John Whalvin MA Propaganda Research

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T “ HE WORD P ” ROPAGANDA” HAS A SINISTER RING, SUGGESTING STRATEGIES OF MANIPULATIVE PERSUASION, INTIMIDATION AND DECEPTION. IN CONTRAST, THE IDEA OF ART IMPLIES TO MANY PEOPLE A SPECIAL SPHERE OF ACTIVITY DEVOTED TO THE PESUIT OF TRUTH, BEAUTY AND FREEDOM. FOR SOME, P “ ROPAGANDA ART” IS A CONTRADICTION IN TERMS.” ART & PROPAGANDA: TOBY CLARK

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THE MODERN USE OF THE TERM, HOWEVER, IS GROUNDED IN THE ROMAN CATHOLIC CHURCH. POPE GREGORY XV, IN 1622, CREATED A CONGREGATION SPECIFICALLY FOR ORGANIZING ALL OF THE ROMAN CATHOLIC CHURCH’S MISSIONARY ACTIVITIES UNDER HIS CONTROL. HE CALLED IT:

THE CONGREGATIO DE PROPAGANDA FIDE or, roughly translated:

THE CONGREGATION FOR PROPAGATING THE FAITH IT BEGAN BEING REFERRED TO INFORMALLY AS “PROPAGANDA.” THE COMMON ENGLISH USAGE OF THE WORD AS WE KNOW IT TODAY WAS ESTABLISHED BY THE 1790S.

THE START OF WHAT WE KNOW AS MODERN PROPAGANDA Propaganda is information that is not impartial and used primarily to influence an audience and further an agenda, often by presenting facts selectively (perhaps lying by omission) to encourage a particular synthesis, or using loaded messages to produce an emotional rather than a rational response to the information presented.

The term propaganda has acquired a strongly negative connotation by association with its most manipulative and jingoistic examples.

Primitive forms of propaganda have been a human activity as far back as reliable recorded evidence exists.

The Behistun Inscription (c. 515 BC) detailing the rise of Darius I to the Persian throne is viewed by most historians as an early example of propaganda. The Arthashastra written by Chanakya (c. 350 – 283 BC), a professor of political science at Takshashila University and a prime minister of the Maurya Empire in ancient India, discusses propaganda in detail, such as how to spread propaganda and how to apply it in warfare.

during his rise to power. The writings of Romans such as Livy (c. 59 BC – 17 AD) are considered masterpieces of pro-Roman propaganda.

Another example of early propaganda is the 12th-century work, The War of the Irish with the Foreigners, written by the Dál gCais to portray themselves as legitimate rulers of Ireland.

German peasants respond to a papal bull of Pope Paul III. From a series of woodcuts by Lucas Cranach commissioned by Martin Luther, usually referred to as the Papstspotbilder or Papstspottbilder. The accompanying caption reads: “Nicht Bapst: nicht schreck uns mit deim ban, Und sey nicht so zorniger man. Wir thun sonst ein gegen wehre, Und zeigen dirs Bel vedere.” “Don’t frighten us Pope, with your ban, and don’t be such a furious man. Otherwise we shall turn away and show you our rears.”

His student Chandragupta Maurya (c.

340 – 293 BC), founder of the Maurya Empire, employed these methods

Behistun Inscription

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Cogadh Gaedhel re Gallaibh

“HIC OSCULA PEDIBUS PAPAE FIGUNTUR.” “Kissing the Pope’s feet.”

THE PRINTING PRESS Propaganda during the Reformation, helped by the spread of the printing press throughout Europe, and in particular within Germany, caused new ideas, thoughts, and doctrine to be made available to the public in ways that had never been seen before the 16th century.

The printing press was invented in approximately 1450 and quickly

spread to other major cities around Europe; by the time the Reformation was underway in 1517 there were printing centres in over 200 of the major European cities. These centres

became the primary producers of both Reformation works by the Protestant Reformers and antiReformation works put forth by the Roman Catholics.

Gutenberg

JOHANNES GUTENBERG When a craftsman revolt erupted in Mainz against the noble class in 1428, Johannes Gutenberg’s family was exiled and settled in what is now Strasbourg, France, where his experiments with printing began.

Already familiar with bookmaking, Gutenberg perfected small metal type.

Infinitely more practical than carving complete wood blocks for printing, each type was a single letter or character.

Movable type had been used in Asia hundreds of years earlier, but Gutenberg’s innovation was developing a casting system and metal alloys which made production easier.

Johannes Gutenberg

The printing press was invented by German Johannes Gutenberg around 1440, based on existing screw presses.

Gutenberg, a goldsmith by profession, developed a complete printing system, which perfected the printing process through all of its stages by adapting existing technologies to the printing purposes, as well as making groundbreaking inventions of his own.

His newly devised hand mould made for the first time possible the precise and rapid creation of metal movable type in large quantities, a key element in the profitability of the whole printing enterprise.

spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies.

The operation of a press became so synonymous with the enterprise of printing that it lent its name to an entire new branch of media, the press.

