From Velázquez to Bloomberg 2020
Requires Subscription or Fee PDF (OPEN ACCESS)

Keywords

aestheticization of politics
Diego Velázquez
digital propaganda
Michael Bloomberg
politics and aesthetics
politics of representation

Categories

How to Cite

Amorim, João Pedro. 2020. “From Velázquez to Bloomberg 2020: The Portrait As a Representation of Power”. Membrana – Journal of Photography, Theory and Visual Culture 5 (2):88–95. https://doi.org/10.47659/m9.088.art.

Abstract

When one visits the rooms dedicated to Velásquez in the Museum of Prado, it is extraordinary how portraits of kings and those of jesters and peasants are laid side-by-side. The nobility and dignity given to the lower members of the court exemplifies an early example of a revolution in the politics of representation. In the antipodes of this example, we analyse how the campaign of the millionaire Michael Bloomberg to be the Democratic Candidate for the 2020 elections hired companies to produce nonsense memes and digital propaganda. Our hypothesis is that on the center of its strategy the goal was to create an image of Bloomberg that besides viral would be relatable and humorous. The article overviews the evolution of the portrait as an element of political of representation and reflects on how the development of modern and contemporary art transformed the art of political portraiture. Furthermore it deliberates on the two-way appropriation of representation techniques between art movements and political movements.

https://doi.org/10.47659/m9.088.art
Requires Subscription or Fee PDF (OPEN ACCESS)

References

Benjamin, W. 1939/2000. Oeuvres III. Translated by Maurice Gandillac, Rainer Rochlitz and Pierre Rusch. Paris: Gallimard.

Berger, John. 1972. Ways of Seeing. London: British Broadcasting Corporation and Penguin Books.

Blumenthal, Mark. 2020. “When it comes to Trump and Biden, honesty can mean different things.” August 10. https://today.yougov.com/topics/politics/articlesreports/2020/08/10/honesty-means-different-things-biden-trump.

Doyle, Jon. 2018. “The changing face of post-postmodern fiction: Irony, sincerity, and populism.” Critique: Studies in Contemporary Fiction 59 (3): 259-270. https://doi.org/10.1080/00111619.2017.1381069

Edgar, Andrew. 2003. “Velázquez and the representation of dignity.” Medicine, Health Care and Philosophy 6: 111–121.

Foucault, Michel. 1966/2005. The order of things. London and New York: Routledge.

Marcin, Tim. 2020. “Bloomberg is running his campaign’s Twitter like a brand, and it’s not landing.” February 12. https://mashable.com/article/mike-bloombergweird-tweets-meatballs/?europe=true.

Oliver, John. 2019. “Boris Johnson: Last Week Tonight with John Oliver (HBO).” Youtube, July 29, 2019.

O’Neil, Luke. 2019. “ ‘I’m inevitable’: Trump campaign ad shows president as Avengers villain Thanos.”. December 11.

Rancière, Jacques. 2010. O Espectador Emancipado. Translated by José Miranda Justo. Lisbon: Orfeu Negro.

Rancière, Jacques. 2011. O Destino das Imagens. Translated by Luís Lima. Lisbon: Orfeu Negro.

Roncero López, Victoriano. 2007. “The Court Jester in 16th and 17th Century Spain: History, Painting, and Literature.” Translated by Esther Cadahía. South Atlantic Review 72 (1, Winter), Cultural Studies in the Spanish Golden Age: 93–110.

Rosler, Martha. 2010. “Take the Money and Run? Can Political and Socio–critical art ‘survive’?” e-flux 12 (January). https://www.e-flux.com/journal/12/61338/takethe-money-and-run-can-political-and-socio-critical-art-survive/.

Sardar, Ziauddin. 2020. “The smog of ignorance: Knowledge and wisdom in postnormal times.” Futures 120. https://doi.org/10.1016/j.futures.2020.102554

Steyerl, Hito. 2011. “Art as Occupation: Claims for an Autonomy of Life.” e-flux 30 (December). https://www.e-flux.com/journal/30/68140/art-as-occupation-claimsfor-an-autonomy-of-life/.

Stiegler, Bernard. 2018. The neganthropocene. Translated and edited by Daniel Ross. London: Open Humanities Press.

Woodend, Kyle. 2019. “Irony, Narcissism, and Afect in David Foster Wallace’s Infinite Jest.” Critique: Studies in Contemporary Fiction 60 (4): 462–474. https://doi.org/10.1080/00111619.2019.1596876

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Copyright (c) 2020 Membrana Institute and the author(s). All rights reserved.