The Beauty in Opposition

RIZZOLI PUBLISHING

MIA PROCIDA

Artistic Activism is a dynamic practice combining the creative power of the arts to move us emotionally with the strategic planning of activism necessary to bring about social change. Art and activism do different work in the world. Activism, as the name implies, is the activity of chalof art pieces lenging and changingA compilation power relations. created to confront social injustice There are many ways of doing activism in America. and being an activist, and butinequality the common element is an activity targeted toward a discernible end. Simply put, the goal of activism is action to create an Effect.

Art, on the other hand, tends not to have such a clear target. It’s hard to say what art is for or against; its value often lies in providing us perspective and new ways to envision our world. Its effect is often subtle and hard to measure, and confusing or contradictory messages can be layered into the work. Good art always contains a surplus of meaning: Featuring Explosivesomething Essays From we can’t quite describe or put The New York Times and Washington Post on, but moves us nonetheless. our finger Designed & Curated by Procida ItsMiagoal, if we can even use that word, is to stimulate a feeling, move us emotionally, or alter our perception. Art, equally simply stated, is an expression that generates Affect. Social change doesn’t just happen, it happens because people decide to make change. As any seasoned activist can tell you, people just don’t decide to change their mind and act accordingly, they are personally moved to do so by emotionally powerful stimuli.

We’re moved by affective experiences to do physical actions that result in concrete effects. Artistic Activism is a practice aimed at generating Æffect: emotionally resonant experiences that lead to measurable shifts in power.

The Beauty In Opposition

FOREWORD

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CHAPTER ONE

30 CHAPTER THREE

16 CHAPTER T WO

CONTENT PAGE

44 CHAPTER FOUR

BEAUT Y IN OPPOSITION

CHAPTER ONE

FOREWORD

INTRODUCTION

The aim of activist artists is to create art that is a form of political or social currency, actively addressing the cultura l power structures rather than representing them or simply describing them. In describing the art she makes, the activist artist Tania Bruguera said, ‘I don’t want art that points to a thing. I want art that is the thing’. Current discussions about art are very much centered on the question of art activism—that is, on the ability of art to function as an arena and medium for political protest and social activism. The phenomenon of art activism is central to our time because it is a new phenomenon—quite different from the phenomenon of critical art that became familiar to us during recent decades. Art activists do not want to merely criticize the art system or the general political, social conditions under which this system functions.

Rather, they want to change these conditions by means of art—not so much inside the art system but outside it, in reality itself. Art activists try to change living conditions in economically underdeveloped areas, raise ecological concerns, offer access to culture and education for the populations of poor countries and regions, attract attention to the plight of illegal immigrants, improve the conditions of people working in art institutions, and so forth. In other words, art activists react to the increasing collapse of the modern social state and try to replace the social state and the NGOs that for different reasons cannot or will not fulfill their role.

Art activists do want to be useful, to change the world, to make the world a better place—but at the same time, they do not want to cease being artists.

Making theoretical complications.

Art is a wound turned into light

− GEORGES BR AQUE

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Feminism.

− “ U N Wo m e n C am p ai g n” O g l i v y & M a t h e r, 2 01 3 02

FEMINISM

oppressed women and to critique such portrayals in contemporary literature and popular culture, and to In 2020 the U.S. ranked 53rd represented figure of the woman as an autonomous Economic Forum subjective matter using in onthe theWorld gendered body of Gender Gap Index.

Source: Forum woman to better understand such World issuesEconomic as reproductive rig ht s, sexua l ha ra ssment, a nd violence.

Consciousness-raising was seen as a key tool for furthering feminism, and oft-repeated slogans of this phase were “sisterhood is powerful” and “the personal is political.” Encouraging and uplifting vibe.

Liberal feminists see the oppression of women in terms of inequality between the sexes and are concerned with equal access to opportunities for women. However, they believe that private and public domains are governed by different rules, attitudes, and behavior. Thus, in matters of family for instance, love, caring, and sensitivity come first. The National Organization for Women (NOW, 1966), an early organization of the second wave in the United States, exemplified such feminist practice. From the social action of the women’s movement in the United States there emerged research consciously done within a feminist context, analyzing gender issues embedded in the most familiar facets of life—family, relationships, work, education, religion, media. Thus began women’s studies, in which women became “subjects” rather than “objects” of study.

INTRODUCTION

Feminism may broadly be defined as a movement seeking the reorganization of the world upon the basis of sex equality, rejecting all forms of differentiation among or discrimination against individuals upon grounds of sex. It urges a worldview that rejects male-created ideologies and the patriarchal society.

At another level, it is also a mode of analysis and politics, committed to freeing all women of gender-based oppressions. Literally, then, anyone who supports such an ideology can be a feminist, regardless of gender. Since the 1980s Western feminist thought has generated newer, more nuanced understandings of such concepts as “sex,” “gender,” and “woman.” In this entry, the term feminism is used inclusively to discuss facets of the women’s movement as well as feminist theorizing. Feminism (both as ideology and struggle) can hardly be discussed as a seamless narrative, for in the twenty-first century it is practiced within different social and political configurations, and women’s movements f lourish in diverse locations throughout the world.

However, it is evident that despite broad commonalities, feminist struggles are inf luenced by local, cultural, national, and indeed global factors that shape local polities and economies. An overview of salient developments reveals fascinating interrogations of Western feminism by non-Western women as well as deep divisions among Western feminists based on race, class, and sexual orientation. In fact, At the rate, it willmany take 202 in current the early 2000s believe that the term is valid years for women receive equalfeminisms, pay. only in itstoplural form, to ref lect its many Source: World Economic Forum across race, class, and transnational manifestations religion. The “second wave” was marked by an explosion of complicated t heories borrowing from philosophy, psychoanalysis, and politics that aimed to challenge patriarchal values and constructs that

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CHAPTER ONE

Violence against women and girls is a grave violation of human rights. Its impact ranges from immediate to long-term multiple physical, sexual and mental consequences for women and girls, including death It 137 women acrossnegatively the world are killed women’s general well-being and affects by a member of their own family women every day. prevents from fully participating in society.