By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes.

In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society:The relatively unrestricted circulation of information and (revolutionary) ideas transcended borders, captured the masses in the Reformation and threatened the power of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class.

In the 16th century, with presses

Across Europe, the increasing cultural

The printing press spread within several decades to over two hundred cities in a dozen European countries.

self-awareness of its peoples led to the rise of proto-nationalism, accelerated by the flowering of the European vernacular languages to the detriment of Latin’s status as lingua franca.

In the 19th century, the replacement of the hand-operated Gutenbergstyle press by steam-powered rotary presses allowed printing on an industrial scale, while Western-style printing was adopted all over the world, becoming practically the sole medium for modern bulk printing.

The Gutenberg press was a huge step forward not only for propaganda but for communication for the masses as we know it today, now slowly being superceded although not completely by the internet and other communication devices it basis of Gutenbergs invention has stood the test of time for ober 500 years.

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During the era of the American Revolution, the American colonies had a flourishing network of newspapers and printers who specialized in the topic on behalf of the Patriots (and to a lesser extent on behalf of the Loyalists).

The most famous single publication was Common Sense, a 1776 pamphlet

by Tom Paine that played a major role in articulating the demand for independence.

Common Sense challenged the authority of the British government and the royal monarchy. The plain language that Paine used spoke to the common people of America and was the first work to openly ask for independence from Great Britain.

The Declaration of Independence was written in 1776 there is no coincidence.

The Declaration of Independence is the statement adopted by the Second Continental Congress meeting at Philadelphia, Pennsylvania on July 4, 1776, which announced that the thirteen American colonies, then at war with the Kingdom of Great Britain, regarded themselves as thirteen newly independent sovereign states, and no longer under British rule.

The fact that this printed text spoke to the common people was perfect propaganda. The people were under the rule of Great Britain and wanted independence but were most likely too scared to speak out, to hear a voice agreeing with them would have only bolstered their resolve to that cause and garner full backing for the writing of the declaration.

When it came to raising local militias common folk were only to happy to leave there familes and take up arms, risking their lives against the english all for the greater good, one they new was a shared belief across their country. Printed documents such as the Common Sense Pamplet were a perfect way to reach the right people.

The format allowed the Patriots to print easily in large quantities 9

Common Sense by Tom Paine

away from the prying eyes of their British rulers and to distribute the information throughout the people.

Disseminate is to scatter or spread widely: to broadcast, Propaganda is to deliberately spread widely to help or harm a person, group, movement, institution, nation.

It is fair to say that even though the common people concerned did not need convincing this definitely fits the

definition of early propaganda.

The title ‘Common Sense’ at the time meaning ‘Common Sentiment’.

A well chosen title taking into account the message that was being spread.

N” TIO CA DU SE OI ED TW HA ,W DA AN AG OP PR IS DO EY TH AT “ H W

EN BE IN S AY MA G LW HE IN A S T TIAT OF A H D] EN D r DA EDE FFER YPES IASE A, ete N E I Riv B T A D D N e th AG N D ER A GAN sie VE OP Ro PR ATIO VOL OTH ING OPA T IN PR ID ING [CI da IFY LEM. AVE ROM AVO O IS ide T v H .

F D o N ) B S ” Y pr IDE PRO LTIE A ND THE TION ve a D A U h c N A FIC A ll AT C A , : ati nne ter m m DIF OPAG SION (“WH EDU o e te ’D he yst ipula a s O t PR SUA CH O IS , of R r ia an ve PE PROA E D ate , m chie f the icto ition r W V e P n a T o A ns nd efi lib HA de ptio r to tent tt a ble d e W e n o i c Jow r ka the per havi red ard i r th e , wo e s s a b i ich e e t G cis R d p da sha rec the by con n gan to d di ers o i a t tic r ip an rth rop t ma pts esc “P emp ns, at fu e d t ys m , he att nitio e th t.” a s atte ions s t g ns i s s i o a n i c po d e t o d tha op s f r n siv a e s n g n e , e e r fi es pa de sion udes ienc rpos d reh p y pro l t d e a l i u com on: tra ersu , att t au al p e- sid via u e s e l p ns rge rci r l n l) a a o fo sn Mo n Ne a i osefu moti d ta mme on o factu gand e a l d A n i e a g o p e s aga pur the pecifi r c smis t be prop enga nd p o o o f a s n r “P m o ence of tical d tra ay n ls. A who on i s e m i r s u t t e l l n o n s fl a f in ctio , po trol y or han ndi cre n.” a cal con ma ia c aga d to ess sio i d roc the an olog the hich med prop pplie rsua p e f ide ough es (w rect loys e a of pe ativ ose o ered c i i h p r n s t g d th ssa d d em — rm mu pur p consi gative n on ism fo e m a m ss er co he e ne ch ati nd he , on t to b e or view t ma aniz paga of su e n iv ly g s o ecise nda” posit of th or pro tion u c a r s e in tribu tiv s fo e p p a g d a ion mor “pro prete r spec t i dis e r r fin de — o allow inte the p h n t e d Bo olve and d th g on inv cess, ly an endin e pro ectiv dep j r b o avio er. h en e b list or

types

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Propaganda shares techniques with advertising and public relations, each of which can be thought of as propaganda that promotes a commercial product or shapes the perception of an organization, person, or brand.

