Powhida’s scathing, hyperbolic analysis is clear, clean, and powerful, not to mention masterfully drawn and designed (the facial expressions, especially the creepily self-satisfied smiles on the faces of Trump, Shkreli, Duke, and Hitler, are highly effective; so are such grace notes as the reflected light in the shadow engulfing half of Michael Myers’s face). The drawing’s formal sophistication coupled with its levels of meaning and layers of context remove it entirely from the realm of political cartooning, but where does it land? And how will we address it once the threat of a Trump presidency (presumably November 9th) is over?

-Thomas Michelli, Hyperallergic, The Shelf Life of Political Art

Grayscale at Postmasters
Posted by admin on 25 June 2016
 

William Powhida

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