Source: United Nationsnot Women Violence only has negative consequences for women but also their families, the community and the country at large. It has tremendous costs, from greater health care and legal expenses and losses in productivity, impacting national budgets and overall development. Decades of mobilizing by civil society and women’s movements have put ending genderbased violence high on national international agenda An unprecedented number of countries have laws against domestic violence, sexual assault and other forms of violence. Challenges remain however in implementing these laws, limiting women and girls’ access to safety and justice. Not enough is done to prevent violence, and when it does occur, it often goes unpunished. It is estimated that of the 87,000 women who were intentionally killed in 2017 globally, more than half (50,000- 58 per cent) were killed by intimate partners or family members, meaning that 137 women across the world are killed by a member of their own family every day. It’s bad.

More than a third (30,000) of the women intentionally killed in 2017 were killed by their current or for mer intimate partner. Adult women accountable for nearly half (49 per cent) adolescent of all Approximately 15 million human trafficking victims Women girls detected worldwideglobally. have experienced and girls together account forsexual 72 percontact cent, with girls forced in their lifetime. representing more thanSource: three out of every four child.

United Nations Women trafficking victims. More than four out of every five trafficked women and nearly three out of every four trafficked girls are trafficked for the purpose of sexual exploitation. At least 200 million women and girls aged 15-49 have undergone female genital mutilation in the 30 countries with representative data on prevalence. In most of these countries, the majority of girls were cut before age five. More than 20 million women and girls in just seven countries (Egypt, Sudan, Guinea, Djibouti, Kenya, Yemen and Nigeria) have undergone female genital mutilation by a health care provider.With population movement, female genital mutilation is becoming a practice with global dimensions, in particular among migrant and refugee women and girls.

Womens rights are human rights.

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VIOLENCE AGAINST WOMEN

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CHAPTER ONE

− “Milk Car ton Project” Peggy Diggs, 1992

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DOMESTIC ABUSE

Domestic violence is the willful intimidation, physical assault, battery, sexual assault, and/or other abusive behavior as part of a systematic pattern of power and control perpetrated by one intimate partner against another. It includes physical violence, sexual violence, psychological violence, and emotional abuse. The frequencyIntimate and severity ofviolence domesti partner violence can vary dramatically; however, accounts for 15% the of allone violent crime constant component of domestic violence one Source: NCADV harms Organization partner’s consistent helps to maintain power and control over their victims life, freedom & happiness.

Domestic violence is an epidemic affecting individuals in every community regardless of age, economic status, sexual orientation, gender, race, religion, or nationality. It is often accompanied by emotionally abusive and controlling behavior that is only a fraction of a systematic pattern of dominance and control. Domestic violence can result in physical injury, psychological trauma, and in severe cases, even death. The devastating physical, emotional, and psychological consequences of domestic violence can cross generations and last a lifetime. On average, nearly 20 people per minute are physically abused by an intimate partner in the United States. During one this equates to than 10 million women and 1 in 4 year, women have been victims men.

1 in in3 women of severe physical violence their lifetime men have experienced some form of physical violence by an intimate partner.

Source: NVADV Organization This includes a range of behaviors (e.g. slapping, shoving, pushing) and in some cases might not be considered “domestic violence.” Abuse may begin with behaviors that may easily be dismissed or downplayed such as name-calling, threats, possessiveness, or distrust. Abusers may apologize profusely for their actions or try to convince the person they are abusing that they do these things out of love or care. However, violence and control always intensifies over time with an abuser, despite the apologies.

What may start out as something that was f irst believed to be harmless (e.g., wanting the victim to spend all their time only with them because they love them so much) escalates into extreme control and abuse (e.g., threatening to kill or hurt the victim or others if they speak to family, friends).

If she is scared in her own home, where can she feel safe?

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Her body, His choice.

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Whoever you are, wherever you live, all the decisions you make about your own body should be yours. Yet all over the world, many of us are persecuted for making our own choices and many more are prevented from making any choices at all. Governments are trying to dictate who we can kiss, who we should love, how we must dress, how we identify ourselves, when we have children, and how many we have. Sexual and reproductive rights mean you should be able to make your own decisions about your body and: get accurate information about these issues, access sexual and reproductive health services including contraception, thousand pregnant women choose if, when and who 47 to marry, decide if you wantdie every dueThey to complications to have children and how year many. lso mean from our unsafe abortions Amnesty International lives should be free from Source: all forms of sexual violence, including rape, female genital mutilation, forced pregnancy, forced abortion and forced sterilization. Many groups are putting pressure on governments and yeah.

The UN and other international and regional bodies to limit sexual and reproductive rights.

This is driven by well-funded, organized interest groups, including powerful religious institutions. At the highest levels, some governments are listening to these groups and questioning sexual and reproductive rights and gender equality, or branding the principle of “human rights for all” as a Western concept. What’s clear is that our rights to express our sexuality and make decisions over our own bodies are being challenged. There are many barriers to sexual and reproductive rights, including obstacles to access health services, information and education. But underlying these problems is discrimination. Women and teenage girls andgirls people More than 14 million havefrom given marginalized groups, such as gay lesbian women and trans people or people birth as a result of rape andmen, unwanted pregnancy. from so called “lower” castes, people living in poverty, Source: Amnesty International or minorities, risk a huge amount when they try to exercise choice. These barriers are often more extreme if you a from more than one of these groups. Sexual and reproductive choices often ends up in the hands of others. This is absolutely unacceptable.

FEMINISM

REPRODUTIVE RIGHTS

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FEMINISM

Barbara Kruger, b. January 26, 1945— Newark, New Jersey Graphic Designer, Artist, Activist

The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who Renowned for feminist commentary on is speaking. These rigorously composed mature religion, sex, racial gender stereotypes. works function successfully on any scale.

Theirand wide Source:supervision Art History Archive distribute ion—under the artist’s in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate. In recent years Barbara Kruger has extended her aesthetic project, creating public installations of her in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, f loors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the 1990s, she has been iconic.

Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemor at ive st at u a r y, K r u ger h ig h l ig ht s t he conspiracy of silence that enabled these two men to accrue social and political power.

ART ACTIVIST HIGHLIGHT

American conceptual/pop artist Barbara Kruger was born in Newark, New Jersey in 1945 and left there in 1964 to attend Syracuse University. Early on she developed an interest in graphic design, poetry, writing and attended poetry readings and clapped along.