In post–World War II usage of the word “propaganda� more typically refers to political or nationalist uses of these techniques or to the promotion of a set of ideas.

Propaganda was often used to influence opinions and beliefs on religious issues, particularly during the split between the Roman Catholic Church and the Protestant churches.

Propaganda has become more common in political contexts, in particular to refer to certain efforts sponsored by governments, political groups, but also often covert interests.

was exemplified in the form of party slogans. Also in the early 20th century the term propaganda was used by the founders of the nascent public relations industry to refer to their activities.

This usage died out around the time of World War II, as the industry started to avoid the word, given the pejorative connotation it had acquired.

In the early 20th century, propaganda

According to historian Zbynek Zeman, propaganda is defined as either white, grey or black. o White propaganda openly discloses its source. o Grey propaganda is ambiguous or non-disclosed. o Black propaganda purports to be published by the enemy or someone besides its actual origins.

WHITE

GREY

BLACK

White propaganda is propaganda which truthfully states its origin.

It is the most common type of propaganda.

Gray propaganda is information of questionable origin that is never sourced and whose accuracy is doubtful.

Black propaganda is false information and material that purports to be from a source on one side of a conflict, but is actually from the opposing side. It is typically used to vilify, embarrass, or misrepresent the enemy.

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Patriotism in the case of the War of Independence negated the need for real propaganda, the colonials wanted independence they just needed a rally cry in 1776 to tell them where and when to turn up to fight for it.

90 years later in the American Civil War somewhere between 620,000 to

750,000 soldiers died, the southern states were fighting for the rights and freedom from the north and answered the call to arms. In the North the need for recruitment to bolster the army and continue the war effort was high.

Promises of monetary gain even cash

prizes were used to lure people into the army or navy. as this must have been deemed the achilles heel of the people at that time.

This was an early use of pshycological mechanics as it would have been clear that without some form of persuasion they would not have been able to mount a challenge to the Confederate army.The south wanted independence but was not threatening the northern states so there home would not have been at risk. Slavery was wrong and needed to be abolished but the political agenda also required the southern states revolt to be subdued.

While the american public of the north was seeing promises of wealth and prizes, at the same time what would be seen as a more contemporary approach today was being aimed at the free black americans.

Phrases such as: Fail now, and our race is doomed use pure fear tactics and bank on selfpreservation alongside: Are freemen less brave than slaves which attack a mans pride during a time when newly gained freedom was of such value.

These examples are pure propaganda and although at that time the word itself still had a neautral use they paved the way for future use of this method.

The civil War finished on May 9, 1865 with victory for the north, but on July 28, 1914 only 49 ears later war had broken out in Europe. The First World War had begun. the change in neutral ww2 posters - modern offereing lifestyle gone full circle.

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ABOLITIONISM Abolitionists in Britain and the United States in the 19th century developed large, complex propaganda campaigns against slavery.

Stampp says that, “Though abolitionists never argued that the physical treatment of slaves had any decisive bearing on the issue of the morality of slavery, their propaganda emphasised (and doubtless exaggerated) cruelties and atrocities for the purpose of winning converts.”

Blight says, “The authenticity of these reports about southern atrocity is questionable. I know of no verification for them. The propaganda uses of such stories, though, were not lost on abolitionist editors such as Douglass.”

Halttunen

argues

that

the

“Poor Things” is simple and hits home cutting to the heart of the matter in very few words.

In terms of how it looks it may be considered ugly but the words and message are very telling.

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pornography of pain was an essential part of developing a humanitarian sensibility in Britain and the US. She notes, “The index of Theodore Dwight Weld’s compilation American Slavery as It Is (1839) clearly demonstrates that project’s focus on torture: A is for Arbitrary power, cruelty of, B is for Branding with hot iron, C is for Chopping of slaves piecemeal, D is for Dislocation of bones, E is for Earcropping.”

Berry and Alford argue, “Detailed accounts of white slaveholders maliciously whipping bondwomen, stripped of their clothing, gave abolitionist propaganda an eroticism that conflicted with white society’s sexual and literary standards.

Drawings and stories revealed that

enslaved women, stripped partially or completely naked, were whipped....The images of enslaved women historically characterised as immoral, promiscuous, and animalistic were inconsistent with white American values of womanhood.”

Kennicott argues that the largest and most effective abolitionist speakers were the blacks who spoke before the countless local meetings of the National Negro Conventions.

They used the traditional arguments against slavery, protesting it on moral, economic, and political grounds. Their role in the antislavery movement not only aided abolitionist propaganda but also was a source of pride to the black community.

