Exploring the Complexities of Ideological Art in Contemporary Culture

The question of what constitutes successful right-wing art is complex. Recently, Jonathan Keeperman, head of the far-right publisher Passage Press, was asked this very question. His responses, given first in a podcast and later refined in a written post, reveal the difficulties in defining art through an ideological lens.

Initially, Keeperman proposed that right-wing art represents any creative work that reveals the unvarnished truth about the world, free from the constraints and sensitivities imposed by modern progressive thought. This framing, however, risks circular reasoning: if reality inherently favors conservative truths, then any truthful art is by default right-wing. In his follow-up, Keeperman suggested that labeling art as 'right-wing' might be a misclassification, since true art transcends politics, with the artist’s role being to convey truth and allow political implications to emerge naturally.

While this latter viewpoint is appealing to both creators and critics, it does not fully resolve the inherent contradictions in Keeperman’s publishing mission. Passage Press attempts to distance itself from the agitprop common in contemporary right-wing culture—such as politically charged documentaries and faith-based films—while also capitalizing on the perceived unique aesthetic value of far-right literature by authors often criticized for their controversial views on race, gender, and authority.

This tension is also evident in broader conservative efforts to reconnect with high culture. Christopher Scalia’s recent book, '13 Novels Conservatives Will Love (but Probably Haven’t Read),' aims to deepen conservative appreciation for literary fiction beyond the typical political theory and historical works favored by many on the right. His goal is to broaden the conservative literary canon beyond staples like 'Lord of the Rings,' 'Atlas Shrugged,' and 'Brideshead Revisited.'

Scalia is conscious of the dangers of reducing literature to political messaging and warns that artists who prioritize political statements over craftsmanship produce propaganda rather than art. Yet, he still recommends reading authors such as Nathaniel Hawthorne, Walter Scott, and P.D. James for their philosophical or ideological insights, not solely for their artistic merit. This raises a critical question: can deliberate ideological intent contribute to artistic value without devolving into propaganda?

The answer appears to be affirmative. The notions of 'successful right-wing art' and 'successful left-wing art' are meaningful insofar as both political perspectives reflect facets of reality that can be authentically portrayed without serving as mere agitprop.

Thus, successful right-wing art refers to works that communicate conservative truths while remaining credible and relatable even to those with left-leaning views.

For example, V.S. Naipaul’s novels and essays on post-colonial societies embody this balance. Although his perspectives are reactionary, his depictions of societal realities are undeniable, allowing serious left-wing readers to recognize the validity of his portrayals even if they contest their completeness.

Conversely, conservatives can appreciate left-wing art that authentically explores progressive themes. In conversation with Keeperman, the Disney+ series 'Andor' was cited as a successful example of popular culture that openly critiques systems of oppression and advocates an antifascist stance, all while crafting a compelling and believable science-fiction universe. The show’s creator, Tony Gilroy, is also known for the critically acclaimed left-leaning film 'Michael Clayton.'

'Andor' achieves its resonance partly by complicating its ideological narrative, acknowledging both the dangers of imperial tyranny and the pitfalls of radical revolutionary zeal. While the series does not justify the Empire, it reveals the potential downfalls of revolutionary movements.

Similarly, classic conservative works like 'The Lord of the Rings' sometimes challenge their own traditionalist themes, creating entry points for left-leaning audiences. As noted in recent critical analysis, Tolkien’s texts can be interpreted as contested historical narratives, shaped by incomplete records and ideological debates, enabling left-wing readers to find alternative meanings beyond straightforward traditionalism or patriarchy.

However, readers or viewers who appreciate works outside their ideological alignment should avoid attempting to reinterpret the story solely to fit their worldview.

Instead, left-wing admirers of Tolkien might acknowledge that their strong connection to a tale of restored monarchy and vanquished evil reflects the existence of truths beyond their preferred frameworks. Likewise, conservatives who value 'Andor' or similar left-leaning art need not convert ideologically but should cultivate genuine empathy for alternative perspectives.

This capacity to provoke thoughtful unease rather than forced agreement is the hallmark of effective politically themed art. Such works succeed not by converting audiences but by unsettling them—conveying ideas that challenge preconceptions, resonate with authenticity, and invite reflection.