The reactions around these figures show what forces can arise when the artwork is combined with different forms of the phenomenon called iconoclasm, or image crushing, as it can be called in good Norwegian.
Threatened goddess. Both German Der Spiegel and American The New Yorker used various representations of the famous Statue of Liberty in New York in February. Der Spiegels front uses Cuban Edel Rodriguez's illustration of an abstract Donald Trump (with orange face, blonde mane and black suit) holding a bloody knife in one hand and lifting the Statue of Liberty's severed head with the other. The New Yorker used illustrator John W. Tomac's image Liberty's Flameout, where the Statue of Liberty holds an extinguished torch against a dark sky and only gloomy, gray smoke is left by the flame of hope.
Both images show an attack on the monument, something in art history is referred to as "iconoclasm" or "image crushing" – but these attacks are fictitious. The statue is still untouched by nature on its island. In both cases, the mutilation of the recognizable silhouette represents an attack on everything the monument represents:. . .
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