ENGAGING with Aftermath:

The Fallout of War— America and the Middle East

Organized by the Harn Museum at the University of Florida in Gainesville, Aftermath: The Fallout of War—America and the Middle East is a powerful exhibition that addresses one of the key conflicts of our era—the ongoing war in the Middle East. The work of twelve artists and photo-journalists offers us a closer look at the conflict through images and videos that capture the violence, loss, history, and the lasting “aftermath” of this war. Though the exhibition focuses on the current conflict, the themes and ideas represented by these works are endemic to all wars. The programming for Aftermath will provide different avenues to the difficult conversations that confront us in these works of art. Through the vehicle of these programs, we hope to come to a better understanding of our shared humanity.

International Human Rights

In December of 1948, led by the efforts of First Lady Eleanor Roosevelt, the United Nations General Assembly adopted the Universal Declaration of Human Rights, which covers a broad range of political, civil, social, cultural, and economic rights. These rights have served to help protect civilians in time of war or dictatorship, to help bring POWs home, and to ensure that people everywhere are allowed to live in liberty and safety. In 1950, the international community declared December 10 as International Human Rights Day, and the entire month of December was designated as International Human Rights Month.

International Human Rights Day

The Ringling invites you to make a difference, and recognize International Human Rights Day, by participating in these programs inspired by and organized around Aftermath

Conversation About Aftermath A Glimpse Into The Changing World Of Human Rights

SAT,

DEC 9, 10:30 AM, CHAO LECTURE HALL

The stunning images of Aftermath are a case study of how the still evolving human rights revolution has fundamentally changed how we see our world—and how we assume responsibility for it. The international human rights movement has brought with it entirely new sensibilities: women’s rights, refugee rights, and rights to a healthy environment. Once seen as a narrow concern of lawyers, the modern human rights movement has swelled to a multi-cultural and multidisciplinary global force. Dr. Terry Coonan, Director of the FSU Center for the Advancement of Human Rights.

CONTINUING THE CONVERSATION: THE AFTERMATH OF TRAUMA

SAT, DEC 9, 1:30 PM, CHAO LECTURE HALL

The voices of individuals, refugees, veterens, and those who work to support them in our community, are brought together in this panel discussion moderated by Dr. Coonan. Panelists will include staff from the Wounded Warrior project and Gulf Coast Jewish Family and Children Services Refugee program as well as veterans and refugees.

The Artist As Activist

The photographs in Aftermath clearly address the pain, loss, and grief endured by soldiers and citizens. These images illustrate the historical and universal suffering created by conflict—they “speak” to us in a way that requires no words or translation. Although we admire works of art for their aesthetic qualities and the pleasure they bring us, the visual arts often address social injustice and send political messages. Three works from The Ringling’s collection exemplify how art has been used in this manner.

The David, the iconic sculpture by Michelangelo, was conceived of as a political statement by the city fathers of Florence. The Florentines adopted the image of the youthful biblical hero as a symbol of their own struggle against the former ruling family, the Medici. Placed in the main square of the city, the sculpture sent a message that the citizens would no longer tolerate the rule of tyrants.

The Triumph of the Eucharist, both the paintings and tapestries, were created during the height of the Protestant Reformation as a pictorial statement affirming the preeminence and doctrines of the Catholic Church. Isabella Clara Eugenia, who commissioned these works, saw them as a public demonstration of her role as an ardent defender of the faith.

The Flaying of Marsyas by artist Antonio de Bellis, depicts

a scene from Ovid’s Metamorphosis

The foolish satyr has had the arrogance to challenge Apollo, the god of music, to a musical competition. The painting depicts Marsyas being flayed alive, the obvious loser of the contest, by Apollo. This image was intended to be a warning that the government would tolerate no challenges to its power and authority.