30 September, 2010
An excerpt from the Inspirationalist Manifesto.
An Inspirationalist Manifesto. By Dustin Nowlin
Mandatory Propaganda- Any form of advertising, solicitation, or covert marketing, presented or present within or before the viewing of art. It is evident that in today’s early 21st century experience that no film, entertainment and/or intellectual property can be consumed without a mandatory or obligatory message of propaganda delivered before the property is seen or packaged within the arts.
The visual arts is of no exception. Long after the flirtation with advertising and product placement of Pop Art. The Art world has to reflect the world of today within its interests, and question today’s policies to furthest extent of its curiosities. Therefore the arts have to challenge the viewer to question a lifestyle of Google, Walmart, social networks, commercial interruptions, billboards, pop ups, and the endless stream of useless information, drilled into the minds of millions around the world at the speed of light. Effecting everything from critical thinking to the very way we see art and the world around us. In the field of the visual arts we must find a way to not only combat what is possibly an approaching threat to what is usually a individualistic endeavor, and not a corporate one. But also to embrace and use the polarity of appealing to the general public in a board form of visual motif, design or theme.
The visual motif of the word “NEW” has a power far beyond language and strikes the viewer, bringing their attention to whatever the message or product is. New can refer to the freshness or release of a product, New can also stand for the update of a current issue, product or development. All of which considered, “new” is a tool used to attract the attention of an audience in order to spur movement. In the case of art, it can theoretically be used to charge inspiration within a viewer when used in the right context. In this regard “new” can refer to various visual content and narrative subject matter. And when used multiple times within a narrative, each time that it is used the meaning directs and varies throughout the context, offering an open to interpretation viewpoint but also allotting to the different aspects of the subject, the artist is attempting to depict.
For example when I used this visual device for the painting “Science” its primary goal is to, at first, draw the viewers attention, describing the works timely relevance but also to discuss the many issues within the function of the the paintings main topic, religion. This tool works similarly in many of the other works, to illustrate variable questioning of the logic within the subject matter and the main focus of the piece. In “Jonquil” the mandatory propaganda is used to attract the viewer into a personal scenario, while question the overall narrative of love, the idea of love and love unrequited. But it also like many other times the device is used points out the fact that these cognitive issues are not in fact “new” to the history of mankind. These are subjects dealt with over time, time and time again. Leaving the viewer with a sense of optimism that all of these tyrannical social disorders we face are indeed not “new”, and furthermore if we have the power to recognize these issues, we have the power to change them.
Therefore, each time the visual motif, “new” is used, multiple times in an arrangement, every single manifestation of the word beckons a differing connotation of the word and its meaning or reference to a subject matter. For instance in the painting known as Science, “New” refers mainly to religion but in further analysis is can also pertain to the layers and various branches of sectarianism. Here this device may also reflect the many brands of propaganda and religion used by people in power in order to sell a certain rhetoric in a given time, this of course refers to the juxtaposition of the device, surrounding a noisy television under the element of gold below the spiraling Sun. “New” is scribed differently each time within this arrangement, asking the viewer to explore what they are seeing, some are written very straight and bold, and some are crossed out denoting the mistakes throughout history and the permanence of human error. ....
Posted by Dustin Nowlin