RONALD REAGAN IT CAN BE DONE 

Curator: Jon McNaughton’s painting, “RONALD REAGAN IT CAN BE DONE”, depicts the former president in the Oval Office. Editor: The most striking element is the artist's rendering of Reagan himself, stiffly posed with folded hands, looking directly out at us. The scene reads as staged. Curator: Indeed. The painting borrows heavily from the historical portrait tradition while imbuing Reagan with the attributes of conservative American values. Note the small sign on the desk: "It Can Be Done." Editor: Which seems intentionally placed, even manufactured. Looking at it materially, the painting demonstrates impressive technical skill, yet that very skill feels deployed in service of myth-making. Curator: I agree, it seems the artist is crafting an idealized vision of American leadership. How might his choice to show Reagan at his desk, surrounded by family photos, a Bible, and an American flag speak to his identity? Editor: Each carefully positioned item telegraphs meaning. The desk and surrounding decor signal power, tradition, faith. What do you make of this almost pedantic use of symbols? Curator: To a modern viewer, the deliberate invocation of American conservatism can seem simplistic. We cannot overlook the context of Reagan's presidency, and its impact across intersectional categories like gender, race, and economics. It asks: Whose "American Dream" was actually being upheld? Editor: Right. How much artistic interpretation is influenced by both political intent and the practical means of distribution? I wonder if this painting challenges, even reinforces, the divide between art intended for private display versus widespread propaganda? Curator: The work's direct visual language promotes ideological dialogue around leadership. Ultimately, "It Can Be Done," demands an examination of historical values in light of contemporary experience. Editor: I’m left with more questions about this image and McNaughton’s practice; particularly when process and intention collide.