Art Appreciation DB 7

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Chapter 4.8 Art of Protest and Social Conscience

PART 4

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Introduction

Art can:

Reflect historical, social, and political concerns

Provoke change

Become the target of protest

Inspire us

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Art as Protest and Activism

Artworks that activate emotional responses can instigate social change

Artists have sought to combat cruelty, poverty, and inequality

Does the artist inspire you to agree with his or her point of view?

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Artwork: Théodore Géricault, Raft of the Medusa

4.8.1 Théodore Géricault, Raft of the Medusa, 1819. Oil on canvas, 12’1⅜” × 17’9⅞”. Musée du Louvre, Paris, France

Théodore Géricault, Raft of the Medusa

A French naval vessel Medusa ran aground; crew abandoned passengers

Only 15 of 146 people survived on a makeshift raft

Artist interviewed survivors, studied corpses, and made a replica of raft

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

French artist Théodore Géricault (1791–1824), memorializes on a grand scale a scandalous event in history (July 2, 1816)

Left to battle starvation, sunburn, disease, and dehydration, only fifteen men survived the horrors of the sea; some cannibalized their shipmates

The survivors, all close to death, were rescued after 13 days, and they told the world the story of their abandonment

The dramatic intensity is heightened by the use of diagonal lines that compose the figures into a large X

Only one African survived the tragic journey, and Géricault includes him as the powerful figure trying to attract the attention of the distant ship

This artwork criticizes the disaster, colonization, and slavery

Théodore Géricault: Raft of the Medusa

To find out more about this artwork watch:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Video:

Chapter 4.8 Art of Protest and Social Conscience

Portal Artwork: J M W Turner, Slave Ship […]

3.7.15 Turner, Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 35¾ × 48¼". Museum of Fine Arts, Boston, Massachusetts

British Romantic artist J. M. W. Turner used the sublime power of nature to convey the horror of human tragedy.

Artwork: Margolles, En el aire (In the Air)

4.8.2 Teresa Margolles, En el aire (In the Air), 2003. Installation view, “Muerte sin Fin”, Museum für Moderne Kunst, Frankfurt, Germany, 2004

Teresa Margolles, En el aire (In the Air)

Appears to be peaceful and playful

Bubbles made from water used to cleanse corpses

Bringing attention to violence of narcotic-related crimes

“Each bubble is a body”

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.8 Art of Protest and Social Conscience

Using her experience as a trained medical examiner who worked in a morgue in Mexico City, Margolles wishes to activate greater awareness of the large number of violent deaths in Mexico due to narco (drug-related) crimes.

Trauma of the viewer is necessary, Margolles argues, in order to trigger disgust and horror at the tragedy of the numerous violent deaths.

Artwork: Ai Weiwei, Dropping a Han Dynasty Urn/Colored Vases

4.8.3 Installation view showing Ai Weiwei’s Colored Vases in front of his Dropping a Han Dynasty Urn, displayed at the “According to What?” exhibition, held at the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Dropping a Han Dynasty Urn/Colored Vases

Work confronts restrictions on freedoms in Chinese society

Artist has had artworks destroyed, been severely beaten by police, and been imprisoned for criticizing the Chinese government

Work shown around the world, but rarely in China

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Gateway to Art:

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Chapter 4.8 Art of Protest and Social Conscience

His father, regarded as one of the finest modern Chinese poets, was imprisoned and exiled for opposing the Nationalist Party of China

Studied in U.S. from 1981 to 1993 and influenced by Andy Warhol and Marcel Duchamp

When he returned to Beijing, Ai created many works that have been censured by the Chinese government.

The photographs Dropping a Han Dynasty Urn (4.8.3) were made the same year he photographed himself raising the middle figure toward Tiananmen Square

In 2005, he began a blog in China that criticized government policies.

His blog was shut down by the police in 2009 after he exposed poor construction standards as the cause of the high number of deaths from the 2008 Sichuan province earthquake (more than 69,000 people killed and at least 4.8 million left homeless). He also posted the names of all 5,385 children killed in the earthquake.

Ai was beaten by the police for his intention to testify about his observations of the earthquake aftermath. His injuries were so severe that brain surgery was required to treat them.

In 2011, he filmed the government’s destruction of his studio and, two months later, he, like his father had been, was imprisoned.

Artwork: Reyes, Palas por Pistolas (Guns for Shovels)

4.8.4 Pedro Reyes, Palas por Pistolas (Guns for Shovels), 2007–present. Installation view, Biennale de Lyon, France, 2009

Reyes, Palas por Pistolas (Guns for Shovels)

Reyes (Mexico City) produced art and tools from weapons

Began as public campaign asking citizens to turn in weapons

Uses shovels to plant trees

Shovels exhibited around the world

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.8 Art of Protest and Social Conscience

Many of the shovels have since been exhibited in galleries to bring awareness to the scale of the Mexican weapons trade.

Equaling the number of guns initially donated, the 1,527 shovels Reyes created for this project were used to plant 1,527 trees around the world.