“POOR THINGS” 1800S ABOLITIONIST CARTOON

Anti Slavery Propaganda Poster from the 1800s but look at the emphasis on the refreshments table.

The petty bourgeoisie staying with their stereotype.

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E ID N C ST EW NIN UMB MBLE A FIR CO REN HE M N E IC N L U T ED VER N S CR MER LD TH OB A THE C A, T Y R I W O O A E L GL T IN AFR EP CT. KNO MPIR AND WO S D JU T IN T FFE UN S. E IA, ES MI G E AN LIVE USS INAN BU R R A IN M IR GE TAT AND THE LFED DO U S H VA RS A ST GU HE O E E N T L I E E D LD M NS N OF AS D SO ILIA TIO BECO V U Y I L C VO IT DA” W ORL N TO L RE SE .

RA GAN T W ISIO RO WER T S LL Y U PO E PA IR

RO HE F E CO NTR D EN P ” H “ T D N T TH NFA NCE R WO ST I HEN TE I DVA GY - E LO R, W ELE TH A OLO CHIN WA OBS S WI ECHN E MA ING OF CTIC Y T Y TH OAD RS E L R D TA ITA ALL ST LE UMB ODS I L MIL PEC D FA - KI CH N ETH O N M ES N AN ERY N SU AL RE GU TILL RS I ITION T WE ” AR LDIE RAD MEN TE. A SO AT T RUIT EQU TH REC AD R OF NGE LO

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THE SPECTRE OF COWARDICE

At the beginning of 1914 the British Army had a reported strength of 710,000 men including reserves, of which around 80,000 were regular troops ready for war. By the end of World War I almost 1 in 4 of the total male population of the United

Kingdom of Great Britain and Ireland had joined up, over five million men.

Of these men, 2.67 million joined as Volunteers and 2.77 million as conscripts (although some volunteered after conscription was introduced and

would most likely have been conscripted anyway). Monthly recruiting rates for the army varied dramatically.

How did Britain let 250,000 underage soldiers fight in World War One? Unfamilier with the horrors of war but fed by stories of war heroes and great battles from reading adventure books and magazines plus stories via the boy scouts and boys brigad,e underage boys signed up as it looked fun and exciting.

17

You could almost call it accidental propaganda that called to the youth,, the civilians of age at the beginning of the war who volunteed were most likely under a similar illusion as the truth about what they were to face was not known to them.

As the horrors became real and conscription was also introduced many tried to get out of going but the the spectre of cowardice via public ridicule or a dreaded white feather, all the posters were suggesting of this.

ld r da wo n e two r p r waropaga p D AN R G S E H SO LY T N ICAS IDE T O RT LO P EN W HES L A L AB BE HIG ICA A P C S A HE LIT DI RA ALE CA H AS T PO I SC ERN ED NT IN D GU GAR EME TO W V T E R HIE G. UL A NO ITS N C I C I A INT F NIC HAT LE F I R T PA S D GUE SE ARAB ED I IT SE EN EP LEL R. T S I YE PRA T A S INS RAL ATO AP HOU GE I NPA CRE I WIT EST HE U ITS PR OM T OF S FR ATU ST

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PARIS WORLDS FAIR 1937

GUERNICA - PABLO PICASSO 1937

Both of these pieces appeared at the 1937 Paris World’s Fair. Picasso described Guernica as a work of deliberate propaganda, at the time stating it was the only example of this in his career.

What is interesting is that Picasso described it as deliberate propaganda but left-wing and anti-modernists decribed it as too vague and failing to communicate it meaning. Without the name and context it is vague but alongside posters such as this example to the right of a dead child with bombers flying overhead its context is clear.

Propaganda posters are reliant on text to convey meaning and seldomly created to work independently using site and context to great effect as part of a mass communication.

The poster to the right seen as a contemporary poster of its time has its roots firmly in a Dada as opposed to the Surrealism of Picasso but together the differing art movements are both effective.

MADRID - MILITARY ACTION OF THE REBELS C.1937 19

azi n da r n wa e r p ropaga p

S, E Y A PL S O E ITH P ER T S AN Y FA O M ER N M S EP LL G I H E T W I T HE GTH ME T I ERE T SK REN END THA YWH O A I“ ST O L SO VER H T ND O T D T TH D E NGT R A G AN REN S AN TRE ONO FOR TY, ST WAY HE S ITS H ORK PERI AL VE T OR O W ROS TO F HA HT M, T IC P RLY Y E O FIG EED NOM ULA IN M NUIN O FR EC RTIC ME GE R ITS D PA HEN FO T AN REN LES G ST RUG ” :“ S .