After studying for a year at Syracuse she moved to New York where she began attending Parsons School of Design in 1965. She studied with fellow a rtists/photographers Dia ne A rbus a nd Marvin Israel, who introduced Kruger to other photographers and fashion/magazine sub-cultures. After a year at Parsons, Kruger again left school and worked at Condé Nast Publications in 1966. Not long after she started to work at Mademoiselle magazine as an entry-level designer, she was promoted to head designer a year later. Later still she worked as a graphic designer, art director, and picture editor in t he a r t depa r tments at “House a nd Ga rden”, “Aperture,” and did magazine layouts, book jacket designs, and freelance picture editing for other publications. Her decade of background in design is evident in the work for which she is now internationally renowned. Like Andy Warhol, Keith Haring.

Kruger was heavily inf luenced by her years working as a graphic designer. These early collages in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing politic a l, socia l, a nd especia l ly feminist provocations and commentaries on religion, sex, racial and gender stereotypes, consumerism, corporate greed, and power. During the early 1980s Barbara Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars.

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Racism.

− “Union Strike Protest” Bob Adelman, 1968 16

RACISM

Even the best journalists, politicians, and companies can’t always resist it. Those who try lose audience, and eventually fail. That’s no excuse but it’s a reality.

A combination of systems, institutions and factors that advantage white people and people of color and cause widespread harm and disadvantages in access and opportunity. One person or even one group of people did not create systemic racism, rather racism is grounded the history it: is grounded in Systemic the history of our laws andininstituof American tions which were created on laws a fair& institutions dation of which white were created on a foundation of white supremacy. supremacy; in the institutions and policies that advantage white people and disadvantage people of color; or takes places in interpersonal communication and behavior (e.g., slurs, bullying, offensive language) that maintains and supports systemic inequities and systemic racism.

INTRODUCTION

Throughout this country’s history, the hallmarks of American democracy – opportunity, freedom, and prosperity – have been largely reserved for white people through the intentional exclusion and oppression of people of color. The deep racial and ethnic inequities that exist today are a direct result of structural racism: the historical and contemporary policies, practices, and norms that create and maintain white supremacy. Race refers to the categories into which society places individuals on the basis of physical characteristics (such as skin color, hair type, facial form and eye shape). It really effects opporunities.

Though many believe that race is determined by biology, it is now widely accepted that this classification system was in fact created for social and political reasons. There are actually more genetic and biologica l differences within the racia l groups defined by society than between different groups.

Racism is invisible, buried underground, growing from a root that feeds its ugliest branches and bears its bitterest fruits, like the police brutality invited by laws like the Qualified Immunity Act obviously.

Str uctura l roots include slaver y, t he Constitution’s three-fifths clause, Jim Crow, redlining, separate but equal, and Dred Scott. But even when laws are overturned, the effects remain. The roots of racism go deeper and broader than law.

Racism is built into our public school finance system, our criminally unjust justice system, and the identity politics that leaves each of us dependent on one party in a two-party duopoly that profits by failing us. A core driver of racism is a political business model that profits from fear. Fear grabs our attention, locks our eyes on those we can hate, and immerses us in images that sell ads and buy votes. This effectively divides and conquers us, leaving money in charge of politics.

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Knowledge makes a man unfit to be a slave. − FREDERICK DOUGL AS

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What does one do when confronting the biggest social evil of one's time? In the case of a few artists in the decades prior to the Civil War, they lifted their pens and paintbrushes. They sketched black slaves being bonded, branded, whipped and auctioned. The “sentimental culture” in the decades prior to the Civil War was a time when artists and writers “used their works to elicit a certain type of feeling and engender Though Congresssaid outlawed International sympathy,” Goodman, a former Philadelphia slave trade in 1808, domestic slave trade increased the most popular Inquirer reporter.

Significantly, slave population overcentury, the next after 50 years. book of the2X19th the Bible, was Harriet Source: Institute American History Beecher Stowe’s ofUncle Tom’s Cabin. Slavery is bad!

On the morning of March 3, 1853, the littleknown English painter Eyre Crowe, who traveled America with author William Makepeace Thackeray, saw an advertisement in Richmond, Va., for a slave auction: “Fifteen likely negroes to be disposed of between half-past nine and twelve—five men, six women, two strong boys, and two young girls. Crowe “Europeanized” the slaves’ physiognomy to reduce the sense of otherness for white viewers, as these artists typically did, Goodman said.In the finished painting, exhibited at the Royal Academy in 1861, the group of people are no longer docile and waiting.

The women are tense and anxious. In the sketch, it’s not clear if the man to the right is part of a family group. But in the painting, the association is unmistakable. He is anguished and unresigned—”angry, because he cannot defend his family,” Goodman said.

The painting “reminds us that this is a perverse situation; they may be sold apart,” Goodman added.

Crowe’s strategy worked: His painting got the right kind of attention. Slaves Waiting for Sale, Richmond, Virginia, was discussed in The Times, the Athenaeum, Blackwood’s Edinburgh Magazine and Art Journal; the last called Infant and child rates it “one of the most important pictures in mortality the exhibiwere 2x higher among slave children tion” and wrote, “The appalling guilt of that accursed southern white children system was never more than successfully depicted ”— Source: Institute of American important and timely, since Britain was arming the History South and barely able to keep an official neutrality because of its dependence on cotton. Was Crowe fulfilling the threat of his exit line, recollecting what he didn’t dare sketch in front of the angry dealers? Or was he altering his sketch to make a political statement, a visual equivalent to Uncle Tom’s Cabin?

RACISM

SL AVERY

− “Slaves Waiting For Sale” Er ye Crowe, 1861

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CHAPTER TWO

− “L a Har a?” J e an Mic hael B a s quiat , 196 4 20

RACISM

P O L I C E B R U TA L I T Y

“I can’t breathe. I can’t breathe,” said Eric Garner, an the police for about 40–50 times in Missouri, where unarmed African-American man, as he was held in a he grew up. He empathizes with people that had to or chokehold by more a police has to deal with the police, especially A fricanBlack men are 3x likely officer to be causing him to die.

