The visual essay of ‘Form follows Protest’ produces an insight into how standing up for what you believe to be right can effect lives in other aspects. This essay conducts a critical analysis into how protesting has resulted in new designs. It investigates the extent the protestors will go to in order to make their opinions known and to create a wider support system for the cause. This was done through analysing secondary images such as photographs of protests and more directly on the focus of photojournalism, exploring how creating sympathy through an event can cause a protest. The exploration into graphics also plays an important part in protesting because it is used as propaganda to further raise awareness. Discussing these topics such as subculture/punk and fashion then explores the effect that protest can have on design through clothing and aesthetic, instead of how design can cause the protest. Through analysing visual and literary sources against each other, an argument can be created into how current design is the way it is due to protesting certain subjects.
Figure 1 Presidential Protest Andres Kudacki 2016
ABSTRACT
Figure 2 Civil Rights Movement Schiparo, S 1965
CONTENTS Introduction Street Art Presidential Protests Fashion Conclusion Figure List References Appendices
Protest; a statement or action expressing disapproval of or objection to something. (Oxford English Dictionary, [n,d]) Historical examples of protests that were effective began from the 20th century and continue now into the 21st. Design consequently is integral in displaying peoples views in a personal way that can be relayed onto others through expression in art. This can be done through graphics, fashion and street art. In the current political climate, artists and designers are finding ways to be involved in politics and illustrate their opinions on social issues through what they’re profession. Having been intrigued by the factors as to why people protest, it was interesting to explore designers that are also activists and can link both together in their work. Often, new social issues arise where design can ultimately be altered. It was paramount that questions would be answered; what would protest be without design? How can designers influence protesting?
INTRODUCTION
Figure 3 The flower thrower Banksy 2003
Protes'ng through graffi' has an effect on people in a way that graphics and propaganda can’t. They can be empathe'c but also asser've, informa've but also repressive. “I’ve always paid a great deal of aAen'on to what happens on walls. When I was young, I oCen even copied graffi'.”(Picasso, 1955). In many ci'es across the world, street art is frowned upon as it can be deemed the destroying of an owned property. However, when done in a legal place, there’s a sort of beauty to it, the natural art of expression. A key influencer in Bri'sh street art is Banksy. Because graffi' is illegal, Banksy's work con'nues to raise ques'ons in the social sphere about the lines between public art and vandalism. However, many of his works are protected due to the meaning. The flowers in this image show the man throwing flowers, highligh'ng that the ac'on is making peace not violence. He provides meaning behind illustra'ons that may not be understoon through speech.
Figure 4 A Banksy mural of Steve Jobs on a wall that demarcates the former border to the migrant camp, in Calais. David Levene, 2016
Military dictatorships in most La'n American countries such as Brazil and Mexico during the 1970’s lived people who typically had no voice, they began to use walls across the city as a way to show their poli'cal and social expressions. While street art is not always linked to poli'cs, the movement con'nues to grow from the need to not be silenced by their governments. The movement rapidly grew during the ‘80s and they used their poli'cal frustra'on and designers ability to communicate with the government and the public to start conversa'ons that were once non existent due to the countries dictatorships. In authoritarian states, the role of the ar'st is unambiguous: to maintain the individuals imagina'on, one of the things that all dictatorships worry about. It is a way to express a persons opinion in a personal way that can be circulated onto others. “If
graffi) is the voice of the street, what be5er way to take a na)on’s pulse than by gazing upon the walls of its inner ci)es” (anon, 2014).
Figure 5 Street art protes'ng about increased crime Anon 2016
Figure 6 Street ar'st, protes'ng against Pu'n Pawel Kopczynski 2012
Figure 7 Femen protestor in the Ukraine Nils Westergard 2014
“I wanted something that existed outside any system… a living platform for the artists to experiment” Doug Aitken 2016
Figure 8 Street art protesting against the World Cup Paulo Ito 2014
While many people utilise the term ‘graffiti,’ others often use the phrase ‘street art’ however everyone can identify the contrast between ‘vandalisms’ and artists. Nevertheless, these forms of expression can create global arguments and protests. During the 2014 FIFA World Cup, the Brazilian government was attacked for their lack of interest and care when dealing with the people in the slums, when building the stadiums. While much was said about this conflict, the creation of Paulo Ito’s street art (Figure 8) captures the attitudes without using speech. “In Brazil, like many nations, graffiti has long been a way for urban artists to decorate their neighborhoods, voice an opinion…” (Ito, P, 2014) The power of a starving Brazilian child with only a football to eat has grown into a symbol for the social and political clash that was transpiring at the time.
