred years, covering a wide range of countries around the globe, and dealing with dictatorial regimes and democratic systems alike. As well as discussing the effigies that are produced by the powers that be for propaganda purposes, it looks at the uses of portraiture by antagonistic groups or movements as forms of resistance, derision, denunciation and demonization. This volume will be of interest to researchers in visual studies, art history, media studies, cultural studies, politics and contemporary history.

Leon Golub (1922–2004) is best known for his iconic history paintings of mercenaries, interrogations, torture scenes, and the riots of the 1980s and ’90s. Published to accompany an exhibition at the National Portrait Gallery in London running from March through November 2016, this collection of nearly all of Golub’s political portraits from 1975–1978, almost 100 paintings, offers a rich survey of his powerful style with analysis from curator Jon Bird and professor of art history Gill Perry. Bird and Perry examine the ways Golub increasingly explored the effects of power upon the body through facial expressions, gestures, and poses, and how he invested his characters with psychological tension and depth. As they show, Golub always derived his source material from media representations, aiming to capture the way power—whether political, military, or social—is mediated through the camera lens. This “look of power” is the dominant characteristic of the portraits included here, all painted as part of his Political Portraits series of the 1970s, which captured historical figures—ranging from Fidel Castro and Henry Kissinger to Pinochet and Mao Tse-Tung—at various stages of their public office. With a narrative of arrogance and venality traced clearly across the face, these portraits forcefully show that power is uncompromising. The result is a startling collection of faces, arrestingly rendered through Golub’s signature, visceral style.

How Henry R. Luce used his famous magazines to advance his interventionist agenda.

Despite the proliferation of ideational accounts in the last decade or so, the debate over the role of ideas remains caught up in a series of disputes over the ontological foundations, epistemological status and practical pay-off of the (re)turn to ideational explanations. It is thus unsurprising that there is still little clarity about just what sort of an approach an ideational approach is and about what it would take to establish the kind of fully-fledged ideational research programme many seem to assume has already been developed. The contributors in this volume address these dilemmas in diverse but engagingly complementary ways. They argue that what plagues most attempts to accord ideas an explanatory role is the persistence of the perennial dualities in political analysis. In aspiring to eschew the current vogue for dualistic polemic, the present volume reveals elements of dualistic thinking in the ideational turn and assesses the impact of the persistence of these perennial dualisms in the attempt to accord ideas an explanatory role.

Portraiture and Politics in Revolutionary France challenges widely held assumptions about both the genre of portraiture and the political and cultural role of images in France at the beginning of the nineteenth century. After 1789, portraiture came to dominate French visual culture because it addressed the central challenge of the Revolution: how to turn subjects into citizens. Revolutionary portraits allowed sitters and artists to appropriate the means of representation, both aesthetic and political, and articulate new forms of selfhood and citizenship, often in astonishingly creative ways. The triumph of revolutionary portraiture also marks a turning point in the history of art, when seriousness of purpose and aesthetic ambition passed from the formulation of historical narratives to the depiction of contemporary individuals. This shift had major consequences for the course of modern art production and its engagement with the political and the contingent.

Just Ordinary Citizens? offers a behavioural perspective on the political integration of immigrants, describing and analysing the relationships that immigrants develop with politics in their host countries.

In an increasingly polarized world, with shifting and extreme politics, Social Forms illustrates artists at the forefront of political and social resistance. Highlighting different moments of crisis and how these are reflected and preserved through crucial artworks, it also asks how to make art in the age of Brexit, Trump, and the refugee and climate crises. In Social Forms: A Short History of Political Art, renowned critic, curator, and writer Christian Viveros-Fauné has picked fifty representative artworks—from Francisco de Goya’s The Disasters of War (1810–1820) to David Hammons’s In the Hood (1993)—that give voice to some of modern art’s strongest calls to political action. In accessible and witty entries on each piece, Viveros-Fauné paints a picture of the context in which each work was created, the artist’s background, and the historical impact of each contribution. At times artists create projects that subvert existing power structures; at other moments they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso’s Guernica and its place at the 1937 Worlds Fair, or Jenny Holzer’s Truisms (1977–1979), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with. Never professing to be a definitive history of political art, Social Forms delivers a unique and compelling portrait of how artists during the last 150 years have dealt with changing political systems, the violence of modern warfare, the rise of consumer culture worldwide, the prevalence of inequality and racism, and the challenges of technology.

Al Smith (1873-1944) was born and grew up in New York’s Lower East Side slums and got his start in politics under Tammany Hall sponsorship. Frances Perkins was a New Englander, a trained social worker who became a public figure when Smith appointed her to the New York State Industrial Commission. They shared a concern for working people and a love for the Empire State, which Smith served as governor for four precedent-breaking terms between 1919 and 1928 after serving in the New York State Assembly between 1904 and 1915 as a member and later as Speaker. Smith considered himself an Assemblyman. His record as governor is based on the solid understanding of politics he acquired in those years. It was also fostered by his encounter, at a decisive stage, with a group of reformers and social workers, including Belle Moskowitz who became his chief political strategist. Smith’s own great contribution was to show how reform could be made practicable. As governor, Smith fought a running battle with an obstructive legislature; he was able to reorganize New York State’s sprawling executive departments, protect women and children in industry, strengthen workmen’s compensation laws and shorten their working hours, stop the handouts of state resources to private companies, and expand recreational areas for the benefit of the public. He cut taxes while building hospitals, schools and low-cost housing developments. When the legislature balked, he appealed to the people on radio, and they responded with avalanches of letters and telegrams to their representatives. The dauntless spirit with which he battled his adversaries earned him the title “The fighting Governor.” After his defeat for the Presidency in 1928, Smith was able to hand on to his successor — a comparatively inexperienced politician named Franklin D. Roosevelt — a working state government and a blueprint for social reform which Roosevelt would put to good use. At the time of her death in 1965 Frances Perkins was working on a book about Al Smith as she knew him. Her notes, the few chapters she had written, and the oral history she recorded for Columbia University were turned over to Matthew and Hannah Josephson, who used them and their own exhaustive research to write this biography. “The Josephsons, both authors in their own right... were invited to complete the unfinished biography of Smith that Frances Perkins left behind at her death in 1965. Finding only a rather bare start, they ended up writing it ‘90%’ themselves... The sections on Smith’s early years provide a delightful picture of the Old East Side and a thriving Tammany Hall... A happily executed portrait of an eminent and engaging American.” — Kirkus Reviews “The most thorough study yet available of Smith’s career, and one that also pays considerable attention to Frances Perkins’ contributions to reform during the Progressive period and during Smith’s gubernatorial administrations... [a] useful biography of Al Smith.” — Joel A. Tarr, The American Historical Review “The book reflects the warmth and vigour of its subject... The book’s principal contribution is its emphasis on Smith’s tremendous effectiveness both as a party leader and as a reformer. His quarter-century of almost continuous success was founded on exceptional memory, intense application, a sharp wit and shrewd appeals to the people. His enduring monuments are his reform of the state administration, his fight against the utilities, and his work in housing, conservation and social reform.” — Michael Simpson, History “The Josephsons’ political portrait is of a man who was at one and the same time an ambitious and successful politician who could skillfully manipulate the party system, reward friends and punish enemies, hold personal grudges, yet temper his actions with genuine humanistic concern for the welfare of the first- and second-generation immigrants for whom he was both spokesman and symbol.” — John L. Shover, The Pacific Northwest Quarterly “The Josephsons’ biography is... comprehensive, providing careful and discerning detail about Smith’s life and career.” — William W. Bremer, The Wisconsin Magazine of History