“Police brutality is simply the latest manifestation of Americans because it was not the best experience. shot and killed by police than white men. a 400 years old Police problem,” said Bryan Stevenson, an The problem many black communities are Source: Mapping Violence American lawyer, and a social justice activist, in a facing is the over- policing of their community. video posted by The Guardian. Ramarley Graham an Gaurav Jashnani does not like the term “over polic18-year-old was chased into his apartment and was ing” because he says that “it implies there is like a shot inside his bathroom because he did not follow moderate healthy amount of policing that is good for police command and reached into his pants. Black people and their communities and I don’t really agree up NYCLU only 13% of men are 3 times more likely to be killed by police with that.” Based on a Despite survey making done by it the population, that African than white men, according to Mapping Police shows that people fromAmerican the communities areAmericans make up 40% of US prison population Violence. Amadou Diallo was shot 19 times by the heavily policed are more likely to say that, police Source: Mapping police at midnight because they suspected him of made a situation even worse than it was Police before.Violence Also, being a rapist. Many may be wondering, why do die? communities that are lightly policed more likely to Why are so many Black men and women say that the police were helpful to than heavily are killed at the hands of the police, who are meant policed community. “We don’t feel protected by the to protect them? It is because the police officers are police… I think the main job of the police is protectracist? Is racism the only driving force of why so ing the community, and what they’re doing is just many unarmed African-American men and women bullying us,” said an attendee in an interview done by are being killed? In an interview with three different Center Constitutional R ights in a heavy policied experts, it seems that the underlying cause of police community. Many others said that they are accused brutality is not just racism but an “institutional and of trespassing their own house, their own property! structural problem.” Yes, race is a factor but it’s priPeople in the heavily policed community marily a structural factor, said Alex Vitale, a professor face harassment from police in front of their house of sociology and coordinator of policing, social jusand they have to show identification that they actutice project at Brooklyn College and author of The ally live there. Black people are 40% less likely to say End of Policing. Gaurav Jashnani, a grad student at the police did a good job in their community when it the Cuny Graduate center studying policing said, comes to treating people from different background “The problem is not just the bias of individual offifairly. Gaurav Jashnani, says that there is an element cers. It’s a structural problem and it’s an institutional of teaching people of color they are not safe in public problem.”Chris Burbank, Vice President for Strategic places because the police are always targeting them, Partnerships for Center for Policing Equity and a forsearching, patting them down and sexual harassment. mer police chief stated, “No racism is not the only There is a label of public humiliation that comes with reason and in fact, in a lot of circumstances, racism all of it. Once again what we see here is that the peois not necessarily the underlying cause.” He also said ple that are supposed to protect the public. it is not only the bias of individual officers but “It is more the bias of the system in which we live.” So what institutional problems are they talking aboutis.

One of the main underlying cause of police brutality is Stop-and-Frisk. There is racial disparity in who the NYPD stops. For instance, 53% of black people reported being stopped by police compared 53% of black people reported to being 11% of white people. Thestopped same disparity is seen when by police compared to 11% of white people. police use force. The whole reason for stop and frisk Source: Mapping Police Violence was to get weapons out of the street. According to the NYCLU, 53% of black people were stopped by the police and 6% had a weapon in possession. 11% of white people were stopped and 9% were accounted for a weapon in possession.Gaurav Jashnini, an Indian and a person of color, had interaction with

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CHAPTER TWO

Segregation is the adultery of an illicit intercourse between injustice and immorality. − MARTIN LUTHER KING JR.

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Segregation is the practice of requiring separate housing, education and other services for people of color.

Segregation was made law several times in 18th and 19th-century America as some believed that black and white people were incapable of coexisting. In the lead-up to t he liberation of slaves under t he Jim Crow laws segregated everything like Thirteenth Amendment, abolitionists argued about schools, residencies,what publicthe parks, fate transof slaves should be once they were freed. portation, cemetaries, prisons, and more. for colonization, either by returnOne group argued ing the slaves to A frica or creating their own homeland. In 1862 President Abraham Lincoln recognized the ex-slave countries of Haiti and Liberia, hoping to open up channels for colonization, with Congress allocating $600,000 to help. While the colonization plan Did not pan out, the country, instead, set forth on a path of legally mandated segregation. The first steps toward official segregation came in the form of “Black Codes.” These were laws passed throughout the South starting around 1865, that dictated most aspects of black peoples’ lives, including where they could work and live. The codes also ensured black people’s availability for cheap labor after slavery was abolished. Segregation soon became official policy enforced by a series of Southern laws that limited African American’s opportunities.

Through so-called Jim Crow laws (named after a derogatory term for blacks), legislators segregated everything from schools to residential areas to public parks to theaters to pools to cemeteries, asylums, jails and residential homeswaiting rooms for whites and blacks in professional offices and, in 1915, Oklahoma became the first state to even segregate publ ic phone boot h s. In 1875 t he out goi ng Republican-controlled House and Senate passed a civil rights bill outlawing discrimination in schools, churches and public transportation. But the bill was barely enforced and was overturned in 1883. As part of the segregation movement, some cities instituted zoning laws that prohibited black families from moving into white-dominant blocks. In 1917, as part of Buchanan v. Warley, the Supreme Court found such zoning to be unconstitutional because it interfered with property rights of owners. Segregation persists in the 21st Century. Studies show that while the public overwhelmingly supports integrated schools, only a third of Americans want federal government intervention to enforce it.The term “apartheid schools” describes still-existing, largely segregated schools, where whites make up 0 to 10 percent of the student body. Racial laws & local ordinances that target minorities disproportionetly.

RACISM

S EG R EG AT I O N

− “The Problem We All Live With” Norman Rock well, 1964

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RACISM

Emory Douglas, b. May 24, 1943— Oakland, California Minister of Art & Culture for the Black Panter Party

against police brutality against African Americans.