Figure 9 ‘Love not war’ Sean Reveron 2014
Figure 10 The art of civil unrest Mike LeC 2015
“Street art is a paradigm of
hybridity in global visual culture, a post- postmodern genre
being defined more by real-'me prac'ce than by any sense of unified theory, movement, or message” (Irvine, 2013).
Figure 11 ‘I hate 3 things…” Anon 2016
Figure 12 Example of Womens rights street art Tatyana Fazlalizadeh 2017
Figure 14 ‘Cri'ques on my body are not welcome’ Tatyana Fazlalizadeh 2017
Figure 13 A model behind the street art Tatyana Fazlalizadeh 2017
"Street harassment is a serious issue that affects women world wide,” (Fazlalizadeh, 2014). Using street art as an awareness scheme for a problem that happens on the street creates a more striking concept.
Banksy's art lies in his ability to use humour and wit to allow his audience to think into contemplating the underlying message and seriousness of these ideologies about capitalism, politics, and humanity. It is this sense of innocence to his work that compliments with facts about social issues that give him power as a social mediator, as an anonymous shadow under the protection of his art. Due to this endurance of Banksy's chosen canvas, e.g. the street, he remains true to guerilla art's philosophy, being that ‘the commodification of art is a blasphemous way to validate an artist within only a specific social sector or market’ (Guerilla, [n.d.])
Figure 15 ‘Keep your coins, I want change’ Banksy 2017
In this iconic image, two male police officers in typical British uniforms are illustrated kissing. This work was originally spray-painted on the side of the Prince Albert pub in Trafalgar Street. The piece can be read in many ways. In one respect, Banksy is commending for a sexual-identity accepting society by showing members of authority in a gay position. Through taking this personal but political stance in a public place, Banksy is reflecting his reviews for others to then see. His protesting through such a striking image ultimately creates a focus for others to talk about and further could create more protestors trying to also object against an anti-gay society. Figure 16 Street art protes'ng against homophobia Banksy 2004
Whatever the motives of the graffiti, the city is the conjectured framework, and essential prerequisite for making the artwork striking. Whether the graffiti seems sympathetic, aggressive or informative, most street artists working as art activists begin with empathy and are compelled to create something that is a form of wit, irony or critique. ‘Art activisms attempts to combine art and social action come under attack’. (Groys, 2014). They come under scrutiny due to the street art being perceived as vandalism and destroying the beauty of cities. However, the underlying message behind such street art can overpower this way of thought. A well placed piece can reveal context and make a city re-imaged.
Figure 17 Educa'on is not a crime Dizzie Gelespie 2018
Figure 18 Famous poli'cal protestors anon 2018
Throughout the last decade, political protests have become more apparent and frequent all over the world. The presidential election; the British Brexit vote; austerity, the refugee crisis in Calais, and gender equality all have seen an increase of, public knowledge through propaganda that has led to creative illustrations of anger through protests. Graphics, illustration and art have increasingly been used in clever ways to express peoples opinions. Professional designers create graphics such as Shepard Fairey’s Barack Obama “Hope” poster, followed by a reinterpretation of this in the form of the Donald Trump “Nope” poster, and the Pussyhat project, similarly started in the name of women’s rights.
The importance of graphics within a protest illustrates the emotion that motivates people to be political activists. The design that is of undisputed origin and easily connects with the messages of their fellow protesters has significant impact. The graphics such as posters and advertisements seen in a protest is reactive and immediate which demonstrates passion and commitment.
