This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There
Between the end of the First World War and Hitler's seizure of power a cultural explosion occurred in Paris that altered our notions of art and reality and shaped our way of viewing the world ever since. In the 1920's, Paris became the undisputed international capital of pleasure and was regarded as the cultural and artistic center of Europe with a reputation for staging one of its most glamorous eras, as well as some of the most spectacular revues in the world. Imagine for a moment, that it really is 1920's Paris. You are leisurely strolling through the gas lit promenades. World War I is over and the exuberance of jazz musicians, symbolist painters, and American expatriates
An artist's job is to interpret, and express the aspects of life in a creative fashion. War has played a big part in shaping our human history, and many artists have portrayed their feelings about art through paintings, and even monuments. Whether it be to show; the joy of victory, the sorrow of defeat, or to educate the public on the gory realities of war. Art about war can also show us a great amount of history of the kinds of weapons that were used at the time. It is necessary for artists to interpret, and criticize all aspects of life; even ones as tragic as war, It can make the public more aware of what goes on in times of war.
Christ Hedges, war correspondent and Pulitzer Prize winner, in a chapter titled “The Destruction of Culture” from the book War is a Force That Gives Us Meaning, asserts that in war a state’s interest is in the extermination of discordant peacetime culture. Hedges asserts his claims that war transforms art, writing, and literature, that people, in disbelief of the consequences of war, favor a myth, and that the state manipulates education and media to reinforce their narrative. Meanwhile, he uses first-hand personal experiences and historical evidence to demonstrate these effects of war. Hedge’s goal is to expose that ugly nature of war in contrast to our natural glorification of it in our perceptions of history in order to propel the cause
World War I was a war that shocked the world and brought about new emotions that created a large wave of “-isms” as well as the “lost generation” of writers. Modern art was catalyzed by World War I and without a thorough study of the various forms of art that resulted from it, modern art and the tremendous effect that World War I had on the people of the world cannot be fully understood. This historical investigation will cover a few aspects of the art that resulted from World War I so that a general idea of the emotions shared by the people of the world can be known. A few paintings that represent specific movements will be studied to understand the artistic movement. A number of museum exhibitions will be studied along with government websites, databases, and museum websites, especially from the Museum of Modern Art.
The early 1970’s, the period in which both pieces were preformed, saw the United States engaged in a violent conflict in Vietnam with protests and demonstrations sometimes being put down with force. Political unrest was visible especially among young artists. These young artists were at the center of this resistance and used their art to make their views known. The work in the novel has the added nuance of actually taking place on a university campus. Author Kathy O’Dell remarks that she knew that “the Vietnam War” was one of the reasons Burden pushed himself “to such physical and phycological limits” (O’Dell xii) in his performances. In the novel, Caleb and Hobart seem concerned most of all with creating art that is “noteworthy” and “meaningful” (Wilson 186). One of the most noteworthily things that can be done with their art is to create something with a political message behind it. In the novel, this message is not explicitly stated, it is more clear in the real-life version of the act. In 2005, Burden explained certain aspects of his original 1971 performance. He says “all of a sudden U.S. troops were shooting at protesting students… all of a sudden it [the violence] … took on another dimension”. He took the social unrest and unease he saw around him and used his art as a platform to start a conversation around the war in Vietnam and the prevalence of violence in general. These
The violent markings of the photo album and its images, however, produce an equally powerful message that jars the memory as it disrupts and distorts the photographic chronicle of her life and that of her family and friends. The result is a complex visual experience that addresses the use of images in producing knowledge and making history.
War is a horrible concept and it is also responsible for inspiring people, considering the intense feelings that they experience as a result of observing it and the suffering that it generates. A series of artists have gotten actively involved in providing the masses with a more complex understanding of warfare and, in contrast to war propaganda artwork, most of these respective individuals focused on condemning the practice by relating to its terrible consequences. Wilfred Owen's poem "Dulce et Decorum Est" successfully appeals to people's emotions and influences them to want to get actively involved in stopping warfare from happening. Denise Levertov's "Life at War" similarly provides an intriguing look concerning war and its disastrous effects. These individuals basically want people to understand that there is nothing glorious about warfare and that it mainly involves suffering, blood, and young lives being lost for absurd purposes.
War is hell. Literally. In an instant, in the blink of an eye, the world as we know it is torn apart and shredded. Normality explodes into atrocity as we see the depths of depravity that man can sink to. Even though their reasons for painting the pictures are different, Goya’s Third of May, 1808, and Picasso’s Guernica are testaments to the violence of war using specific events and symbolic features as their vehicle while their representations and styles are different.
Through this exhibition, the curators have managed to expertly communicate a few historical truths. Firstly, that American artists responded to war in creative ways; exemplified by the variety of works on display. Secondly, American artists had a position on the War. They were actual vocal members of society who
Tremendous technological advance and tremendous slaughter leave an artistic waste land of atrocity, emasculation and pointing posters used to manipulate the public into recruiting men to join the military around the globe. Skilled illustrators in America, less inventive but artistic allegory’s in Canada and France and plain typography in Britain leave many artists busy with supporting the war effort. On the outskirts of war were a contingency of international peoples with little means and a negative view of European culture and war that chose to defect to Switzerland where they created the art movement known as Dada.
What interested me about the Dada movement is that these artists took their world apart - a world tied and bound in restrictive and self-destructive traditions - and re-built it in ways no one could have ever thought of before. They were viewing their world through new lenses, and they wanted to believe that by doing this, they could change the world. Truthfully, they did change the world. Their art movement was a very effective format for political and social reform. Dada helped people break out of their way of thinking things had to be a certain way just cause they always been that way before. From that we got marriage equality, civil rights, women's liberation, gay liberation, the peace movement and many many more breakthroughs. I found
Dada was a creative movement that emerged as a responsive protest to the barbarity of World War I. A reaction to the horrors of humanity that were on display at war, followers of the movement strongly believed in a form of ‘anti-art’ that ridiculed the established art institutions. Two established artists of this time were Marcel Duchamp and Erik Satie, who are often looked at as heavy influences on this style. Their works “L.H.O.O.Q” and “Parade” are strong examples of the disruptive nature of this movement, and how Dada was an extreme rejection of traditional forms of art, often somewhat insulting to traditional arts.
Dadaism is art that is supposed to make you think, and even make you a little confused. Dadaism Wasn't even a form of artwork when it was first founded but actually a protest. Dadaism isn't like other art forms, “Dada was the first conceptual art movement where the focus of the artists was not on crafting aesthetically pleasing objects but on making works that often upended bourgeois sensibilities and that generated difficult questions about society”. (The Art Story Foundation, ATF). Some of the most famous dadaist were Max Ernst, Hannah Hoch, Man Ray, Hans Arp, Marcel Janco, Tristan Tzara, Hugo Ball and George Grosz. The ones i'm going to talk about are Man Ray, Max Ernst, And Hannah Hoch.
Hannah Höch was a pioneer in many ways. As the only female member of the Berlin Dada group, she stirred up reactions by the use of themes such as androgyny and gender roles. As one of the founders of the photomontage art style, she expressed the turmoil of Berlin’s visual culture from a female perspective. Höch primarily produced collages, often with the intention to dismantle the unequal “beer-belly” culture that, despite progressive ideas included strict social roles. A common theme in her works is androgyny, as she combined female and male bodies to create a unified character with unidentifiable gender.