N, T Y E A ST ACE M ES S D L E N TER P A AH ’ W EN N IN RERS L M R 29 O OW FH Ü N W KA R E EO TO N U A L H O RM IN Y L T VOT OYA E G IS FIL AND E L ” L IT FU T 6. B L! S A TO QUE 193 LOY RE RCH O IS MA WH HIM

“

” 20

21

GERMANY IN WHITE, WITH THE 100,000-MAN ARMY PERMITTED BY THE TREATY OF VERSAILLES, SURROUNDED BY HEAVILY ARMED NEIGHBORS

THIS ONE IS BEFORE THE 1930 REFERENDUM. IT SAYS “CHECK THE WAR-MONGERS OF THE WORLD. EVERY VOTE FOR THE FÜHRER!” 22

E L P I C N I R P R E D A E L This Hitler Youth poster shows Adolf Hitler interacting with a group of young Germans. The caption reads, “Children, what do you know of the Fuhrer?”

In the poster, the usually much more sternly portrayed dictator is depicted as an approachable figure – although still an authoritative one – who is friendly towards children.

Hitler understood that his power depended on every German citizen regarding him as infallible and following his word above written law – the so-called “leader principle,” or Führerprinzip.

This commonly led to Hitler being portrayed as a messianic, almost god-like figure.

THE BIBLICAL OVERTONE. AN EAGLE HOVERS AGAINST THE LIGHT OF HEAVEN OVER AN IDEALIZED HITLER. THE TEXT: “LONG LIVE GERMANY!.”

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P I Z N I R P R E R H U F

G UN THE O Y F AN A O O WS BER P T OF O SH MEM NG U SION R E NG OKI VER T OS OKI LO IKE P IS N-LO UTH D-L H T YA YO , GO R R A LE ED ER. HIT ALIZ HITL IDE OLF AD

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The ‘Leader Principle’ or ‘The Führer Principle’ (Führerprinzip) came to dominate Nazi Germany after Adolf Hitler was appointed Chancellor on January 30th 1933. The Führer Principle played its part within the Nazi Party in the lead up to 1933 but there were challenges to the would-be Führer but after Hitler’s appointment as Chancellor, however, a person questioned the Führer Principle at their peril.

The Führer Principle was a very simple concept. Rudolf Hessprobably best summarised the Führer Principle when he said in a public speech: “Hitler is Germany and Germany is Hitler. Whatever he does is necessary.

Whatever he does is successful.

Clearly the Führer has divine blessing.”

The Führer Principle required everyone in Nazi Germany to accept that Hitler had all the solutions to Germany’s problems and that whatever he said had to be right. On the day after the Night of the Long Knives Hitler defended the action of the SS by stating that for 24 hours he had become the law in Germany and that the SS were simply carrying out his orders. The Führer Principle in its most basic form was that what Hitler said had to be carried out or if it was not the person who challenged it was betraying Hitler and therefore Germany.

As part of Hitler’s program to reshape German minds, the children of the regime were indoctrinated from a very early age. They were taught to focus on external “enemies” like Jews and communists, to believe in the pseudoscience of eugenics, to live up to German physical ideals, and to take pride in the German race.

The message was that children as young as 10 years old should serve the leader by joining the organization.

For Hitler believed that devotion should be fostered as early as possible.

Young, impressionable members of the Hitler Youth were brainwashed by Nazi ideology and were made to take part in strenuous physical activity.

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“

PROPAGANDA WAS ONCE A MORE NEUTRAL TERM, ITS NEGATIVE CONNOTATIONS TODAY ARE PRIMARILY DUE TO ITS ASSOCIATION WITH NAZISM.

”

D E H S A W N I A R B

S RE U T EA MAN F R ER GE E T “ H HE OS VING , T P N T DA A-WA PTIO OR N GA TIK CA TS F A OP WAS THE IGH .”

R P , S TH T F LE S P G I I N TH OUN T W UDE PEO N A Y UDE N ST THE ST RMA AND GE RER Ü FH

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The central character of the poster to the left is the physical embodiment of the Nazi ideal for the Aryan race: young, strong, blond and dedicated.

The National Socialist German Students’ League aimed to combine Nazi ideology with a University education and academic life. Members lived in their own Fellowship houses and wore brown shirts together with their own version of the swastika.

Here, the student’s military attire and rigid demeanor is typical of expressions of Nazi ideology. Meanwhile, his proud stance and beaming facial expression suggest that he is honored to be carrying the swastika.

Instead of idealistic thought and dreams, the Nazis preferred direct action. And serving your country by dying in battle was depicted as the ultimate sacrifice of honor.

THIS POSTER FEATURES A YOUNG MEMBER OF THE LEAGUE OF GERMAN GIRLS COLLECTING MONEY FOR YOUTH HOSTELS AND HOMES. The female wing of the Nazi Party’s Hitler Youth movement began with the League of Young Girls, which was for girls as young as 10 years old. Interestingly, although the poster

27

claims money was nobly being raised to build youth hostels and homes, in fact, most of the donations were spent on weapons production.

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ate r e n xhibitio e dege t r a E

D TE Y N ME ENT N M CO Y PL S I C BL VER WITH I T A I O CR ROB T L IDE ULAR S IC P AR .

S E .