Figure 19 Presidential Protest Andres Kudacki 2016
Figure 20 ‘Hope’ Shepard Fairey 2007
Figure 21 Figure mocking Trump Sarah Dawood 2018
Alternatively, there are protests where there is a wide range of expression and diversity in the message. “Protesters display their anger, joy or fear through creating their own placards and using what material they have available,”(Cubbage, 2018). This approach was particularly apparent in the recent women’s protests of 2018. The posters are either informative, using any facts that can be used as a platform to express political opinion, or can involve humour, wit or colourful messages to promote their messages.
Figure 22 ‘Poster against Trump’ Kristin Black 2017
Figure 23 Iraq War demonstration Thaddeus Pope 2007
‘Photojournalism is a form of journalism which tells a news story through powerful photography which traditionally are black and white images’. (Tate, 2013)
Figure 24 Trump protest, father and son Olivier Laurent 2016
Figure 25 Woman protesting against Trump Anon 2017
The form of photography is an important piece of political propaganda. Many people are deflated by the idea that political problems will continue despite their efforts to create awareness. “Photography cannot change the world, but it can show the world, especially when it changes�(Riboud, 2017)
Figure 26 Afghan soldier protects his face. Jeremy Lybarger 2013
‘This photo did what I wish my images would do. The intimate and emotional moment made me stop, read more on the situation in Bangladesh, and learn about a situation I knew little about. Seeing one person literally stand for another, without help, made my heart ache. Of all of the protest images we have seen throughout the globe in the past few years, this one made me empathize with the protesters and try to understand their specific point of view’. (Bruce, A. 2013)
Figure 27 Injured activists Atish Saha 2013
Figure 28 How war effects children Philip John Griffiths 2012
Photojournalism is probably best depicted as the ‘illustration of an aspect of contemporary life by a series of pictures, usually in combination with a written story’ (Griffiths, P.J, 2012). Most of the time, it reflects a powerful social concern, e.g. the detrimental effects of the Vietnam war. The form of photojournalism is important to the design aspect of protests as it can be a concept that is then followed by people protesting due to the emotion felt by powerful images. It is what causes peoples frustration and passion to be involved with a protest. Through this, further graphic design is developed into creating propaganda and advertisements to protest against the idea further.
Figure 29 Cyprus famine Don McCullin 1964
Figure 30 Anti-Vietnam War March Marc Riboud 1967
(Figure 30) is a successful example of propaganda as it shows the woman as an innocent, ultimately creating a negative opinion of the US soldiers with bayonets pointing at her.
On the other hand, the Government also uses graphic design in a similar way as professional designers, however they use it to persuade the public and to further assert their authority, stamping, protesting their ideologies against their opponents. Examples of this include the Clinton presidential campaign and the pro-leave and pro-remain Brexit campaigns. The activists then attempt to mock and change these government campaigns that will work in their favour through subduing it. An example for this is the updated logo for oil and gas company ‘BP’ that has a main focus on the oil spill of 2010, authorised by Greenpeace, and a controversial swastika symbol that was used to symbolise Trump’s right-wing views.
Figure 31 ‘Stronger Together’ Dan Merica 2017
Figure 32 Trump and the swas'ka anon 2017
Figure 33 ‘Hope to Nope: Graphics and Poli'cs 2008-18’ at the Design Museum, London. Benjamin Westoby 2018
Figure 34 ‘Hope to Nope: Graphics and Poli'cs 2008-18’ at the Design Museum, London. Benjamin Westoby 2018 The Design Museum, London
has an exhibition that is a prime example of how protest, political and non-political can effect design in many ways. The main section of the exhibition represents how graphics and illustration has become truly involved within protest, opening the awareness up to politicians and also the public, alongside designers and artists. ‘Much of this design did not have to be perfect or aesthetically pleasing to be effective’. (Roberts, L. 2018)
Figure 35 Dressed to Protest Sarah Mower [n,d]
The Pussyhat Project is a social movement that focuses on raising awareness on women's rights and also advancing human rights by encouraging conversation and innovation through the arts and educating system. The hat (Figure 36) is symbolic of support and solidarity for women's rights and resistance against political views. Figure 36 Pussyhat power Jessica Bain 2017
The movement was brought to the worlds attention through President Donald Trump’s indecent remarks involving women of different ethnicities and groups. This acted as a way to bring women together and support each other through wearing the hat, protesting against their Presidents views. Figure 37 Pussyhats Danielle Kurtzleben 2017
Figure 38 Iranian woman deveiling. Armin Navabi 2018
For many Muslim women around the world, wearing a hijab is a choice, and many women choose to wear some form of head-covering. In Iran, a strict dress code makes it imperative, if seen without a hijab, it can bring shame to the family and can lead to arrest. For many Iranian women’s rights activists, removing their hijab (Figure 38) has become a tool to protest the rights of women in the middle east.