He also incorporated imagery in line with the Party’s 10-Point program, including things such as social services and decent housing. In addition to this stuff, Douglas aligned the Black Panther Party with “Third World liberation struggles” and anticapitalist movements in works such as the edition of January 3, 1970, which shows a pig dressed in an American f lag being impaled while having many guns pointing at it, saying things like “Get out of the ghetto” and “Get out of Africa”. Douglas drew a lot of inspiration from third world struggles and used art as the primary method of propaganda and outreach. graphics His graphics servedDouglas’ to promote the promote Party’s ideologies inspired by revolutionaries ideologies, which were inspired by the rhetoric of as Malcolm and Che revolutionary figures such such as Malcolm X Xalong w Guerva Che Guevara. His images were often very graphic, meant to promote and empower black resistance with the hope of starting a revolution to end institutionalized mistreatment of African Americans. In 1970 the BBP shifted their stance to emphasize survival programs as opposed to violence. With that, Douglas’s imagery changed as well, showing African Americans receiving free food and clothes. They promoted free breakfast programs, free health clinics, free legal aid amongst other things. These programs were considered part of their revolutionary tactic. In response, the FBI cracked down on the cause even more, it inevitably brought it to an end. However, their ideology is still alive.

ART ACTIVIST HIGHLIGHT

Emory Douglas is an American artist who worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of The Black Panther newspaper (which had a peak circulation of 139,000 per week in 1970).As the art director, designer, and main illustrator for The Black Panther, Douglas Douglas that became created created images images that became icons, representing black icons in representing the Black American A merican struggles during the 1960s and 1970s. struggle throughout 60’s & 70’s Party in 1967 after Douglas joined the the Black Panther stopping by the Black House, a space created by Eldridge Cleaver with Ed Bullins and Willie Dale, when they were discussing the Black Pa nther Community News Service, and mentioned to them that he could help improve the look of it and the style.

In 1967 Douglas became the “Revolutionary Artist” and Minister of Culture for the Black Panther Party. He redesigned The Black Panther newspaper and switched to web press, which allowed for colored printing and the use of graphics. He used the back cover and most of the front cover for his graphics and collages that aligned with the BPP message. Here he developed the iconic images that branded the BPP, including the depiction of policemen as pigs. His graphics featured pigs bloodied or hanged as protest

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LGBTQ+.

− “Back Home” Fondation Emergence, 2018 30

LGBTQ+

who drew courage from sympathetic medical studies, banned literature, emerging sex research and a climate of greater democracy. By the 20th century, a movement in recognition of gays and lesbians was underway, abetted by the social climate of feminism and new anthropologies of difference.

However, throughout 150 Years of homosexual social movements (roughly from the 1870s to today), leaders and organizers struggled to address the very different concerns and identity issues of gay of gay and adultsothers report they are men, women identif ying as 42% lesbians, in an unwelcoming identifying as gender variant living or nonbinary.

White, envrionment male and Western activists Source: \whoseStonewall groups Organization. and theories gained leverage against homophobia did not necessarily represent the range of racial, class and national identities complicating a broader LGBT agenda. So, now it is extremely important that those leading these movements are accepting of every identity in the queer community.

INTRODUCTION

On June 12, 2016, the popular gay dance club Pulse in Orlando was the site of a mass shooting by one assailant. With at least 49 dead and another 50 injured, this hate crime is being called the worst mass shooting in U.S. history. It occurred during what was LGBT Pride weekend for towns and cities in and beyond the United States. The immediate, caring response from mayors, police and FBI authorities, local and national politicians, and the President of the United States, who reached out to express outrage and concern, demonstrates the enormous shift toward acceptance and public support for the LGBT communities.

Although the LGBT community and individuals remain targets for hate violence and backlash throughout the world, the hard work of activists and allies made it possible to reach this era, where the perpetrators of violence, not the victims, are condemned as sick. Social movements, organizing around the acceptance and rights of persons who might today identify as LGBT or queer, began as responses to centuries of persecution by church, state and medical authorities. Where homosexual activity or deviance from established gender roles/dress was banned by law or traditional custom, such condemnation might be communicated through sensational public trials, exile, medical warnings and language from the pulpit.

These paths of persecution entrenched homophobia for centuries—but also alerted entire populations to the existence of difference in sexuality.

Whether an individual recognized they, too, shared this identity and were at risk, or dared to speak out for tolerance and change, there were few organizations or resources before the scientific and political revolutions of the 18th and 19th centuries. Gradually, the growth of a public media and ideals of human rights drew together activists from all walks of life,

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− “A i d s A d ” G r a n Fu r y, 1 9 87 32

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AIDS is no longer just a disease, it is a human rights issue.

AIDS EPIDEMIC

The disease AIDS (acquired immunodeficiency syndrome) first appeared in the early 1980s, and rapidly beca me a n epidemic a mong homosexua l men.

Intravenous drug users who shared needles, blood transfusion patients, and women with infected sexual partners were also at risk of contracting AIDS. Activists, pa r ticu la rly in t he gay communit y, responded by creating care and education centers, and by calling for increased government funding to Controversy help in thearound crisis. Though the US government at first homosexuality did littleprevented to respond to the crisis, it eventually comgovernment intervention. mitted millions of dollars to research, care, and Source: Khan Academy. Fear of contracting the disease and public education. discrimination against those with AIDS persisted throughout the 1980s and 1990s, even though the US Centers for Disease Control and Prevention (CDC) ruled out the possibility of transmitting A IDS through ca sua l contact in 1983. A IDS deaths increased throughout the decade. In 1986, 12,000 Americans died of AIDS. By 1988, that figure had grown to 20,000. AIDS also proved deadly in Africa and elsewhere in the world. Activists condemned President Ronald Reagan for his public silence on AIDS during his first term.alone Thanks to 50,000 In 1995 almost their advocacy, President ReaganAmericans issued andied executive from AIDS or HIV.. order in his second term establishing the President’s Source: Khan Academy Commission on the HIV Epidemic, and signed legislation that increased federal funding for research and education on HIV/A IDS to 500 million dollars.

AIDS is by no means history. In the United States alone, there have been 1,651,454 cases and 698,219 deaths from HIV/AIDS between 1980 and 2014. The CDC reports that there are about 50,000 new incidents of HIV infection each year in the United States.

-NELSON MANDEL A

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The struggle of LGBT (lesbian, gay, bisexual and transgender) people for equal rights has moved to center stage. LGBT people are battling for their civil rights in Congress, in courtrooms and in the streets.