L R U A , WIL ART E E L A ER P HO S P O H PE , W HI “ T T N ST OF STO IN N UN K O I IT TE R

BY BO LE TE HIB R X A D IN T IT GE.” TE ZE “EN AR NI RTY 937. H G E R A T UN RG I PA ER 1 OF PU RA L E L O Z B KS N S, A TE

N EM R UM ON ITI THE NOV WO USE TO B I M 0 H T T 50 T N: EX AND TO 3 D 6 AN OIN AR A P T E M RM AR LER JULY ENT GER TER MAN GE N ER S 9 N G E U 1 M E A ZI , G PR RO CO M S ED O F RT G N EAT WA OLF H FR TION ED I A ST ARIN L GR AD NIC HIBI SC AT GED A N L I X U T O I DEC LTUR ES, M E E NF STA EN T I B HI H CU RBOX TH T, CO AS URR X C E C W E E AR D E SPE TT ON .

H A N C T N N O “CH ”.

A E A KS IO RE G LERS OR OR TH HIBIT FO RED ” N E I W B R K D R EX AS G, IVE WA TAC WIN Y D T N RM O TE DA DEL S I E A L T , E R F I N F E E F O UA N TH LER LESS TION D A L Q DE O T I I N A S N URA ADE ILLI ST H ERC GR S A A A M IR E E “M INT NT T W ERM NAT E OF NE ITS F R S A O G I A C ”.

SE D ETT E IN AT ULT NFU BSEN KILL ION DIL R N E “ I N S CO N A I C S I B I T H R A ST GE E D AT OY O EAL RTI E EX H TH STR REV ND A ED T DE PLY L A END A SIM NU ATT A M PLE KS. E O PE WE X I S D HE

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On 30 June, Hitler signed an order authorizing the Degenerate Art Exhibition. Goebbels put Adolf Ziegler, the head of the Reichskammer der Bildenden Künste (Reich Chamber of Visual Art), in charge of a fiveman commission that toured state collections in numerous cities, in two weeks seizing 5,238 works they deemed degenerate showing qualities such as “decadence”, “weakness of character”,”mental disease”, and “racial impurity”.

The exhibition was prepared in haste, to be presented concurrently with the Great German Art Exhibition scheduled to open on 18 July 1937.

Imitating Hitler, Ziegler delivered a mordant critique of modern art at the opening of the Degenerate Art Exhibition on 19 July 1937.

The first three rooms were grouped thematically. The first room contained works considered demeaning of religion; the second featured works by Jewish artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of Germany. The rest of the exhibit had no particular theme.

There were slogans painted on the walls. For example: I

I

I I I I I I

I I I

Insolent mockery of the Divine under Centrist rule Insolent mockery of the Divine under Centrist rule Revelation of the Jewish racial soul An insult to German womanhood The ideal - cretin and whore Deliberate sabotage of national defense German farmers - a Yiddish view The Jewish longing for the wilderness reveals itself - in Germany the Negro becomes the racial ideal of a degenerate art Madness becomes method Nature as seen by sick minds Even museum bigwigs called this the “art of the German people”

POLITICAL GOALS Speeches of Nazi party leaders contrasted with artist manifestos from various art movements, such as Dada and Surrealism. Next to many 29

paintings were labels indicating how much money a museum spent to acquire the artwork. In the case of paintings acquired during the post-war Weimar hyperinflation of the early 1920s, when the cost of a kilo loaf of bread reached 233 billion German marks, the prices of the paintings were of course greatly exaggerated.

The exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, frequently identified as Jewish-Bolshevist, although only six of the 112 artists included in the exhibition were in fact Jewish.

The concurrent Große Deutsche Kunstausstellung (“Great German Art Exhibition”) was intended to show the more classical and “racially pure” type of art advocated by the Nazi regime. That exhibition was hosted near Hofgarten, in the Haus der Deutschen Kunst. It was described as mediocre by modern sources, and attracted only about half the numbers of the Degenerate Art one.

COVER OF THE EXHIBITION PROGRAM: DEGENERATE ART EXHIBITION, 1937. THE WORD “KUNST”, MEANING ART, IS IN SCARE QUOTES; THE ARTWORK IS OTTO FREUNDLICH’S SCULPTURE DER NEUE MENSCH

Hitler had stated clearly in ‘Mein Kampf’ where his thoughts lay with regards to modern art as found in Dada and cubism: “This art is the sick production of crazy people. Pity the people who are no longer able to control this sickness” In his own mind, the new art forms all stemmed from the USSR and according to Hitler were even found for a very short time in the Bavarian Soviet Republic in the early days of the Weimar Republic.

Hitler preferred the romantic form of art. He stated that a finished picture should never display anguish, distress or pain. They had to be realistic and heroic. Hitler believed that good artists should use colour in their paintings that “was different to those perceived in Nature by the normal eye.” Hitler wanted paintings to display “the true German spirit” and he preferred the work of artists such as Franz von Defregger, an Austrian who specialised in painting scenes of traditional Austrian rural life.

