Context
Barbara Kruger and Artworks
Untitled (You Invest in the Divinity of the Masterpiece). 1982.
Gelatin silver print, mounted and framed,
71 3/4 x 45 5/8" (182.2 x 115.8 cm).
Installation view, 59th Venice Biennale: The Milk of Dreams,
Venice, Italy, 2022.
Photo by Maris Mezulis
In today's digital age, the dissemination of news and information is often plagued by the spread of misinformation and fake news, blurring the lines between fact and fiction (Jaques et al., 2019). Misinformation campaigns on social media platforms distort the boundaries between truth and falsity, influencing how individuals consume and interact with information (Jaques et al., 2019). In this context, Barbara Kruger’s artistic practice is instructive for my research. Her critical engagement with the manipulation of images and text prompts viewers to reflect on the authenticity and reliability of the information they encounter, particularly in the context of media and consumer culture (Vosoughi et al,2018). Through her unique fusion of visual imagery and text, Kruger delves into the manifestations of power relations and social constructions of desire and sexuality in mass media, reflecting on the intersections of feminism and consumer society (Bahr, 2017). Her art challenges the dichotomy between truth and falsity, inviting a reconsideration of established narratives and representations (Xing et al., 2021). Kruger's art confronts issues of control and manipulation, particularly in how individuals are influenced by and interact with media messages that shape their perceptions of reality. This coincides with the issues I explore about social power, post-truth and personal opinion formation. Kruger has said that, "I work with pictures and words because they have the ability to determine who we are and who we aren't"(LINDACLEARY, 2014).By manipulating images and text, she disrupts conventional narratives and invites viewers to consider the fluidity of truth and the deceptive allure of falsity in the media-saturated world. Kruger's artistic practice can be seen as a commentary on the fixed nature of truth and falsity once meanings are established and conveyed through symbols (Eaton, n.d.). Kruger's works challenge the viewer to discern between what is presented as truth and the underlying layers of falsity that may be embedded within visual and textual representations. This creative method of editing text and images also influenced my unit 2 presenting format.
Truisms
Jenny Holzer's "Truisms" series, created between 1977 and 1979, significantly influences contemporary discourse on information manipulation and societal power dynamics, themes that resonate deeply with my own artistic exploration (Thecollector, 2023). The "Truisms" are a collection of aphorisms that span a variety of topics, including power, love, and death, reflecting the complexities of human existence (SINGULART, 2024). These statements, such as "Abuse of power comes as no surprise" and "Protect me from what I want," are provocative and reflect societal norms and often unchallenged power structures (Jenny Holzer. Truisms. 1978–87 | MoMA, n.d.).
My project is influenced by Holzer's critical engagement with language and power. She confronts the theme of information control directly, disseminating messages that challenge the passive reception of 'truths' shaped by those in power. Holzer’s work encourages a critical analysis of the narratives fed to the public (Jenny Holzer Art, Bio, Ideas | TheArtStory, n.d.). In my work, I explore how false information, politically motivated, shapes public opinion. Additionally, Holzer's text-based presentation has influenced my creative process. Her focus on the format and dissemination of "Truisms" speaks to our era’s engagement with social media and digital communication, where short, impactful messages can significantly influence public perception and discourse (Makagon, 2000). Similarly, I capture the audience's attention by excerpting and displaying short texts.
In summary, Jenny Holzer's "Truisms" not only highlight the manipulation of truths by those in power but also inspire a reflective and critical approach towards understanding and challenging these dynamics, which profoundly affect me.
Speaking Power to “Post-Truth”: Critical Political Ecology and the New Authoritarianism
Key Point Summary：
This article explores how political ecologists respond to "alternative facts" promoted by populism and their challenges to narratives of environmental change in today's political environment. Political ecology has historically challenged mainstream scientific narratives about environmental issues, but the current political situation—especially the spread of "alternative facts" under populist authoritarian agendas—has made this challenge more severe. Political ecology needs to address the epistemological violence caused by the "coloniality of reality," particularly the threats to the diversity of indigenous ecological knowledge and practices. The author delves into "post-truth" as the latest manifestation of the long and tumultuous history of truth, politics, and power relationships. In this context, politicians select or construct facts to serve specific purposes, thus triggering widespread anxiety about the nature of scientific and political truth and giving rise to new terms like "alternative facts" and "fake news." A responsive and publicly accessible political ecology is advocated to counter the populist reconfiguration of social-environmental issues and to ally with positivist science against authoritarian power. Political ecologists, observing everyday and mundane forms of authoritarian power and government control, consider how to empower marginalized groups through individual and collective action. For future political engagement, political ecologists need to pay closer attention to the production of knowledge and the power structures that define "truth." Finally, the article advocates for a constructive and critical political ecology that confronts power with power, not only mobilizing critical academic discourse and social networks but also engaging the public with elements such as collective action and activism. This approach effectively counters the spreaders of "post-truth" and their creative use of environmental information, establishing a more detailed form of "science" that seeks to change rather than merely describe the world.
My Practice to Post-truth:
In my artistic practice, I have presented controversial topics and false facts, hoping to provide the audience with an opportunity to reflect and question the "truth" in the current political and media environment. This aligns with the author's view that public outreach beyond academia is crucial. Through exhibitions or social media sharing, I hope my artwork can reach a wide audience, conveying the concerns of political ecologists about "alternative facts" and "fake news," and how these phenomena affect public understanding of environmental and social issues. We need to inspire a response to post-truth, consider how to engage with the public, and form enduring networks to resist authoritarian power (Neimark et al 2019).