How to cover New Yorker's cover?
Tuesday, July 15, 2008
By Tony Norman, Pittsburgh Post-Gazette
"Art, like morality, consists in drawing the line somewhere."
-- G.K. Chesterton
Last month, an art installation at a storefront gallery in New York was shut down by police and Secret Service agents before the public had a chance to pass its own judgment.
Artist Yazmany Arboleda had mounted a show inside the makeshift gallery called: "The Assassination of Hillary Clinton / The Assassination of Barack Obama."
The show featured painted nooses, sexual imagery, racist terms and other artifacts and photos attacking both Mr. Obama and Mrs. Clinton.
"It's art," the 27-year-old artist said, explaining his muse. "It's not supposed to be harmful.
It's about character assassination -- about how Obama and Hillary have been portrayed in the media.
It's about the media."
Maybe, but it was incredibly bad art, too, because it was more about provoking a reaction by the authorities than being "art."
Still, it shouldn't have been shut down just because it was obnoxious.
It deserved the audience that would have surely sneered at it for being derivative and superficial.
Fast forward a month.
Probably the only thing presidential candidates Barack Obama and John McCain will agree on this week is that the nexus of art and politics has become a very strange place.
The latest issue of New Yorker magazine has a cover that lampoons the vision of Barack and Michelle Obama currently circulating on right-wing blogs and those endlessly forwarded e-mails.
In staff artist Barry Blitt's illustration, the Obamas are portrayed as subversive black exotics fist-bumping in the Oval Office.
Barack Obama is wearing a tunic, kufi and sandals and looking at the reader with a sideways glance.
Michelle Obama is portrayed wearing an Afro, a black v-neck and military camouflage pants.
A Kalashnikov and ammo belt are slung over her shoulders.
She could pass for Angela Davis during her exile-in-Cuba phase.
The final touch is the American flag burning in the fireplace under a portrait of a glaring Osama bin Laden.
In a predictable, but understandable, overreaction to the freewheeling tradition of American satire, Rev. Al Sharpton's National Action Network has been joined by the Muslim American watchdog group Project Islamic Hope in calling for retailers to pull the issue from the stands.
There is so much emotional dynamite embedded in the image that taken in isolation, each of the elements has enough resonance to deliver a gut punch to readers inclined to miss its savage irony.
Even so, I doubt that Barack Obama is comfortable with the effort to censor New Yorker, a magazine he and many of his staff probably subscribe to.
What's obvious to regular readers of the left-of-center New Yorker is that the drawing perfectly distills the nonsensical mythology that has plagued the Obama campaign since the primaries.
It is not intended as a critique of Obama per se.
The more interesting question is whether folks glimpsing the cover on newsstands beyond the Hudson will "get it" and how many will see it as confirmation of their darkest suspicions.
According to some polls, as much as 15 percent of the electorate believe the Illinois senator is a "secret Muslim" who took the oath of office with his hand on the Koran.
The Obama campaign didn't wait a news cycle before responding. "The New Yorker may think, as one of their staff explained to us, that their cover is a satirical lampoon of the caricature Sen. Obama's right-wing critics have tried to create," spokesman Bill Burton said.
"Most readers will see it as tasteless and offensive. And we agree."
The Obama campaign is concerned because, unlike the New Yorker editors, they are under no illusion that Americans "get" anything when it comes to ironic portrayals of the candidate.
Ask any newspaper columnist or political cartoonist to tell you how well irony translates in the hinterlands.
The New Yorker cover is at odds with the tone of every other image of Barack Obama that has run on the front of national magazines recently.
The latest issue of Rolling Stone portrays the candidate with a sly, beatific smile.
It's a follow-up to an earlier cover which featured the Illinois senator in an aura of bluish light.
The latest Newsweek cover shows Mr. Obama in prayer, but without his usual halo.
Honestly, there's a messianic quality to much of the imagery and hype surrounding Barack Obama that doesn't allow for a lot of satire.
Treating a presidential candidate with the same awe one brings to a sacred text is un-American and a betrayal of our democratic traditions.
If Barack Obama is elected president, artists will mock him because so much art opposes whomever is in power.
The New Yorker cover is doing his fans a favor by inoculating them against truly hostile satire to come.
Tony Norman can be reached at
tnorman@post-gazette.com or 412-263-1631.
First published on July 15, 2008 at 12:00 am