Portal Artwork: Theaster Gates, Stony Island Arts Bank

3.10.21b Theaster Gates, Stony Island Arts Bank after restoration (photo by Cecil MacDonald)

The artist Theaster Gates revitalizes buildings in downtown Chicago to create safe cultural and living spaces for the community:

Art as the Victim of Protest: Censorship and Destruction

Art can inspire a forceful response

May be censored or removed from public view

Sometimes, the work is so powerful that viewers wish to destroy it

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Artwork: Velázquez, The Toilet of Venus (Rokeby Venus)

4.8.5a Velázquez, The Toilet of Venus (Rokeby Venus), 1647–51. Oil on canvas 48½ × 69¾”. National Gallery, London, England

Diego Velázquez, The Toilet of Venus (Rokeby Venus)

Considered one of the most beautiful and sensuous images of a female nude

Situated in the National Gallery in London, England

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.8 Art of Protest and Social Conscience

Photograph of damage to the Rokeby Venus

4.8.5b Photograph of damage to the Rokeby Venus, 1914

Photograph of damage to the Rokeby Venus

Slashed by Mary Richardson in 1914

Protest against imprisonment of Suffragette leader Emmeline Pankhurst

Results: damage repaired; Richardson imprisoned temporarily; women forbidden to enter the National Gallery without male chaperone

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Artwork: Eric Fischl, Falling Woman

4.8.6 Eric Fischl, Falling Woman, 2001–2. Bronze, 38 × 72 × 48”. Private collection

Eric Fischl, Falling Woman

Intended as a tribute to the victims of September 11, 2001

Shows a woman falling from one of the burning towers

Too upsetting to many who had witnessed the tragedy

Covered soon after its unveiling

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

American artist Eric Fischl’s (b. 1948) Falling Woman provoked an instantaneous reaction

Would Fischl’s sculpture have been accepted if it had been unveiled many years later, when the event was no longer fresh in the minds of so many?

Or was it simply too graphic, depicting a moment too shocking and too unbelievable for people ever to want to remember?

Some viewers were upset that the sculpture was covered up, considering it a powerful reminder of what happened, which could provide a sense of emotional release, or catharsis

“Degenerate Art” (“Enkartete Kunst”)

4.8.7 Photograph of the Nazi-curated traveling exhibition “Degenerate Art” (“Enkartete Kunst”) at its first stop at the Hofgarten, Munich, Germany, 1937

Censorship of Art: The Nazi Campaign against Modern Art

Hitler launched an attack on modern art that failed to conform to Nazi goals

Confiscated thousands of artworks; sold or destroyed

1937 exhibition: “Degenerate Art” ridiculed 730 artworks

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Hitler abhorred modern art, particularly by German Expressionists

On July 19, 1937 the Nazis opened an exhibition of “Great German Art,” which displayed the kind of art approved by the regime

The next day they opened another show of 730 works called “Degenerate Art,” to suggest that these were the work of mentally deficient artists

Works were deliberately displayed awkwardly, and labels on the walls ridiculed the artworks

Artworks that were confiscated became the property of Nazi collectors, were sold for Nazi profit, or burned

Attendance at the Degenerate Art exhibition was unparalleled for its time, with more than two million visitors in Munich alone, and one million more when the show went on tour through the rest of Germany and Austria

Artwork: Nolde, Crucifixion

4.8.8 Emil Nolde, The Crucifixion, 1912, from a polyptych, The Life of Christ. Oil on canvas, 7’2⅝" × 6’3¼". Stiftung Seebüll A. & E. Nolde, Neukirchen, Germany

Digital rights not available for this image. See p. 658 of the textbook.

Censorship of Art (contd.): Nolde, Crucifixion

Many artists fled Germany, committed suicide or sent to camps

Emil Nolde was a Nazi and a modern artist; shocked to see his work in Degenerate exhibition; ordered to stop making art.

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Nolde’s series of nine panels on the Life of Christ were hung together next to writing on the wall that said: “Mockery of the Divine.”

He was so appalled to see his work in the exhibition that he wrote to Paul Joseph Goebbels, the Nazi Minister of Propaganda, demanding that the “defamation” against him cease.

He continued to create watercolors in secret, fearing that he would be discovered if he used strong-smelling oil paint

Disliked by Nazis because of bright and unnatural colors and modern appearance

Art that Raises Social Awareness

Artists use the power of visual language to spur involvement in social issues

Can call for punishment of those responsible for a wrong

Use art to shine light on social, racial, and environmental issues

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Artwork: Dorothea Lange, Migrant Mother

4.8.9 Dorothea Lange, Migrant Mother, 1936. Library of Congress, Washington, D.C.

Lange, Migrant Mother

Helped many realize the devastation of the Great Depression

Florence Thompson was ashamed of photograph; she was not paid

Raises questions about the subject’s rights and the role of an artist

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

The picture was taken in 1936 when Florence Thompson and her children were living in the remains of a Californian pea-picker’s camp

In response to the public outcry caused by the photograph, the government sent 20,000 lbs. of food to camp

Thompson family had migrated elsewhere before the supplies arrived

The identity of Thompson was not discovered until 1978

To what extent should the subject’s privacy be protected, and to what extent should he or she be compensated, if at all, when his or her image has demonstrable effects on the social conscience?

