The Power Of Propaganda 

Curator: Welcome to this presentation of "The Power of Propaganda," a mixed-media collage by Dave Macdowell. It appears to blend acrylic paint with graphic art elements. What strikes you first about this piece? Editor: Chaotic! There's a frenetic energy in the composition, a sensory overload. It feels… intentionally overwhelming. Is the medium part of the message here? The use of collage seems very deliberate. Curator: Absolutely. Macdowell's choice to combine seemingly disparate elements speaks to the overstimulation inherent in contemporary media consumption. The artist's hand, and thus labor, is quite visible, even though the sources appear mechanically reproduced, prompting questions about artmaking in a digital age, as well as mass cultural appropriation. Editor: The text fragments, the sexualized imagery alongside cartoon figures...it reads like a stream of consciousness ripped from the internet. There’s definitely a commentary on how easily these narratives become interwoven and normalized. It critiques both consumption and power. The title suggests propaganda, so, how is it functioning here? Curator: That’s precisely what the artist forces us to consider. The barrage of imagery and phrases normalizes that which shouldn't be normalized. Take, for instance, the recurring erotic imagery, how are we supposed to reconcile that in relation to those innocent looking cartoon faces? By mimicking the visual language of advertisement, he critiques its insidiousness and asks to what or whom does the so-called 'power' in this case truly belong? And, importantly, who is meant to buy it? Editor: There's a clear interrogation of both mainstream media and the insidious ways ideologies are perpetuated. Even the vibrant colours add to the unsettling feel – making something dangerous seem palatable. What strikes me now is who the piece could be targeting; are they fully aware of this messaging as problematic? Curator: An excellent question! In terms of materiality, it reminds us that behind every carefully constructed message lies an artist– or, rather, laborer— actively piecing things together. In thinking through all the individual processes involved in creating 'Propaganda'– the artist calls attention to the means of artistic and ideological production itself. Editor: Exactly, it unveils a world saturated with these coded and layered realities. I think its visual power lies in making you aware that there isn’t an “escape,” that all you can really do is look for the string that leads to who, what, and how these realities got made. Curator: Ultimately, Macdowell makes visible how we're all complicit as active consumers. Thank you for that insightful observation.