LOATH HIM OR LOVE HIM, TRUMP-THE-DONALD (AND FAMILY!) IS THERE TO MASSAGE AMERICAN POLITICS (AND BUSINESS AND LIFE AND CARPETS) WITH TROMPE L'OEIL DISPLAYS OF MASTERFUL ILLUSIONS.

MEANWHILE JOE BIDEN IS SINKING DAILY IN HIS OWN ARTFUL DECEITFUL CACA WITHOUT KNOWING IT — THOUGH HIS ENTOURAGE OF DORKS ARE BUSY LIKE ELECTRIC EGG-BEATERS IN AN UNFLUSHED TOILET BOWL TRYING TO MAKE SHITFLOW. IN ORDER TO EXPLAIN THE TRUMPIAN INFLUENCE ON POLITICS, THE NEW YORK TIMES HAD THE GRANDIOSE IDEA TO SHOW THE TROMPOLOGISTIC DERIVATIVE ART-FORMS AND WARNING US: President Trump Has Inspired Art. That’s Not Always a Good Thing. HERE WE GO:

Just a few months before Donald J. Trump became the Republican nominee for president, The New York Post published an interview with his first wife, Ivana. Speaking from her seven-story townhouse on the Upper East Side, the Czech emigrant praised the restrictive immigration policies proposed by her ex-husband, before adding, “As long as you come here legally and get a proper job … we need immigrants,” she said. “Who’s going to vacuum our living rooms and clean up after us? Americans don’t like to do that.”

By Jillian Steinhauer

• Feb. 22, 2019

That comment — loaded with both xenophobia and a snippet of truth — took on new relevance this month because of a work of performance art. For the better part of February, the artist Jennifer Rubell hired a look-alike of Ivana and Donald Trump’s daughter, Ivanka, to vacuum in the former Flashpoint art gallery in Washington; the piece was titled “Ivanka Vacuuming.” The model put on stilettos and copies of the pale pink dress that Ivanka wore to G20 summit in 2017, which she attended in her official capacity as an adviser to the president. (The dress is also part of her clothing line.) The model did not speak as she vacuumed a small area of pink carpet, occasionally pausing to adjust the cord or sweep back their hair. A mound of crumbs occupied a pedestal in the center of the space, and visitors were invited to throw a handful on the carpet.

It was a striking image: Ivanka, who positions herself as both a feminist and a paragon of heteronormative white femininity, performing stereotypical women’s labor, in contrast with the type of work associated with her class and privilege.

But it wasn’t much more than an image. Although Ms. Rubell identifies as a conceptual artist, her work, which usually involves food, tends to traffic in obvious symbols with muddled meanings. This time was no different. Were we supposed to empathize with the Ivanka stand-in for being forced to vacuum? Mock her? Notably, the news release about the project, sponsored by the nonprofit CulturalDC, was careful not to position the piece as a critique, calling it “simultaneously a visual celebration of a contemporary feminine icon; a portrait of our own relationship to that figure; and a questioning of our complicity in her role-playing.” Ms. Rubell herself called it a “portrait of our time, not a judgment of our time.”

It feels like a missed opportunity. From where I sit, the start of the third year of the Trump presidency is a very good time to make a judgment. Why not offer a critical consideration of Ms. Trump and the political uses, as well as the historical precedents, of her carefully cultivated image of white womanhood?

The spectacle of “Ivanka Vacuuming” and the media hubbub it spawned — Ms. Trump weighed in with both self-righteousness and mild indignation — got me thinking about other art I’ve seen starring the Trumps, usually Donald. A lot has appeared over the past few years — Mr. Trump as an animatronic fortuneteller, a portrait of Mr. Trump made from pornographic images, a presidential double locked in a jail cell (in a Trump hotel) — but little of it has been memorable. I’m grateful that artists are responding creatively to the current moment, but why do so many of their efforts miss the mark?

https://www.nytimes.com/2019/02/22/arts/design/president-trump-ivanka-art.html

HERE, WE SHALL TAKE A PAUSE TO UNDERSTAND WHY ARTISTS MISSED THE MARK... THE NYT TELLS US:

The answer, I think, has something to do with the difference between art that is political and art that is about politics.

THIS IS BULLSHIT.

MOST ARTISTS ARE PETTY BOURGEOIS IN SEARCH OF FAME AND CASH. WHILE DONALD-THE-TRUMP IS BIGGER THAN LIFE POLITICS AND MID-WEST HERO CLASS, MOST ARTISTS STEM FROM NEW YORK ART SCHOOLS LIKE SAUSAGES COME FROM AN ALUMINUM MINCER. NEARLY ALL OF THEM ARE THE INCESTUOUS SONS AND DAUGHTERS OF ANDY AND JUAN.

CARTOONING SINCE 1951, GUS IS THEREFORE PRE-TRUMPOLOGY.

COMPARING APPLES AND ORANGES IS THE TRADE. 

FREE JULIAN ASSANGE NOW....