Art Controversy in the<scp>O</scp>bama<scp>W</scp>hite<scp>H</scp>ouse: Performing Tensions of Race in the Visual Politics of the Presidency

Finnegan, Cara A.; Mixon, Anita

doi:10.1111/psq.12112

Cited by 4 publications

(2 citation statements)

References 16 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…First, digital culture is participatory; and perhaps most important, it is agentic, giving the publisher some control of their content and visual narrative that allows for a disruption, positive and negative, of mainstream-mediated norms. We saw this disruption first (arguably) in Barack Obama's presidential campaign, and presidential leadership style (McKinney & Banwart, 2011;Finnegan & Mixon, 2014;Mackay, 2015) ultimately bypassing the presidential press room in his second term to achieve mediated flexibility. We certainly saw the volcanic possibilities of presidential mediated reality throughout Donald Trump's presidency (Gunn, 2020), a style of leadership where digital culture was the bully pulpit.…”

Section: Skirting Expectations and Artful Political Communicationmentioning

confidence: 99%

Backward and in Converse: Artful Political Communication; How the Biden/Harris Presidential Ticket Reverses the 2-for-1 Campaign

Pye¹,

Taylor

2021

American Behavioral Scientist

View full text Add to dashboard Cite

This article critically examines the visual and mediated communication of vice presidential candidate and now vice president, Kamala Harris, and Harris’s political surrogates leading up to the 2020 presidential election. As a launching point, we build on our 2016 election retrospective, where we analyzed “Hillary Through Time” and found that political women were not only primed to “take advantage of the democratization of visual rhetorical presentations” but also, political women could challenge normative coverage “through a mediated image of her own making.” Fast forward 4 years, we offer such agency through the visual communication of Kamala’s campaign-mediated image. Drawing from the philosophy of Susanne K. Langer, we argue that Kamala Harris intentionally advances “artful political communication” as a method for challenging gendered aesthetic tropes of political women; ultimately shifting the narrative of “2 for the price of 1” from deferential to empowered.

show abstract

Section: Skirting Expectations and Artful Political Communicationmentioning

confidence: 99%

Backward and in Converse: Artful Political Communication; How the Biden/Harris Presidential Ticket Reverses the 2-for-1 Campaign

Pye¹,

Taylor

2021

American Behavioral Scientist

View full text Add to dashboard Cite

show abstract

“… Of course, presidents, too, can use art for rhetorical purposes, as demonstrated by Finnegan and Mixon ().…”

mentioning

confidence: 99%

The Illustrated Four Freedoms: FDR, Rockwell, and the Margins of the Rhetorical Presidency

Kimble

2015

Pres Stud Q

View full text Add to dashboard Cite

This article examines the rhetorical failure and eventual resurrection of Franklin D. Roosevelt's (FDR's) Four Freedoms and the implications of this transformation for conceptualizing the rhetorical presidency. By charting the phrase's initial flop and the related troubles of the administration's official Four Freedoms pamphlet, the essay argues that FDR's ideal was restrained by the government's reliance on a diegetic approach to propaganda. The appearance of Norman Rockwell's Four Freedoms series in , in contrast, embraced a mimetic approach. I conclude that Rockwell's paintings and their attendant publicity blitz dramatized and personalized the president's Four Freedoms, fostering a surge of identification on the home front and ultimately launching the ideal on its ascendant course into rhetorical history.

show abstract

“The Power of the Presidency to Hurt”: The Indecorous Rhetoric of Donald J. Trump and the Rhetorical Norms of Democracy

Stuckey

2020

Pres Stud Q

View full text Add to dashboard Cite

Presidents are both individual agents who make rhetorical and political choices and discursive nodes through which political discourse circulates. As both agents and nodes, when presidents engage in educative, vituperative, and performative rhetoric, they are positioned to influence the form and content of the national discourse. Donald Trump largely eschews educative rhetoric. He depends heavily on vitriol, primarily using demeaning language, false equivalency, and exclusion. As an individual actor, these tactics characterize his rhetoric. As a discursive node, the effects are far more broad ranging, circulating and reinforcing deleterious language in both form and content. Trump’s example indicates that scholars of the presidency and presidential rhetoric need to think differently about presidential language as it circulates and influences broader political processes.

show abstract

Art Controversy in theObamaWhiteHouse: Performing Tensions of Race in the Visual Politics of the Presidency

Cited by 4 publications

References 16 publications

Backward and in Converse: Artful Political Communication; How the Biden/Harris Presidential Ticket Reverses the 2-for-1 Campaign

Backward and in Converse: Artful Political Communication; How the Biden/Harris Presidential Ticket Reverses the 2-for-1 Campaign

The Illustrated Four Freedoms: FDR, Rockwell, and the Margins of the Rhetorical Presidency

“The Power of the Presidency to Hurt”: The Indecorous Rhetoric of Donald J. Trump and the Rhetorical Norms of Democracy

Contact Info

Product

Resources

About