Hijab ‘meaning barrier or partition’(BBC, 2009). It redifines freedom. However, throughout the years, it has become a form of self-expression and more of an item of fashion. It has been the subject of many Iranian protests due to the sense that women should have the option to wear one rather than being forced to by the religion and by the men. Therefore, hijab fashion brands such as Anniesa Hasibuan continue to push boundaries from the strict rules of 50 years ago. This has become globally known and protested against due to the different concepts behind the hijabs that they produce. It is designed by Hasibuan more for fashion reasons rather than religious. Designed for the fact that a woman can wear whatever she wants, not what is deemed to be acceptable.
Figure 39 Iranian women protes'ng Homa Hoodfar 2018
Figure 40 Femen Protestor ‘AFP’ 2018
‘Free the Nipple’ is a campaign that was created in 2012 to highlight the general ideology of men being allowed to be topless but women doing the same is seen to be indecent. ‘The shaming of the female nipple is a direct reflection of how unevolved this puritanical country is’. (Esco, L. 2015). The design of t shirts like the one shown in (Figure 41) displays how protesting can influence the design world into fashion. The selling of the t-shirts allows the theme to be more widely known and also shows support behind the rights for women. Figure 41 ‘Free the Nipple’ T shirt Anon [n.d]
Figure 42 Man against Woman – indecent? Jade Peterson 2018
Figure 43 Men and Women protes'ng together Irene Moore 2015
Figure 44 ‘Bare with us’ rally Hamilton Spectator 2016
Figure 45 Margaret Thatcher and Katharine HamneA Sarah Maisey 1984
Figure 46 PUNK Randi Bergman 2017
The punk movement or subculture of Britain in the 70’s was the cause of many controversies. It has been accepted that the direction of the punk movement in the political sense are ultimately left-wing and takes on a strong anti-racist opinion. The unique fashion of punk is protesting in itself especially against the normal fashion of many and through this has a protesting matter about it. ‘An attitude common in the punk subculture is the opposition to selling out, which refers to abandoning of one’s values and/or change in musical style towards pop and embracing anything in mainstream capitalist culture’ (PIS, 2013).
Figure 47 Tartan fashion show Anon 2013
Tartan is defined by a combination of factors. The use of bold colours in a weave are symmetrically woven at an angle to create lines that are diagonal. The adoption of tartan by punks was just one of their ways of sticking a ‘middle finger to the upper crust’ (Prendergast, 1979) . Also, people who follow the punk trend had their own personal queen, punk fashion designer, Vivienne Westwood, and those who honoured her original aesthetic included bands such as The Sex Pistols. Centuries ago, tartan was just associated with Scotland’s regions that would have a particular pattern dependent on that region, especially through wars between the clans to identify themselves. Therefore, this particular symbolism triggers well with the subject of protest in modern day as that same analogy is used now.
Figure 48 Punk and Tartan Anna Prendergast 1979
‘Middle finger to the upper crust’
In conclusion, the design of fashion has a clear link to protesting. Over the last few decades, the possibilities in the fashion world to rebel has grown further as social issues also do. A clear example of this is Trump’s election in 2016. ‘After Trump's election, the subversive possibilities of visual communication in clothing have unleashed an astonishing, uplifting, do-ityourselves level of creativity’. (Mower, S. 2018). A clear example of this is how Beyoncé's channels the Black Panther's classic uniform (Figure 49) on her afro-haired dancers at the Superbowl in 2016. This displays how visual imagery can be disputed like the backdrop of the ‘Black Lives Matter movement’. Fashion is pivotal in protest as it gives people the freedom to show off their personality even though it may be deemed inappropriate to others. It protests against them as it is up to the user if they think it is appropriate to wear themselves.
