Frances Byrd

This Time Bomb is Poli-Ticking! The World Through the Eyes of an American Expatriate "Big L" Libertarian MachinePolitick: Frances Byrd’s Political Artwork in her own Words with 2 comments Recently I became aware of an Atlanta area based artist who has been bucking the political art trend, abandoning the “liberal chic” art world for a more in your face style. Her name is Frances Byrd. After observing Frances’s artwork I felt that this is close to what art that Ayn Rand herself might have produced has she become an artist rather than philosopher and writer. Byrd’s artwork explodes with frustration in our political system. For me it was refreshing to see this kind of angst used by an artist who was standing up for the rights to man to himself be free, not a slave of the establishment. I would have to agree with Frances that most of the artists, whether they are overtly political or whether they are subtly so, artists inundate us with a politic of collectivism – that the individual matters not in the grand scheme of thing. But I was curious to hear this from Frances Byrd in her own words, so I asked Frances what, as an artist, bothers her most about the politics of today’s art world? “The thing that bothers me most about the art community is its lack of tolerance for other people’s point of view” said Byrd, “Artists preach open mindedness and freedom of speech. What many of them really mean is they want everyone else to be open minded to their point of view.

I’m not upset that most artists are liberal. I’m upset that they can’t accept any other opinion from an artist. As a political artist with a libertarian perspective, I find that most artists are offended by my work.” To tell the truth, I have seen what Frances Byrd is talking about in our daily lives. I have people almost question my sanity when we talk about the “two party system”. A gong goes off in my head when I hear people tell me how they hate the two choices they have and that they are considering not even voting so I politely invite them to consider the Libertarian candidate for a change. This is the part when they tell me they don’t want to waste a vote on someone who has no chance to win! What was it Einstein said about the definition of insanity? Doing the same thing over and over and expecting a different outcome…? Bringing this back around to art, there is no better reflection of where a society’s values lie than to look at both contemporary art and at the media. I was just in the United States last month and all I could hear was “Obama this” and “McCain that”. I remember on my way to the airport to return to Asia that on one particular AM radio program, the name of which I can’t recall because I’d never heard it before, when three commentators were discussing Obama vs. McCain on the economy and one made a radical “free market” statement one of the others quipped “Be careful now, or you will find yourself voting for Bob Barr!” And the three had a chuckle. That is the only point in the talk show that the Libertarian candidate’s views were discussed. For shame!

Frances Byrd’s point that the art world is no different. I would assume that this has something to do with the fact that many libertarians tend to be business owners with left brain focuses but it could also do with the biases that come with the “training” that many artistic types undergo in Liberal Arts faculties at many of our colleges and universities. So even when one takes a look at the ratio of artists with liberal convictions compared to libertarian convictions we will be forced to see many more of the lefties out there. But the question remains for those libertarian leaning artists – how can these artists support libertarian causes? “In my experience, there are not that many artists working from a strictly political perspective,” said Frances, “I think the best way for an artist who doesn’t express their politics through their work to support libertarian causes is to become active in politics some other way. The most important thing anyone can do is to be knowledgeable about their representatives in government. Do some research; find out how they vote before you make a choice. Just because a politician wears the label Libertarian, doesn’t mean they support Libertarian ideas.

Not all Libertarians agree on all subjects. Make an informed decision. Spread the word, and help change your government one step at a time.” This won’t necessarily bring about more artwork with a libertarian feel but it does increase the activism out there. This activism is where we as a group of freedom lovers become the “sand in the shoe” to those Republicrats who simply use the system as their life line for special interest pet projects and pork barrel politics. We libertarians do our best to get the word out through non-traditional media. And Frances is putting her money where her mouth is on this as well. She is voting for Bob Barr, the Libertarian Party’s candidate. Why? “Before Barr entered the race, I felt like there was no one to vote for this year,” explained Frances, “I’m tired of voting for the least offensive candidate. We have a Democrat and a Socialist running on the major party tickets this year. Bob Barr is the only choice in this election. For the first time, I have contributed to a campaign and done volunteer work on Barr’s campaign.” Some people would say that everything we do or produce is political – that whether we intend for outcomes to have political effect or not that political results are inescapable products of thought and action. But should artists be accountable to the public for their “political outcome”? Do artists have a responsibility to be political?

