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Bringing together scholars from art history, visual studies, and related disciplines, this edited volume asks why Trumpism looks the way it does and what that look means for American - and global - society.
List of contents
Part I: Introduction 1. Interrogating the Visual Culture of Trumpism Part II: Social Media and the Internet 2. Towards a Contrarian Postmodernism: Elon Musk and the Ends of Historical Allegory 3. The Politics of Bigfoot Porn, or the Relationship between Sasquatch and the Far Right 4. Trumpism, NFTs, and the Cultural Politics of 21st Century Kitsch 5. The Worship of a Golden Chair: Patterns and Implications of Warhammer 40.000 References in Trumpist Propaganda Part III: Commodification and Consumption 6. Where’s the Beef: American Portraiture, Stock Photography, and The Visual Politics of Trump Steaks 7. Cassandra's Curse: Foreshadowing the Trumpian Era - A conversation with Andrew Krasnow 8. “Serious Balls”: Donald Trump as Phallic Symbol in Pop Presidential Paraphernalia 9. Seeing Red: A MAGA Re-Brand Part IV: Portraiture and Caricature 10. Edel Rodriguez takes on Donald Trump: The Time Magazine Covers 11. Trump’s Court Artist 12. Drain 13. Transmedial Trumpism: Strongman Politics Via Popular Caricature Part V: Public Space 14. Making American Architecture Great Again? Executive Order 13967 15. Postcommodity’s Aesthetics of Place: An Intervention into Trump’s Picture of the Borderlands 16. The Visual World of Trumpism and Rural MAGA Warriors in Northern California Part VI: American Sacred Spaces 17. ‘Fake News’ from the Oval Office between the Obama and Trump Administrations, or so we thought 18. From Inauguration Crowds to Capitol Mobs: Photography and Fact in the Post-Truth Era 19. The Flags that Flew on January 6th: DIY Populist Art Plays with the Past
About the author
Grant Hamming is Collegiate Assistant Professor and Program Director of the Rhizome Living-Learning Community at Virginia Tech. He holds a Ph.D. in the history of art from Stanford University. His research and teaching interests include sustainability, graphic design, and transnationalism in antebellum American art.
Natalie E. Phillips is Associate Professor of Art History and Affiliate Faculty in Women’s, Gender, and African American Studies at Ball State University. She received her Ph.D. in visual studies from the University of California, Irvine, in 2009, and specializes in contemporary art and visual culture.
Summary
Bringing together scholars from art history, visual studies, and related disciplines, this edited volume asks why Trumpism looks the way it does and what that look means for American – and global – society.