Well-known figures are discussing their sexual orientation in public. Gay and lesbian people are featured countries criminalize sexual in movies and on television - not as76novelty characacts betweenthese adults of the same sex. ters, but as full participants in society.Despite Source: Amnesty International advances into the American mainstream, however, LGBT people continue to face real discrimination in all areas of life. No federal law prevents a person from being fired or refused a job on the basis of sexual orientation. The nation’s largest employer - the U.S. military - openly discriminates against gays, lesbian, transgendered and queer people and women.

Mothers and fathers lose child custody simply because they are gay or lesbian, and gay people are denied the right to marry. One state even tried to fence lesbians and gay men out of the process used to pa ss laws. In 1992 Colorado enacted Amendment 2, which repealed existing state laws and barred future laws protecting lesbians, gay men and bisexuals from discrimination. The U. S. Supreme Court struck it down in the landmark 1996 Romer v.

Evans decision. The modern gay rights movement began dramatically in June 1969 in New York City’s Greenwich Village. During a typical “raid,” police tried to arrest people for their mere presence at a gay bar, but the patrons of the Stonewall Inn fought back There are the no laws gay LGBT people has brought about even more open - and gay protecting rights movement was launched. Using people who many face discrimination in areas and litigation strategies and virulent anti-gay hostility: Although unreof the grass-roots housing, employment or parenting. lated to an individual’s ability, sexual orientation employed by other 20th century activists, gay rights can still be the basis for employment decisions in advocates have achieved significant progress. Most both the public and private sectors in most states Americans do not realize that many LGBT and municipalities. Violent hate crimes, such as people who face discrimination - in areas from housthe 1998 murder of Wyoming student Matthew ing and employment to parenting - have no legal Shepherd, depict a grisly backlash against LGBTs recourse since federal law does not prohibit discrimior people perceived to be gay. Very tragic thing. nation aga inst LGBT people. Extending such LGBT students and teachers face daily protection from discrimination to LGBT people is harassment and discrimination in the schools, and one of the many important battles ahead for the LGBT student groups in high schools and colleges ACLU and other advocacy organizations. Ten states, still face roadblocks. In 1986, after more than two the District of Columbia, many municipalities and decades of support for lesbian and gay struggles, hundreds of businesses and universities now ban the American Civil Liberties Unioncountries established a transgender people employment discrimination. “Domestic Partnership” European require national Lesbian and Gay Rights Project. before Working programs exist in dozens of municipalities and hunto be sterilised their gender is legally recognised in close collaboration withSource: the ACLU’s dreds of private institutions, including many of the Amnestyaffiliates International nationwide, the Project coordinates the most countr y’s largest corporations and universities. extensive gay rights legal program in the nation.

Sodomy laws, typically used to justify discriminaIncreasing opposition from a well-organized, welltion against gay people, once existed nationwide; f unded coa lition of radica l extremists a nd they are now on the books in only 18 states and fundamentalists promises.

Puerto R ico. But the increased empowerment of

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CONSTITUTIONAL EQUALIT Y

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“Define yourself in your own terms. In terms of gender, race, anything. We are not what other people say we are. We are who we know ourselves to be, and we are what we love. That’s OK. You’re not alone in who you are. There are people out there who will love and support you. It’s about doing the work and believing and finding those people—if they’re not in your local community, there’s somebody online that you can talk to for support.” - LaVerne Cox

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TRANSGENDER QUOTE

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Keith Haring, (b. May 4th, 1958— February 16, 1990) Manhattan, New York Art Activist & Founder of Keith Haring Foundation

Throughout his career, Haring devoted much of his time to public works, which often carried social messages. He produced more than 50 public artworks between 1982 and 1989, in dozens of cities around the world, many of which were created for charities, hospitals, children’s day care centers and orphanages.

The now famous Crack is Wack mural of 1986 has become a landmark along New York ’s FDR Drive.

Other projects include; a mural created for the 100th anniversary of the Statue of Liberty in 1986, on which Haring worked with 900 children; a mural on the Keith Haring Foundation exterior of Necker Children’s Hospital in create Paris, to provide funding France in 1987; and a mural painted on and the imagery westernto AIDS organizations.

Foundation side of the Berlin WallSource: three Keith yearsHaring before its fall.

Haring also held drawing workshops for children in schools and museums in New York, A msterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs public service campaigns.

Haring was diagnosed with AIDS in 1988.

In 1989, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children’s programs, and to expand the audience for Haring’s work through exhibitions, publications and the licensing of his images.

Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS.

ART ACTIVIST HIGHLIGHT

Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney. Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out. While in Pittsburgh, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri’s manifesto The Art Spirit, which asserted the fundamental independence of the artist. With these inf luences Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. Also drawn to the public and participatory nature of Christo’s work, in particular Running Fence, and by Andy Warhol’s unique fusion of art and life, Haring was determined to devote his career to creating a truly public art accesible to everyone.

Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. He began to create drawings in white chalk upon these blank paper panels throughout the subway system. Bet ween 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day. This seamless f low of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work.

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Anti War.

− “Kill for P eac e” C arol Summer s , 1970 44

ANTIWAR

of men resisted conscription on the grounds of conscientious objection to war. Some were made to pay fines, and many others were sent to prison. The No-Conscription Fellowship was formed in 1914, and grew into a substantial movement once conscription was introduced in 1916. Some of these objec tors went on to fou nd Wa r Re sisters’ International in the aftermath of the war and fight.

War Resisters’ League, its A merican branch, was set up a couple of years later in 1923, and both groups are still actively campaigning today. It wasn’t until the Vietnam War, however, that the anti-war movement began to really take hold in the public imagination. Opposition to the war became less individual and, inspired by the Civil R ights movement, took the form of widespread, large-scale demonstrations attended by people from all walks of life. Starting with small The civil rights demonstrations demonstrations on university campuses around the inspired grew actively protesting vietnam.

United States in 1964 the movement quickly, Source: Archive with several marches of hundreds of History thousands of people throughout the USA and in Europe over the following years. In 1969, the November 15th Moratorium March in Washington, D.C, USA. D.C. was attended by over half a million people.In the 21st century, the anti-war movement reached an unprecedented scale. There were regular demonstrations around the world from the beginning of the Afghanistan War onwards, culminating on February 15th 2003 with a massive worldwide day of protest against the imminent invasion of Iraq, attended by millions around the globe. The groups who helped mobilize the protest, among them A.N.S.W.E.R, United for Peace and Justice, the Stop the War Coalition and Code Pink.

