Review of Weapons of Mass Seduction at the Deyoung
On the beginning Tuesday of the month, admission to the De Young Museum is free to the public. Tuesday afternoons aren't oftentimes typical for a museum stroll but I enjoyed the lessened amount of visitors. During my visit, from afar the museum can be spotted amongst the greens and deserted groups of people. I circled the footing floor and gradually made my manner upstairs, about parts of the museum were empty. Although, at a particular section, simultaneous radio voices echoed between walls and footsteps sounded denser. I headed towards the dark shaded walls, where on the left wall were projected flying leaflets, and on the right was the project of a big soldier hushing 3 civilians. The short alleyway led me into a small, secretive room where there is an exhibition titled 'Weapons of Mass Seduction: The Art of Propaganda'
According to an introductory welcome provided by the De Immature: "This exhibition features a selection of World War I and 2–era posters from the collection of the Achenbach Foundation for Graphic Arts, shown alongside films, ephemera, and textiles from the 1910s to the 1940s."
LEFT: Unidentified creative person (British), "Telling a Friend May Mean Telling the Enemy (Navy)," ca. 1940-42 . Color lithograph poster. Printed by J. Weiner Ltd., London, for H.K. Stationery Office. Photograph: Courtesy of the Fine Arts Museums of San Francisco RIGHT: Homer Ansley, "Permit Me Do the Talking! Serve in Silence," 1941-43. Color screenprint affiche. Issued by the San Francisco Junior Chamber of Commerce for the Northern California WPA Art Program San Francisco. Photo: Courtesy of the Fine Arts Museums of San Francisco.
Lamented texts and vintage graphic prints were scattered across the off-white walls. Bold headlines labeled: Scare tactics, Loose lips, Signs and symbols, Nutrient volition win the state of war, The art of the ad poster and Disney propaganda, all opened doors to interesting conversations and gestured frowns. In a higher place 'Scare tactics', a quote past J.B.Priestley, British Ministry of Data, is printed: "The undercover people of the Germanys are worse than fools in their folly…They kill without pity, rejoicing in blood, as animals kill. They know no law, every bit animals know no law." The room was total of people, where whispered conversations circulated the air. The start thing I encountered pass the projected walls were two columns of text with a printed headline 'The Art of Propaganda'. One office of the text reads "during Earth State of war I, propaganda leaflet bombs were dropped from airplanes and hot air balloons to saturate the landscape with newspaper letters to enemy soldiers and civilians." The exhibit shows the weaponization of graphic designs and words from the 1910s to the 1940s, demonstrating the regime'south intention to sell ideas and manipulate public opinion, something that perchance yet persists to the present solar day.
Courtesy of the Fine Arts Museums of San Francisco.
Ii about eye-catching sections at the exhibition which hooked me were the 'Disney Propaganda' and 'Propaganda Kimonos'. "It is estimated that between 1942 and 1945 Disney Productions devoted over ninety percent of its output to the war effort…information technology also created propaganda posters, hundreds of insignia, or logos, for specific military units, and ephemera ranging from patriotic comic books to war-bond certificates featuring Disney characters." In a split up drinking glass-walled room was a screening room for ane of Disney's old animations. The animated short encourages American households to salvage their used kitchen grease and oil to aid the ground forces effort in explosives producing.
Item of the paw-painted design on a newborn'southward wrapping garment (omiyamairi) (ca. 1935). Courtesy of the Fine Arts Museums of San Francisco.
Undergarment (juban) (ca. 1938) . Courtesy of the Fine Arts Museums of San Francisco.
Under 'Propaganda Kimonos', the text reads "In Japan, propaganda themes infiltrated popular culture in the ornamentation of kimonos, obis, juban (under-kimono robes)…these served equally vehicles for regal nationalist imagery, with explicit war motifs ranging from the machinery of the modern military – warplanes, battleships, arms – to boy soldiers and pilots besides as the flags of the Axis nations." Although the kimonos and other traditional garments worn by men, women and children article of clothing filled with propaganda strategies, they were not meant to be revealed in public only were rather worn at home and at private functions. Propaganda wasn't an obvious brainwashing tool, but was rather a clever art class to influence the public psyche. According to Propaganda Analysis (1938), the people at the time "[were] surrounded by clouds of propaganda…it is up to each of [them] to precipitate from those clouds the truthful and the simulated, the near-true and the virtually-fake, identifying and giving to each classification its correct characterization."
Source: https://thefashiongazerr.wordpress.com/2018/10/22/current-two-revolutionary-exhibitions-at-the-de-young-museum/
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