Artwork: Alexandr Zhitomirsky. It’s Time to Shoot Yourself, Herr Göring!, 1941. Ne boltai! Collection. © Vladimir Zhitomirsky.
If only we could see ourselves the way others see us. Would we be able to tolerate it? The gap between self image and public perception can be quite a divide that becomes insurmountable when the ego feels threatened by anything less than flattering may come to the light. We may do everything in our power to deny what others see, including gaslight, discredit, and ad hominem attacks.
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Nevertheless, self image is destined to reach an end; nothing lasts forever, including our most desperate dreams. It is here, in the passage of time, that a new vision emerges composed all those who have been paying attention all along. In the case of individuals, this usually has limited scope: most people fly under the radar and traces of their life vanish in death. But for nations, this is an entirely different affair. Despite best efforts to the contrary, dirty laundry continues to be aired.
Aleksandr Zhitomirsky. On the Military Wavelength, 1968. Ne boltai! Collection. © Vladimir Zhitomirsky.
The United States and the former Soviet Union maintained a Cold War that polarized the globe following the end of World War II and the scramble for control. Neither nation was content to leave foreign nations alone, each setting their sight on strategic alliances that they and they alone would control. They both painted pictures of the other as the greatest evil on earth, and hyped themselves in contrast as a morally superior nation.
Soviet political artist Aleksandr Zhitomirsky (1907–1993) was a patriot, and he used his talents to belittle and undermine the image of enemies of the state. He was very good at what he did, possessing a knack for subverting nations with their own own iconography.
Aleksandr Zhitomirsky. The Monument in Honor of the U.S. Marines in Washington . . . , 1984. Ne boltai! Collection. © Vladimir Zhitomirsky.
The Art Institute of Chicago presents Humanism + Dynamite = The Soviet Photomontages of Aleksandr Zhitomirsky, now through January 10, 2017. The exhibition features more than 100 works that takes us on a whirlwind tour through Zhitomirsky’s career, which spans more than half a century. He began publishing drawings in 1929 and quickly established himself as a leading propaganda artist during World War II, when he adopted the techniques of German photomonteur John Heartfield to flawless effect.
Satire requires extraordinary skill to do well; it is not merely using humor and punching up (always up; if it’s punching down, it’s a tool of oppression). What makes satire exquisite its ability to turn sacred cows into hamburger meat. It’s a highly delicate affair, though it can appear crass. It requires a clever mind to conceive the idea and go the distance without becoming heavy handed. It must be understood by people from all walks of life, avoiding elitism and vulgarity in equal measure. But above all, it must by witty. Wit is what happens when humor meets intellect, delivering a delicious dose of mental pleasure that does not require an extensive education. Here, Zhitomirsky excellent with zingers, taking shots through the image.
Aleksandr Zhitomirsky. A Capitalist Shark, 1965. Ne boltai! Collection. © Vladimir Zhitomirsky.
The works of Zhitomirsky span the better part of the 20th century, from the Depression, World War II, independence for former colonies in Africa and Asia, the Civil Rights Movement, the oil crisis, and the rise of U.S.-backed dictatorships in the 1970s and 1980s. The genius of his work is its timelessness; though it was rooted in a specific era, it continues to speak to our times, for politics and culture have not changed as much as the media would like you to believe. A Capitalist Shark in 1965 could likely do more damage today than s/he could 50 years ago. Zhitomirsky’s gift was to take self image and reflect it back at itself, so that a smile of recognition passes along our lips when we gaze upon his work.
Miss Rosen is a New York-based writer, curator, and brand strategist. There is nothing she adores so much as photography and books. A small part of her wishes she had a proper library, like in the game of Clue. Then she could blaze and write soliloquies to her in and out of print loves.
