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The art in displayed in Contemporary Political Portraiture: Augmentation in Art explores the intensification of well-known persona in today’s society—particularly those in the political realm.  Beginning in the nineteen-eighties this exhibition focuses on artists and their ability to turn these figures into characters; often leaving an ironic commentary whether it is intentional or unintentional in some cases.

The artists use a range of techniques and styles in their portraits of these political figures.  Some choose the lithographic process while others use oil on canvas in a more traditional approach.  Whether it be the brush strokes, or colors filling a print the formal elements in these works lay the groundwork for critique, and an ironic commentary on the subject of each portrait.
The viewer should question their definition of augmentation.  Are these portraits still representative of their subjects?  Instead are these portraits representative of perceptions surrounding these figures?  Let us take Donna Trumpette for example.  His ‘normal’ half, and the drag queen half contrast each other completely.  The viewer must question whether or not one side is more representative of Trump than the other.  Augmentation in itself is intensification.  Whatever character is offered up, most times an ironic commentary accompanies it.  Interestingly enough, Tony Puryear’s poster of Hillary Clinton was used for her first presidential campaign.  This is a prime example of an ironic narrative to accompany this portrait.  The critical reception to the poster claiming it was reminiscent of communist China due to its sun-rays did just the opposite of what Puryear was trying to accomplish.  Instead of portraying Hillary in a warm and traditional environment she was unintentionally linked to Mao Zedong (Puryear).  This displays how even unintentionally this political portraiture has a commentary, and in this case quite an ironic one, because it was made in her favor and ended up working against her.  Melania is a painting that will cause the viewer to question their definition of augmentation.  If one sees what they perceive to be an accurate portrayal of an individual, they must question if it is still considered an augmentation.  Saint Hoax’s painting Melania poses this question.

Citation: Puryear, Tony. "Poster for Hillary Clinton’s 2008 Presidential Campaign." Tony Puryear Design. N.p., 29 July 2015. Web. 20 Apr. 2017.

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Hillary Clinton Poster for 2008 Presidential Campaign
2008
Photo Lithographic Poster with halftone
80 x 61 cm
This poster of Hillary Clinton for her 2008 presidential campaign is a photolithographic print that is reminiscent of  “Mao-era Chinese propaganda posters.” (Puryear)  The process used to create this poster, as well as it being a reproducible poster emphasize its resemblance to communist propaganda, as well as Hillary being associated with those ideals.

Referring to the form, Puryear wanted to evoke an “American “heartland” feeling” (Puryear) rather than that of communist sun rays.  This explains the use of bright yellows and reds in the background. (Puryear)  Ironically it evokes just the opposite for some. The contrast created by the print using a photo in combination with ink also creates a propagandistic feel, as if a Hillary is being promoted and not what she has to do with the country in any way.

In terms of content it is clear that this poster was meant to portray a purely American candidate in a traditional and trusting manner, but in itself is an ironic commentary on how some could view her.  Since the mark was clearly missed in regards to the background, the sun-rays remind many of communist China (Puryear).  Intended originally for her 2008 campaign, this is an unintentional, and ironic commentary from the view of those who critique her.

Citation: Puryear, Tony. "Poster for Hillary Clinton’s 2008 Presidential Campaign." Tony Puryear Design. N.p., 29 July 2015. Web. 20 Apr. 2017.

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"STOP HOMOFOBIA" Poster
2016
The “STOP HOMOFOBIA” Poster by Alexander Tsvetkov is a widely circulated and altered image today in protests, and social media primarily associated with Vladimir Putin.

Looking closely at the form of this image, the colors in the background are vibrant and stand out.  They are in the arrangement of a rainbow, and evoke happy, free feelings not associated with the usual oppressive characteristics surrounding the Russian government.  In addition to this, the colors applied to Putin himself make it appear as if he is wearing some sort of drag, or clown makeup.  This offers the viewers a question about Putin’s sexuality.

In terms of content, this image is charged with references to the gay pride flag, as well as being comfortable and open about sexuality.  The colors arranged in the background are not only in the shape of a rainbow, but they represent the gay pride flag, and its main colors.  The hair on Putin is colored yellow in connection with the yellow of the gay pride flag.  This represents sunlight, and being open and proud about who you are.  Putin is portrayed as a gay clown/ in drag here, something that he is not associated with usually.

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AIDSGATE
1987
Offset Lithography
34 x 22 in
AIDSGATE by Gran Fury depicts President Ronald Reagan by using a harsh and vomit yellow contrasted with a vibrant pink color to create an uneasy, and sickening portrait.  This is because Fury wants us to be sickened by Reagan’s actions regarding the AIDS crisis during this time.

Regarding the content of this image, it is a clear reference to the Watergate scandal involving President Nixon.  By creating this poster and slapping “AIDSGATE” on the front, Fury suggests feelings of a newsflash, and wants to the audience to understand that this is indeed a scandal.  The yellow color makes us want to be sick, as we should be sick by Reagan’s handling of the AIDS crisis. It is also quite ironic that his eyes are pink, because they consume and are the color of the one thing he has been ignoring, or at least been having second agenda for—the AIDs crisis.

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Melania
2017
Oil on canvas
110 x 140 cm
Melania by Saint Hoax depicts the first lady of the United States as a pin-up poster babe flaunting her patriotism—and some more.  Focus first on the medium.  Hoax created this painting using oil on canvas.  Working in the same medium as many famous renaissance artists, he hints at Melania’s importance as a figure.  The size of this painting also suggests the importance of Melania as first lady.  She is monumentalized in a sense because of the scale of this portrait.

In terms of form, the nearly invisible brush strokes, and even blending of colors work to achieve a somewhat representational painting of the first lady as a sexualized poster girl.  The smooth depiction of her skin, and thin brush strokes used to create her soft wavy hair portray Melania as a supermodel, an object to be marveled at; flawless in all of her features.

The content of this painting is an ironic commentary on how her role as first lady is seen by the masses.  Her seemingly perfect, but disproportionate features emphasize and recall her sexual appeal, as well as well as her need to pose for whoever is watching, even if it is an uncomfortable stance such as this.  Instead of being represented as the typical classy first lady, she is depicted as a superwoman-like poster babe sporting her country in a bathing suit made by China.  All of the colors in this painting evoke a sense of patriotism. Melania is an ironic portrayal of a key political figurehead; even the augmentation is not even obvious at first.

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Donna Trumpette
Oil on canvas
100 x 120 cm (39.3 x 47.2 in)
Donna Trumpette by Saint Hoax shows a portrait of President Donald Trump split in half.  One side is a representation of how he appears normally, and the other is Donald in drag as Donna Trumpette.  This painting was created using oil on canvas, and the scale is quite large.  The medium and scale of this painting are reminiscent of renaissance portraits that were painted of bourgeois and important figures of their day.  This suggests Trump as a figure of importance, with a nearly larger than life presence.

Looking at form in this painting, Hoax uses clean, soft brush strokes to create smooth skin and a life like representation of Trump. The content of this work conveys Trump’s personality, in different ways.  The half on the left is what he displays to the world, and the half on the right is how that personality can be interpreted.  The larger than life hair, the extensive makeup, in combination with the sequin suit and dollar sign earring emphasize Trump as a drag queen, because that can be compared to his behavior in the media.  The exaggerated character, attitude, and actions are comparable to that of a drag queen; Donna Trumpette makes this parallel.  Trump’s personality is intensified.