Figure 49 Beyonce’s fashion Sarah Mower 2018
The economic and social aotudes that designers aAribute towards protes'ng the form of design, whether if their opinions create something e.g. clothing, or if their designs are used in order to create a protest. They have the ability to be crea've and create new ideas that haven’t been done before in order to further show their ideologies of protes'ng for what they personally think is right. With the forever rising forms of protest, more designers con'nue to create new ideas. This is due to the fact that protests have changed over the past century from black lives maAer protests and women’s rights to further denomina'ons from these, including veganism, feminism and homophobias. Therefore, design will con'nue to grow due to the ever-growing protes'ng issues. Reflec'ng back on this argument, the rela'onship between form and protest changes oCen due to the decade and the social issues that arise during that 'me. Tradi'onally, design follows rules and trends, yet through protest, it allows designers the freedom to flip that no'on and create whatever they want. It can be considered that protest allows the opportunity for innova'on. It raises the ques'on that if protest and freedom of speech was non-existent, would design be all the same?
Figure 50 ‘Black lives maAer’ Benedict. J. Fernandez 1968
FIGURE LIST Figure 1 - Kudacki, A. (2016). Trump Protest. [digital image] Available at: http://nymag.com/intelligencer/2016/11/photo-gallery-scenes-from-the-protests-outside-trumptower.html?gtm=bottom&gtm=bottom [Accessed 15 Oct. 2018]. Figure 2 –Schapiro, S. (1965). Civil Rights Protest. [digital image] Available at: https://www.moadsf.org/event/free-admission-dr-martin-luther-king-jr-national-day-of-service/ [Accessed 21 Nov. 2018]. Figure 3 – Banksy (2003) The flower thrower. [digital image]. Available at: https://www.artlyst.com/features/top-10-banksy-works-art/the-flower-thrower-2003/. (2003). [iAccessed 28 November]. Figure 4 -Levene, D. (2016). [digital image] Available at: https://www.theguardian.com/artanddesign/2016/sep/11/protest-art-miro-elmgreen-dragset-isaac-julien-sarah-szedoug-aitken-interview [Accessed 21 Nov. 2018]. Figure 5 - Freedman, E. (2016). [digital image] Available at: https://www.panoramas.pitt.edu/art-and-culture/giving-voice-voiceless-street-art-form-political-protest [Accessed 21 Nov. 2018]. Figure 6 - Kopczynski, P. (2012). [digital image] Available at: https://bnn-news.com/russians-voting-52184/a-graffiti-displays-russias-prime-minister-and-presidentialcandidate-vladimir-putin-in-moscow. [Accessed 21 Nov. 2018]. Figure 7 - Westergard, N. (2014). [digital image] Available at: http://nilswestergard.com/street/2014/7/27/2014/7/27/athena [Accessed 21 Nov. 2018]. Figure 8 – Ito, P (2014). [digital image] Available at: https://edition.cnn.com/2014/06/27/football/gallery/brazil-graffiti-world-cup/index.html [Accessed 21 Nov. 2018]. Figure 9 – Reveron, S. (2014). LOVE NOT WAR. [digital image] Available at: https://www.cvltnation.com/street-art-graffiti-as-weapons-of-mass-protest/ [Accessed 28 Nov. 2018]. Figure 10 - Left, M. (2015). the art of civil unrest. [digital image] Available at: https://www.battleface.com/face/the-art-of-civil-unrest/ [Accessed 28 Nov. 2018]. Figure 11 - I hate 3 things. (2016). [digital image] Available at: https://www.reddit.com/r/funny/comments/64p3sg/funny_graffiti/ [Accessed 28 Nov. 2018]. Figure 12 -.Fazlalizadeh, T (2017). [digital image] Available at: https://www.huffingtonpost.co.uk/entry/tatyana-fazlalizadeh_n_5147268 [Accessed 28 Nov. 2018]. Figure 13 - Fazlalizadeh, T (2017). [digital image] Available at: https://www.huffingtonpost.co.uk/entry/tatyana-fazlalizadeh_n_5147268 [Accessed 28 Nov. 2018]. Figure 14 - Fazlalizadeh, T (2017). [digital image] Available at: https://www.huffingtonpost.co.uk/entry/tatyana-fazlalizadeh_n_5147268 [Accessed 28 Nov. 2018]. Figure 15 – Keep your coins, I want change. (2017). [digital image] Available at: https://wordpress57027.wordpress.com/2017/04/07/banksy-keep-your-coins-i-want-change/ [Accessed 28 Nov. 2018]. Figure 16 - Kissing Coppers. (2004). [digital image] Available at: https://www.theartstory.org/artist-banksy-artworks.htm [Accessed 28 Nov. 2018]. Figure 17 - Gillespie, D. (2018). Education is not a crime. [image] Available at: http://www.notacrime.me/harlem/#home [Accessed 28 Nov. 2018].