JEAN METZINGER, 1913, EN CANOT (IM BOOT), OIL ON CANVAS, 146 X 114 CM, EXHIBITED AT MODERNI UMENI, S.V.U. MÁNES, PRAGUE, 1914, ACQUIRED IN 1916 BY GEORG MUCHE AT THE GALERIE DER STURM, CONFISCATED

BY THE NAZIS CIRCA 1936 FROM THE KRONPRINZENPALAIS, NATIONALGALERIE, BERLIN, DISPLAYED AT THE DEGENERATE ART EXHIBITION IN MUNICH, AND MISSING EVER SINCE.

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U.S ITAIN E BR ANC FR SR LIA A US STR M AU LGIU BE AZIL A BR NAD CA INA RK CH NMA DS E N E D EEC LA ND R GR THE ALA NE W ZE Y NE RWA CA I D O R N LAN AF A PO UTH AVI L SO GOS YU

a’ nd a g a help op ‘pr self ot en es alli the ey ar a on the of uy, th agend t that t e u r fac aid nb abo ds m u ca lief o the just ink e n o g y b in o nd s s in eth rem ster s rce a o rely way a se lip nemy m o S o t e r s t e p o fo o r e s t h a t “ l o o h e e i e f . s po por a ying t ey m feel s the ow t t bel c o r l ly t r l e , t h r e a d y u c h a l e k n e r t h a p rea peo le al em s peop bolst e st s op h t pe ief sy . The r s ju e th bel ogan oste the s” sl the p p shi bad are 30

31

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T E I V O S

OF A AY ND W LY A AG IET TE OP OV RA OF PR E S ELIBE N LY H IS D TIO IAL A D T UT IREC FFIC ING D O D S O C AT AN AN AG EAS RIED THE WA EDU P R , O R PR T ID C A NDE AND ORK AL S RS D S T I U TY L W E A E I N IV N V W Y R U SO MM . IT RALL T PA GIC A UN ), A TED E E E S O C TH STIC DUC TER, LIF ENT UNI OLO D F E C E M JU ON HEA O D ID .

M BIN L M AN E CO THE , ETC A S C IES, T O CI A S D C H O W OV T LLE SSE AL DA , S DA S, M A A UR AL N M K C EM T N A L R AG DO GA OO CU TEG TH OP (FREE OPA IA, B T N R I R ED IET VIE S EP .P SO WA OV TH LUES ISM HE M .

S T T OF 23 I VA RIO GH T ART OF 9 T L T U 1 G A R A P RO SU OF IN A 17 P H I H T DV LIS 19 IS EM ICH AB T T AN IT ROM S S WH AL E Y E AY GE, F L H S D NIN OCI ED TO RITA CIVI IN T ‘ A O I - AT D S LL E HE THE ND M TO R A .

IS ANIZ AN TRO TAT E WA WER N S GL IC ON PO MU RG

M C O M N SIN NG CO CIAL CONO IS ARIA TI A O A T E S L TU Y ALI Y E T I L T P B R A TIV TO E C D A A TE LF-P Y.’

BY MINA SE PART DO D AL C I N A LIT PO

34

It comes as no surprise the way propaganda was used in the Soviet Union at this time. this form of communication suits a communist state perfctly as control of the people is of upmost importance. It was not only control of the people that was important but a peoples belief that what those in charge were doing was right and in their best interest to support it.

Whether the people at that time fully believed in all decisions made cannot be known as in all groups their are cynics, non-believers and nonfollowers.

EACH HAMMER BLOW IS A BLOW AT THE ENEMY

THEY ARE AGAINST THE SOVIETS

STAND UP STAUNCHLY FOR THE DEFENSE OF PETROGRAD!

DEATH TO WORLD IMPERIALISM! 35

When its put in front of you within a military state that unless you support the government and tow the counrty line you may have no work, no money, starve and outside countries will come in, and jeopardise the chance to keep these simple needs in life you throw your weight behind the power to ensure survival.

BUILD AN AIR FLEET OF THE USSR. BECOME THE SHAREHOLDERS OF “DOBROLET”!

SOLEMN PROMISE

tic r tis he a l t e rfu de nvinc ised n wo co rom ed s to of p . n i a ta ief sm or con head e bel tr ioti nt ld. e a e r a h p t nm ea we ges ith nal r iso t uph ime allen ed w natio p t o im ch fill he ve by ere n t f t the be d ha n o e fs w of ould e an hm er s nis belie .” ost tions y sh justic u p p se a e l ta e nd of e Th r pre hy th socia ar if th paga e e f e ro int lic w and r y. b r th chiat to p e pu edom und psy ance fre ime nitive ar rog t the pu ue All ough s a tr i thr ere h “T

PETROGRAD WILL NOT GIVE UP! PETROGRAD = ST PETERSBURG)

36

Russian Constructivist Posters, my knowledge of propaganda i believed was rooted in the WW2 Nazi propaganda, my main influence was for more induced by this style.