Artwork: Neshat, “Speechless”

4.8.10 Shirin Neshat, “Speechless” (from Women of Allah series), 1996. RC print and ink, 3'10¾" × 2’9⅞"

Neshat, “Speechless”

Series Women of Allah

Explore western stereotypes of Islamic women

Beautiful/powerful

Calligraphy on face: text describing correspondence from a woman to her brother in the Iranian Revolution

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Iranian-born artist Shirin Neshat

The muzzle of a gun is placed beside the woman’s face, at first appearing to be an earring.

Written on her face in Farsi calligraphy is text written by the female poet Tahereh Saffarzadeh, in which a woman addresses her brothers in the Iranian Revolution (1978–79) asking if she can participate as well.

Neshat herself was exiled from Iran, but disagrees with Western interventions in her home country

Artwork: JR and Marco, 28 Millimeters, Face2Face

4.8.11 JR and Marco,28 Millimeters, Face2Face, Separation Wall, Palestinian Side In Bethlehem, March 2007

JR and Marco, 28 Millimeters, Face2Face

Colossal photos on West Bank wall dividing Israel from Palestine

Photos of Israelis and Palestinians

Shows similarities of people

3 portraits on left are all religious men who all discuss how the human face is a reflection of God

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.8 Art of Protest and Social Conscience

Portraits of people that have the same jobs or roles in society, such as doctors, teachers, and children

The artists hung large posters of these photographs throughout the Near East

Residents and visitors on either side of the wall were intrigued and entertained by the images, which highlighted how similar the two groups of people really are

The Face2Face project enabled many Israelis and Palestinians to see one another not as stereotypes but as actual people

Artwork: Roland, The Jumpsuit Project

4.8.12 Sherrill Roland III, The Jumpsuit Project, 2016– 2017, Socially Engaged Art, A Year-Long Performance

Sherill Roland III, The Jumpsuit Project

Graduate art student at UNC

In 2003, wrongfully imprisoned for 10 months

Returned to graduate school in 2016

Performance: wears jumpsuit everywhere he goes

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

The artist Sherrill Roland III was a graduate student at the University of North Carolina in Greensboro when he was wrongfully imprisoned

This act altered his interactions with others, just as being jailed had, and served to trigger conversations about the impact of the prevalence of false incarcerations, especially for African American males.

Roland wants to raise awareness of the many lives affected by this social issue: “Incarceration happens every day. I could be anybody. It could be me today, it could be you tomorrow.”

Artwork: Hokusai, “The Great Wave off Shore at Kanagawa”

4.8.13 Katsushika Hokusai, “The Great Wave off Shore at Kanagawa”, from Thirty-Six Views of Mount Fuji, 1826–33 (printed later). Print, color, woodcut. Library of Congress, Washington, D.C.

Artwork: Chris Jordan, “Gyre”

4.8.14a Chris Jordan, “Gyre,” from the series Running the Numbers II: Portraits of global mass culture, 2009. 2.4 million plastic pieces, digitally assembled, 8 x 11’

Detail of Chris Jordan’s “Gyre”

4.8.14b Chris Jordan “Gyre,” 2009 (detail)

Hokusai, “The Great Wave off Shore at Kanagawa”

Jordan highlights the environmental problem of consumer waste

2.4 million pieces of plastic

Represents the amount entering the oceans every hour

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.8 Art of Protest and Social Conscience

Hopes to show how individual trash contributes to the larger problem

Chapter 4.8 Copyright Information

This concludes the PowerPoint slide set for Chapter 4.8

Gateways to Art: Understanding the Visual Arts

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By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PowerPoints developed by CreativeMyndz Multimedia Studios

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Chapter 4.8 Art of Protest and Social Conscience

Picture Credits for Chapter 4.8

4.8.1 Musée du Louvre, Paris

4.8.2 Photo Axel Schneider. Courtesy the artist and Galerie Peter Kilchmann, Zurich

4.8.3 Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Photo Cathy

4.8.4 Image courtesy Biennale de Lyon, France, and the artist

4.8.5a National Gallery, London/Scala, Florence

4.8.5b

4.8.6 Courtesy Mary Boone Gallery, New York

4.8.7 Photo Heinrich Hoffmann, Presse-Illustrationen, 1937.

4.8.9 Library of Congress, Washington, D.C., Prints & Photographs Division, FSA/OWI Collection, LC-DIG- fsa-8b29516

4.8.11 JR-art.net

4.8.12 Photo Todd Turner. Courtesy the artist/www.JumpsuitProject.com

4.8.13 Library of Congress, Washington, D.C., Prints & Photographs Division, H. Irving Olds collection, LC-DIG-jpd-02018

4.8.14a Courtesy Chris Jordan

4.8.14b Courtesy Chris Jordan

PowerPoints developed by CreativeMyndz Multimedia Studios

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Chapter 4.8 Art of Protest and Social Conscience