Frances Byrd’s take on these questions is interesting. “I think artists need to create art that serves their own needs first,” said Frances, “Trying to produce work that other people want doesn’t do anyone any good. Producing art for the sake of shocking people is ridiculous. If an artist is interested in producing political art, they should know something about the subject they are rendering. The thing that bothers me most about political art is the blind emotion behind it. Everyone and their brother are painting George Bush in devil horns. I want to see political art that means something and makes an individual statement. As far as responsibility is concerned, I would say stick to your principles and don’t worry about what is popular. Art is a good way to spread your opinion and awareness of the problems with our government. The biggest responsibility in political art is to engage the viewer and add something to the political arena, rather than saying the same thing everyone else is saying.” So what’s behind Byrd’s MachinePolitick website? “I came up with MachinePolitick as a marketing tool. I thought it would be good to have something that would stick in people’s heads and I kept coming up with the image of the gears.

Machine fits because I’m always generating ideas and doing research and I want to use my art to fight back against the overbearing nature of our government. I used politick because it is defined as: ‘to engage in or discuss politics’. The combination of words fits my personality, and the combination of the name and logo make a strong image that engages people and makes them wonder what I’m up to. I decided to combine the image of the gears with the flag to appeal to people who are patriotic or interested in returning our government to its intended role in our lives.” What is Frances up to lately? “Well, some of my current projects include a series on Obama’s blueprint for change and a comparison of Hillary to Eva Peron,” says Frances, “Ucoming projects will include works on Che Guevara, congress, the similarity of Republicans and Democrats and whatever strikes me. I’ll eventually touch on the writings of Ayn Rand and the founding fathers after the [2008] election.” Frances Byrd was good enough to send some of her latest work, new to the public. She explains these in her own words: Eradicating Independence “This sculpture is my second attempt at multimedia work. It is a companion piece to How to Deconstruct a Federalist, my first multimedia sculpture. I look forward to doing much more work in multimedia now that I am growing comfortable with it. My Scarlet Liberty and

How to Exorcise Conservative Thought are the related paintings in the series. They are all part of a series on the mentality of artists and the petulance and cliquish nature of the art community.” “This piece is meant to be a self-portrait, with the figures representing me. The heads of each figure are filled with concepts of freedom, liberty and independence. As a Libertarian, I tend to offend both conservatives, and liberals depending on the subject of my work. I have found, however, that liberals tend to react to my work by either patronizing me or insulting me. I get the impression that I have violated some unspoken code of conduct. Because I have no inclination to fit in, this is of little concern to me. I feel that we all have a right to our opinions and individuality.” The Gaping Maw of Entitlement “This painting was inspired by a conversation I had with a performance artist one day. The general idea was that we, as artists, have a right to ‘expose’ people to our art who would not seek it out themselves. Of course, that comes with the expectation of being paid for our work, although money is evil.” “The entitlement mentality reigns supreme! I think the imagery of the painting expresses my feelings on the subject pretty well. The world owes us nothing for our art. We are not special because of our creative abilities. We have no right or duty to force other people to experience our art.”

“As with anything else, if there’s a market for a piece of art, it will sell. No government intervention is needed or appropriate. I do not support the NEA.” “This piece is a companion to the paintings titled: How to Exorcise Conservative Thought in an Artist, Mr. Moral Superiority, My Scarlet Liberty, Give Me Your Money, ‘cause I can’t Sell my Work Otherwise. The sculptures How to Deconstruct a Federalist and are also part of the series.” “This painting, as well as the others in the series, is meant as a criticism of the typical artist’s mentality. It’s easier and preferable to have the government dole out someone else’s money to you because you need it. The hypocrisy and unfairness of such behavior is infuriating to me.” Mr. Moral Superiority “This painting was inspired by a conversation I had with a couple of artists who feel that we have a duty to provide the world with culture and preserve the community’s historic integrity.

The general idea was that we, as artists, have a right to ‘expose’ people to art and culture. The gripe was about the gentrification of poor communities by big business and yuppie culture. I’m trying to figure out who has a right to deem a particular art form as culture, or to force it on people who don’t want it. People have a right to be ignorant and uncultured. As for gentrification, that’s a subject best left to the people involved. As much as I prefer historic homes to high rise condos, I recognize a person’s right to sell their property to a developer if they wish. The developer has the right to do with that property as they wish.

The only solution is for private citizens to buy the property and restore it. As ugly as high rise condos and shopping centers are, they serve a purpose and typically improve the neighborhood by driving out crime and providing jobs close to people in the neighborhood who would be commuting to the same kinds of jobs farther away.” “This piece is a companion to the paintings titled: The Gaping Maw of Entitlement and Give Me Your Money, ‘cause I can’t Sell My Work Otherwise. They are all meant as a criticism of the pompous and self-serving attitude of many artists and patrons who hold themselves superior to the common man.”