Uniformed Ladies 2
From "Ustašice"
33x48
Oil on canvas

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@ovadjevojka
Uniformed Ladies 2
From "Ustašice"
33x48
Oil on canvas
Uniformed Ladies 1
From "Ustašice"
25x25
Oil on canvas
Response to Jo Spence's 1983 Essay "What is a Political Photograph?"
Spence, Jo. "What Is a Political Photograph?" 1983-84. Appropriation. Cambrige: MIT, 2009. 107. Print.
In Spence’s short essay, she states that a “political photograph” is one that seeks to question or change the phenomenon of popular familial photography and the “Kodak regime”. She states that it is this kind of photography, practiced everyday by people who wouldn’t consider themselves “photographers”, but just people with a camera setting out to record their lives and loved ones. Spence states that people tend to value this kind of photography because it solidifies their sense of self, their place in the world, and their place in their family. Generally, and especially before the age of Photoshop in which Spence wrote this piece, people tend to trust photographs as being true and real representations of humans. Therefore, a conscious reminder of “I am real, my life is real, my family is real, and my place in the world is real” when seeing oneself in a photograph.
But the political photograph, according to Spence, is one that turns the notion of what is real upside down. This is how photographs become controversial- by discomforting the reinforcement of realness that most people rely on photographs for. In her case, as she is writing from a feminist perspective, she alludes to women’s identity as part of their families and social circles being reinforced by the dreaded “Kodak regime”, whereas political photographs would question these gender roles.
While I agree that this is the textbook definition of a political photograph, I think there’s something to be said for photographs, or any kind of artwork for that matter, that seek to have the opposite effect on people. I think that political photographs can also be the type of photograph that over emphasizes roles that people take on in their lives to photograph, as though the concepts of socially-fixed roles are blaring from a loud speaker. In this way, these kinds of photographs deliver their messages of what is real not subconsciously, but overtly and hyper-consciously, which would lead the viewer to form his or her own questions about reality and life.
I also believe that this is part of my goal in creating my paintings. I do not use photographs that “question” the lives given to their subjects, but rather I enlarge them (both literally and figuratively) so that the reality being expressed in them is hyper realized. This is the effect that I want my paintings to have upon their viewers so that viewers can form their own questions, rather than being fed questions.
Uniformed Lady
From "Ustašice"
33x24
Oil on canvas
Young Girl 2
From "Ustašice"
18x20
Oil on canvas
Young Girl 1
From "Ustašice"
18x20
Oil on canvas
A note on my "Ustašice" series (and a rough draft artist statement)
The Ustaše (that's the plural form of 'ustaša'), for those of you who do not know, was a Croatian-fascist-Nazi militia that dominated Croatia, which is considered in American history as a "minor axis nation" (meaning America was not in direct conflict with them) during World War II. They were tasked with the extermination of the undesirables of the Balkans, which consisted of their cultural, ethnic, and political enemies. Their rule was thankfully ended by the Yugoslav Partisan resistance which brought into power the communist president Josip Broz Tito.
Understandably, much of the history of the Ustaše has been swept under the rug by Croatians. However, a surprising amount of Ustaša-sympathizers have arisen in post-Yugoslav politics since the 1990's.
As an ethnic Croat, a lover of Balkan culture, and an Eastern European political junkie, this history is quite relevant to my life and politics
Croatia is not alone in this surge of Eastern European ultra-nationalism. Putin's government has been the prime example of this trend to the west. With his hyper-masculine image (all of those famous shirtless pictures were not released by accident), far-right politics, and seemingly excused human rights violations, many westerners, even conservatives, have condemned Putin.
However, most of Russia supports him and his policies.
I've heard friends of mine say things to the effect of "you would think Eastern European governments would have learned their lesson by now", and to an extent I agree. But being a political activist myself, I feel the issue is deeper in complexities than that, and revolves around the same magical word: dogma.
A major problem that all political intellectuals, particularly leftists, tend to have is that they are made up of doctorate degree after doctorate degree. These are people who have spent a huge part of their lives thinking, reading, and writing about extremely complex ideas that most people, at least according to my personal hero Plato, simply do not understand and don't care to try to understand. At the same time, socio-political change does not occur with a few individuals. You need a large group in order to do that, many of whom are not intellectual. So it becomes a matter of simplifying complex ideas into short slogans for people to remember and become passionate about, despite the fact that most people do not entirely understand what it is that slogan stands for. This puts any kind of political activism into a paradox, of which one must be highly cautious.
When speaking about fascist society, dogma is especially important- arguably more so than any other political ideology. From the words of Rogers and Hammerstein, "You've got to be carefully taught/ Of people whose eyes are oddly made/ And people whose skin is a different shade/ You've got to be carefully taught". I firmly believe that fascism does not come naturally to the human soul- but belief in dogma does.
As a way to further explore this concept, I have chosen to create a total of six paintings of women in the Ustaša militia. Unlike their male counterparts, the ladies of the Ustaše in their photographs are not posed militaristically with their chests puffed out and a solemn expression, but like girl scouts. They look as though they are simply posing for a nice picture, unaware of what the party they support is actually doing. Of course, this is consistent with the way gender roles in fascist society are made up. However, I believe it speaks to the larger issue of blind patriotism and ignorance in politics.
Most of all, they are very relevant to the current political happenings of Eastern Europe, and should be a memo to all those of what the effects of extremist dogma can lead to.
When reblogging my paintings, please credit me as "Ova Djevojka". Thanks!
Communist Kahlo
28 x 24
Oil on canvas
Romantic Kahlo
24 x 28
Oil on canvas
The Constriction Killing Me Also
20x20
Oil on canvas
Hey! Everyone! Go to this!
http://www.digablearts.com/2012/
Cinderella
16x20
Oil on canvas
Barren woman
16x20
Oil on canvas
Childless Woman
16x20
Oil on canvas
Female Author
16x20
Oil on canvas
Electra on Azalea Path
16x20
Oil on canvas