INTRODUCTION

An anti-war movement (also antiwar) is a social movement, usually in opposition to a particular nation’s decision to start or carry on an armed conf lict, unconditional of a maybe-existing just cause.

The term anti-war can also refer to pacifism, which is the opposition to all use of military force during conf licts, or to anti-war books, paintings, and other works of art. Many activists distinguish between anti-war movements and peace movements. Anti-war activists work through protest and other grassroots means to attempt to pressure a government (or governments) to put an end to a particular war or conf lict or to prevent it in advance. Resistance to war is as old as war itself. Imperialism plagues peace.

The first recorded instance was a Christian, Maximilian, who was executed in the 3rd century AD for refusing to join the Roman army. There have been many other individuals who have refused to serve in war throughout history. But for the beginnings of a coherent peace movement, rather than individual resistance, we have to look to the 19th century.In America, the first pamphlets calling for an organised anti-war movement were distributed in 1814, and the first meeting of the New York Peace Society followed a year afterwards. Soon there were chapters all over America, and similar societies in Europe too. The American Peace Society was officially founded During World War I, a large number

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“The beginnings of Dada, were not the beginnings of art, but of disgust.”

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-T R I S TA N T Z A R A

46

Dada emerged amid the brutality of World War I (1914–18)—a conf lict that claimed the lives of eight million military personnel and an estimated equal number of civilians. This unprecedented loss of human life was a result of trench warfare and technological advances in weaponry, communications, and transportation systems. For the disillusioned artists of the Dada movement, the war merely confirmed the degradation of social structures that led to such violence: corrupt and nationalist politics, repressive social values, and unquestioning conformity of culture and thought. From 1916 until the mid-1920s, artists in Zurich, New York, Cologne, Hanover, and Paris declared an all-out assault against not only on conventional definitions of art, but on rational thought itself. “The beginnings of Dada,” poet Trista n Tzara reca lled, “were not the beginnings of art, but of disgust.”

Dada’s subversive and revolutionary ideals emerged from the activities of a small group of artists and poets in Zurich, eventually cohering into a set of strategies and philosophies adopted by a loose international network of artists aiming to create new forms of visual art, performance, and poetry as well as alternative visions of the world. The artists affiliated with Dada did not share a common style or approach so much as the wish, as expressed

by French artist Jean (Hans) Arp, “to destroy the hoaxes of reason and to discover an unreasoned order.” For Dada artists, the aesthetic of their work For Dada artists, theconsidered aesthetic secondary to the ideas it conveyed. was of their work came secondary to an end in itself,” wrote Dada poet “For us, art is not the ideas it conveyed.

Hugo Ball, “but it is an opportunity for the true perception and criticism of the times we live in.”

Dadaists both embraced and critiqued modernity, imbuing their works films, and advertisements

ANTIWAR

WORLD WAR ONE

− “A d o l f H i t l e r P o r t r a i t ” J o h n H e a r t f i e l d , 1 9 32

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VIETNAM WAR

Of all the lessons learned from Vietnam, one rings louder than all the rest — it is impossible to win a long, protracted war without popular support. When the war in Vietnam began, many Americans believed that defending South Vietnam from communist aggression was in the national interest. Communism was threatening free governments across the globe.

Any sign of non-intervention from the United States might encourage revolutions elsewhere.

As the war dragged on, more and more Americans grew weary of mounting casualties and escalating costs. The small antiwar movement grew into an unstoppable force, pressuring American leaders to reconsider its commitment. Peace movement leaders opposed the war on moral and economic grounds.

The North Vietnamese, they argued, were fighting a patriotic war to rid themselves of foreign 2 million civilians were Vietnamese peasants were aggressors.

Innocent murdered in the crossfire of Vietnam being killed in War. the crossf ire. A merican planes Source: Government Archives wrought environmental damage by dropping their defoliating chemicals. Ho Chi Minh was the most popular leader in all of Vietnam, and the United States was supporting an undemocratic, corrupt military regime. Young American soldiers were suffering and dying. Their economic arguments were less complex, but as critical of the war effort. Military spending simply took money away from Great Society social programs such as welfare, housing, and urban renewal. The draft was another major source of resentment among college students. The age of the average A merican soldier ser ving in Vietnam was 19, seven years younger than its World War II counterpart. Students observed that young Americans were legally old enough to fight and die, but were not permitted to vote or drink alcohol.

Such criticism led to the 26th amendment which granted suffrage to 18-year-olds. Because Draft deferments were granted to college students, the less aff luent and less educated made up a disproportionate percentage of combat troops. Once drafted, Americans with higher levels of education were often given military office jobs. About 80 percent of American ground troops in Vietnam came from the lower classes. Latino and African American males were assigned to combat more regularly than drafted white Americans. The late 1960s became increasingly radical as the activists felt their demands were ignored. Peaceful demonstrations turned violent. When the police arrived to arrest protesters, the crowds often retaliated. Students occupied buildings across college campuses forcing many schools to can-

All we are saying is give peace a chance!

- JOHN LENNON

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Ten years ago today, the world saw what was by some accounts the largest single coordinated protest in histor y. Roughly 10 million to 15 million people (estimates vary widely) assembled and marched in more than 600 cities: as many as 3 million f looded the streets of Rome; more than a million massed in London and Barcelona; an estimated 200,000 rallied in San Francisco and New York City. From Auckland to Vancouver — and everywhere in between — tens of thousands came out, joining their voices in one simple, global message: no to the Iraq war. I was a mong t he a ntiwa r contingent t hat s wa rmed Manhattan’s midtown on Feb. 15, 2003, a wintry Saturday. We spread across miles of city blocks, trundling past abandoned police barricades as we tried to inch toward the U.N., where 10 days earlier then Secretary of State Colin Powell had presented what we now know was illusory intelligence about Iraq’s supposed weapons of mass destruction. The multitudes in New York were diverse and legion.

