VIEW IN MY ROOM
"Cover your Trump before you hump!" Sculpture
Switzerland
Sculpture, Glass on Plastic
Size: 15.7 W x 19.7 H x 0.8 D in
Ships in a Box
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About The Artwork
"Cover your Trump before you hump!" This is my response to the spoof "Make The Art World Great Again". It might be shown in a group exibition curated by Soft Focus Institute during Antwerp Art Weekend (May 20 - 22). They write, that the term "Make America Great Again" was created in 1979 during a time in which the United States was suffering from a worsening economy at home marked by high unemployment and inflation. They state that the slogan was spoofed by the animated comedy series South Park, in the episode "Where My Country Gone?" supporters of Mr. Garrison, who ran a campaign similar to Trump's, are seen holding signs bearing the slogan. The title of Fall Out Boy's remix album Make America Psycho Again references the slogan. Comedian David Cross took part in a stand-up tour titled "Making America Great Again". Critics who argue that Trump's campaign is racist offered the satirical slogan, "Make America White Again", while Ted Cruz sold hats featuring "Make Trump Debate Again" in response to Trump boycotting the Iowa January 28, 2016 debate.
Details & Dimensions
Sculpture:Glass on Plastic
Original:One-of-a-kind Artwork
Size:15.7 W x 19.7 H x 0.8 D in
Frame:Brown
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Switzerland.
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Switzerland
Freuler's work and his commitment as an art blogger cannot be understood in isolation from the cultural-media significance of art in the 21st century: The transformation of art from an iconic system of meaning to a media-generated system of signs and discourse is a development that - fortunately! - brings more and more people into contact with art and lets them participate in the discourse. The development of social platforms also contributes to this. For critics who still understand art as an elitist cultural system of reference with fixed classifications, this development may remain incomprehensible. Those who look for a message or fixed meaning in Freuler's collages such as "Condom Trump" do not understand how such works are understood and expanded in terms of reception aesthetics in the context of social networks. But it falls short to reduce Freuler's work to the media aspect. After all, behind OP Freuler is not a coldly calculating social media player, but a curious, sensitive, and subtle artist whose work is the expression of a - very personal - journey between the signs. It remains to be hoped that Freuler will continue to grant access to his drawing cabinet to those who are interested and those who doubt him.
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