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Figure 38 - Twitter (2018). [digital image] Available at: https://iwda.org.au/clothing-as-protest-4-times-fashion-was-used-as-a-political-statement/ [Accessed 29 Nov. 2018]. Figure 39 - Hoodfar, H. (2018). [digital image] Available at: https://www.independent.co.uk/news/long_reads/iran-women-revolution-hijab-protests-ayatollah-khomeinia8251686.html [Accessed 29 Nov. 2018]. Figure 40 - Femen Protestor. (2018). [digital image] Available at: https://iwda.org.au/clothing-as-protest-4-times-fashion-was-used-as-a-political-statement/ [Accessed 29 Nov. 2018]. Figure 41 - Anon, (n.d.). [digital image] Available at: https://www.dhgate.com/product/wholesale-bazaleas-summer-women-t-shirt-free/395936610.html [Accessed 29 Nov. 2018]. Figure 42 - Peterson, J. (2018). Free the Nipple. [digital image] Available at: https://www.hercampus.com/school/uct/free-nipple-movement-it-feminism-and-why [Accessed 29 Nov. 2018]. Figure 43 - Moore, I. (2015). Protestors march along Venice boardwalk. [digital image] Available at: https://www.nbclosangeles.com/news/local/Free-the-Nipple-ProtestersMarch-Along-Busy-Venice-Boardwalk-322721881.html [Accessed 29 Nov. 2018]. Figure 44 - Spectator, H. (2016). 'Bare with us' rally. [digital image] Available at: https://www.thespec.com/opinion-story/6370961-the-spectator-s-view-free-the-nipple-if-youso-choose-/ [Accessed 29 Nov. 2018]. Figure 45 - Maisey, S. (1984). [digital image] Available at: https://www.thenational.ae/lifestyle/fashion-statement-the-rise-of-clothing-as-protest-1.715611 [Accessed 29 Nov. 2018]. Figure 46 – Bergman, R. (2013). [digital image] Available at: https://fashionmagazine.com/fashion/riot-act-punk-fashion/ [Accessed 29 Nov. 2018]. Figure 47 – Tartan fashion show. (2013). [digital image] Available at: https://walglondon.wordpress.com/2013/09/02/the-trending-tartan-punk-it-up/ [Accessed 29 Nov. 2018]. Figure 48 – Prendergast, A. (1979). [digital image] Available at: https://therake.com/stories/style/style-101-history-of-tartan/ [Accessed 29 Nov. 2018]. Figure 49 – Mower, S. (2018). Beyonce/Black Panther. [digital image] Available at: https://www.vogue.co.uk/article/clothing-fashion-protest [Accessed 29 Nov. 2018]. Figure 50 - Fernandez, B. (1968). Black lives matter. [digital image] Available at: https://www.businessinsider.com/incredible-vintage-1960s-protest-photos-2014-6?IR=T [Accessed 29 Nov. 2018].
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APPENDICES
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5