There were anarchists and military veterans, vociferous students (I was then a freshman in college) and a motley cast of graying peaceniks — ma ny, including one gra ndmot her memorably puttering a long in a wheelchair, had opposed American involvement in Vietnam. And there were myriad others: a band of preppy suburbanites with banners announcing themselves — “Soccer Moms Against the War” — musicians, street artists and workaday New Yorkers. My uncle, a doctor with medical practices in both the U.K. and India, had f lown in for the demonstration and was just another face in a vast crowd. The overwhelming feeling wasNew York’s streets, despite the grimness of the NYPD and the bite of that February afternoon, was one of unity and hope. Word was seeping in about the scale of the demonstrations elsewhere and it was hard not to bask in our sense of collective purpose. An article in the New York Times would soon trumpet, “There are two superpowers: the United States and world public opinion.” Here’s Sofia Fenner, then a high school senior in Seattle (now a doctoral candidate University of Chicago, currently doing dissertation work in Cairo): “I was just proud to stand US Invasionwith forced millionpeople, Iraqi citizens all3 those proud that we as dissenting to move out ofAmericans the countrywere seeking not asymlum staying home while what seemed Source: Peer Review like theMIT whole world Stats took up our cause.” In Los Angeles, a pregnant Laila Lalami walked a mile with fellow protesters down Holly wood Boulevard. “I thought, ‘Hundreds of thousands of people across the U.S. are making their voices heard. Surely they can’t

be ignored,’” the Moroccan-American novelist told TIME this week. “But they were.” And there it was.

We failed. Slightly more than a month later, the U.S. 300,000 Iraqi civilians havecities been was shocking and awing its way through Iraqi murdered since began attacks and Saddam Hussein’s defenses andUSbedding in — in 2003 Review Statistics though it didn’t knowSource: it yet —MIT forPeer a near decadelong occupation. The protests, which by any measure were a world historic event, were brushed aside with blithe nonchalance by the Bush Administration and a rubber-stamp Congress that approved the war.

The U.N.’s Security Council was bypassed, and the largely feck less, acquiescent A merican mainstream media did little to muff le Washington’s drumbeats of war. A decade later, it’s hard to understand why the display of people power on Feb. 15 proved so ineffectual. There will be time yet to relitigate the justifications behind the U.S.-led invasion of Iraq, 10 years after the fact. The ranks of the war’s cheerleaders have thinned in the intervening years, with a host of journalists and pundits in the U.S. offering their mea culpas for supporting the war so unquestioningly. A dictator is gone, but more than 100,000 Iraqis are dead, as well as 4,804 U.S. and coalition soldiers. The U.S. spent nearly a trillion dollars on a pre-emptive war that didn’t need to happen and a nation-building exercise that has achieved only fragile, uncertain gains. Far from a “mission accomplished,” the American adventure in Iraq has become a cautionary tale of hubris and poor planning. It’s clear the West’s current reluctance to take more direct action in ending Syria’s bloody civil war is, in part, a legacy of the U.S. experience in Iraq, where the disintegration of a regime spawned a whole new phase of sectarian slaughter and chaos.

ANTIWAR

IRAQ OIL WARS

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Pablo Picasso (b. October 25, 1881 - April 8, 1973) France, UK, Spain Anti War Art Activist

ART ACTIVIST HIGHLIGHT

Pablo Ruiz Picasso was a Spanish painter, sculptor, immense fortune for his revolutionary artistic accomprintmaker, ceramicist and theatre designer who plishments, and became one of the best-known spent most of his adult life in France. Regarded as figures in 20th-century art.. Picasso, sympathetic to one of the most inf luential artists of the 20th century, the Republican government of his homeland, was he is known for co-founding the Cubist movement, horrified by the reports of devastation and death. the invention of constructed sculpture, the co-invenGuernica is his visual response, his memorial to the tion of collage, and for the wide variety of styles that brutal massacre. After hundreds of sketches, the he helped develop and explore. Among his most painting was done in less than a month and then famous works are the proto-Cubist Les Demoiselles delivered to the Fair’s Spanish Pavilion, where it d’Avignon (1907), and Guernica (1937), a dramatic became the central attraction. Accompanying it were portrayal of the bombing of Guernica by German documentary films, newsreels and graphic photoand Italian airforces during the Spanish Civil War. graphs of fascist brutalities in the civil war. Rather Picasso demonstrated extraordinary artistic talent in than the typical celebration of technology people his early years, painting in a naturalistic manner expected to see at a world’s fair, the entire Spanish through his childhood and adolescence.

Pavilion shocked the world into confronting the sufDuring the first decade of the 20th century, fering of the Spanish people. his style changed as he experimented with different theories, techniques, and ideas. A fter 1906, the Fauvist work of the slightly older artist Henri Matisse motivated Picasso to explore more radical styles, beginning a fruitful rivalry between the two artists, who subsequently were often paired by critics as the leaders of modern art.Picasso’s work is often categorized into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the A frican-inf luenced Period (1907–1909), A nalytic Cubism (1909–1912), and Synthetic Pablo Picasso’s Cubism style has (1912– evolved 1919), also referred to asover the time Crystal of influences and period. exhibits Much different Picasso’s work of the lateSource: 1910s and 1920s is in a Pabloearly Picasso Biography neoclassical style, and his work in the mid-1920s often has characteristics of Surrealism. His later work of ten combines elements of his ea rlier st yles.

Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and

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CONCLUSION

INDEX

AIDS Epidemic Anti War

32,33

Barbara Kruger Bob Adelman

10 -15

44-57

16 14

Carol Summers Constitutional Equality

34,35

Dadaism Domestic Abuse

06,07

46

Emory Douglas Erye Crowe

24-29

Feminism

02-15

Gran Fury Gulf Wars

50,51

Jean Michael Basquiat John Heartfield

19

32

20 47 38-44

LaVerne Cox LGBTQ+ Luis Carle

30 -49

36 30

Maria Marta Rocco Mary Neomeir Martin Luther King Jr

06

Nelson Mandela Norman Rockwell

33

Oglivy & Mather

02

51 22

23

Pablo Picasso Police Brutality

52-57

Racism Reproductive Rights

16 -29

21

09

Segregation Slavery

19

Transgender Rights

37

Vietnam Violence Against Women

49

23

05

INDEX

Keith Haring

BEAUT Y IN OPPOSITION

COLOPHON

T Y P E FA C E

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