Abstract
Alison Jackson’s pre-election photographs of Donald Trump’s “private moments” utilize a look-alike to envision Trump in a number of compromising positions. In ways that exceed the artist’s intention, the photographs’ play of the recognition of misrecognition fosters “ugly feelings” of ressentiment that might enable resistance not only to Trump but also to reactionary Republicans and neoliberal Democrats.
Issue Section:
Critical Acts
©2018 New York University and the Massachusetts Institute of Technology
2018
New York University and the Massachusetts Institute of Technology
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