Marxist Aesthetic Analysis
INTRODUCTION Throughout the human history, art has been a tool for expressing mind and emotions. An expression in which an artist would have its philosophy within every artwork created. The branch of philosophy dealing with such nations as the beautiful, the ugly, the sublime, etc. could be interpreted as ‘aesthetic’. One of the many areas Marxism is concerned about is art and the lens with which one can view from Marxist point of view is called Marxist aesthetic; a point of view to judge artwork with the idea that art should have a social function, revealing the truth and awakening the people to reality of their struggle. Marxist aesthetic believe that art should be a revolution. Although there is no “official” Marxist theory of aesthetics …show more content…
This theory involves a dialectical and materialist, or dialectical materialist, approach to the application of Marxism to the cultural sphere, specifically areas related to taste such as art, beauty, etc. Marxist aesthetics overlaps with Marxist theory of art. It particularly concerned with art practice, with the prescribing of artistic standards that are believed socially beneficial. This materialist and socialist orientation may be seen to invoke the traditional aims of scientific inquiry and the scientific method. Marxist aesthetics forms only an important branch of their work, depending on how one defines the term. For example, a Marxist aesthetic may be latent in Bertolt Brecht 's work, but he formulated his own distinct theory of art and its social …show more content…
The dimension of the poster is 50x70 cm. In this poster, it clearly depicts a picture of a man holding Indonesian flag and a typography of “Boeng, Ajo Boeng” which the phrase itself was taken from Chairil Anwar’s idea where he was inspired from the sayings of Jakarta’s prostitutes when they are offering themselves.
The story behind the making of this poster begins when Indonesia was proclamaited in 1945. At that time, in every train carriages and walls were inscribed with “Merdeka atau mati!” after Bung Karno’s speech about the birth of Pancasila on 1st June 1945. Soon after that, Affandi was assigned to make a propaganda poster inspired from the situation. The idea of drawing a man breaking free from a chain was Soekarno’s idea. Subsequently the poster was made, a group of Indonesian artists multiply the poster and sent it to different areas in Indonesia to be posted in the walls. The purpose of this poster was a propaganda to persuade Indonesian to fight against
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