37

LO TO RY SO VIE TP EO PL EA ND PIO NE ER SO

ot d n se r a s h the , it’ g at ause m fro okin y bec unist e r ’ lo all m you just par ti com e r e c t’s nti he r id g f w of p e tha oma o atin f r b s e e y s r e s o a e ts c oud y? rdl a sen ns. M in th s a i t g r r r Re feel esig ated ism. e a feel p ount h d l e t r a c t to king re c c re to eir fac i he made of th str y we heroi t o re ns et the le of du r we ibutio y y t l s ar t lt o ntr it p uly fe le co s a W se tr redib the ir inc the

“G

E C A P T S GE E I V A O S

FS CE PA !”

SIVE S E R IMP

38

for the people and beyond The Soviet propaganda machine was running strong in the early to mid 20th century, and when it came to their highly successful space program, the artists creating the omnipresent posters had truly hit gold.

I find these posters provocative but possibly for the wrong reasons. Being born in the seventies and growing up heavily influenced by western society and western media I obviously have a western view of the world. I am aware of communism and fascism and have witnessed life in communist states first hand but have never lived under that type of regime.

I see these iconic styles / posters and I appreciate the artwork for being just that, ‘artwork’, design and style. I can see what the meaning was but the people that it was aimed at must have seen through the propaganda as they struggled day to day, that i can only imagine.

“WITH THE NAME OF LENIN”

“TO STARS, TO THE SUN!” 39

“THE PATH FOR HUMANS IS “IN THE NAME OF PEACE” OPEN”

40

“THE PATH FOR HUMANS IS OPEN”

FAMOUS DOGS THAT WENT TO SPACE) “BE(WITH PROUD, SOVIET PERSON, YOU OPENED THE PATH TO STARS FROM EARTH”

“THE PATH FOR HUMANS IS OPEN” “GLORY TOFAMOUS THE WORKERS OFWENT SOVIET (WITH DOGS THAT TO SCIENCE AND TECH” SPACE)

On 4 October 1957, the country launched humanities first earth satellite, Sputnik, and stunned people the world over as they watched it fly overhead in the night sky (this is the October referred to in many of the posters).

Their program launched the first animals into space, and in 1961 sent Yuri Gagarin on his historic single orbit as the very first human (“Восто́к” in Russian can be seen in many of these posters honoring his Vostok spacecraft).

“THE PATH FOR HUMANS IS OPEN”

“WE FAMOUS ARE THEDOGS ONES THAT SHALL DIS(WITH THAT WENT TO SPACE) COVER DISTANT WORLDS”

“THE PATH FOR HUMANS IS OPEN”

“THE PATH FORTHAT HUMANS (WITH FAMOUS DOGS WENT IS TOOPEN” SPACE) (WITH FAMOUS DOGS THAT WENT TO SPACE) 41

They launched the first woman into space in 1963, beating America by almost exactly 20 years. And those are just a few of their ‘firsts.’

“THE PATH FOR HUMANS IS OPEN” “FROM STUDY MODELSDOGS – TO COSMIC (WITH FAMOUS THAT WENTVESSELS!” TO SPACE)

reflection “Propaganda is the deliberate, systematic attempt to shape perceptions, manipulate cognitions, and direct behavior to achieve a response that furthers the desired intent of the propagandist.�

The fact that the propagandist can be an individual, a movement, or an entire country is interesting in itself.

Motive is key within propaganda and in the hands of an individual sits within the realms of white propaganda for the most part unless the individual is trying to hide something then grey or black typres fit the situation.

In the hands of movements or especially politicians the lines between white, grey, and black propaganda become very blurred. This area is one of interest as it has a blatancy to it that becomes more and more apparant the more recent it gets therefore only works in certain countries such as Russia or North Korea due to the strong regimes in control where there is a fear factor.

The propaganda that exists in the western world has not moved that far from the style used in World War Two. The use of white propaganda with a hint of grey to reinforce but not necessarily lie is still commonplace but we have become so used to it whether we just ignore it, or take it with a pinch of salt, or are now programmed by society to see it, decipher it in our own way and draw from it our own conclusions.

42

43

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rk Cla y Tob by r a e ak , m at W a ns to ts ditio ral and g p a em on mo s rop att al c nd need s kP a o a e nd orm ist S The bos that aga abn rities e th gand by E p ro o te io at e pa y OM sta e p st t r pr mod pro arfar read , C m i u l s i , j t E a s m e u w r i d h n a E a s B th cco th d T e H W e DA IT T IS D “ peopl adapts to achieveesenteual codlture. n bese or N a epr vis d d cu ofte ent ave GA IS OR OUN r al an ndar To m h A s e P OR ND R sta war. ften ntion mas hav rtise lms rime O e o c Y fi e in R RM OU A of e ers adv da and P nv t o v s W n R c e a s h ng hed po lik aga ern G EN FO A usi ablis ent look Prop est WH ART WAY RON w S est ruitm d to ers. e of c a e OD E t l e AN HER HE W s C r sign po mu L A de vie e for VIS U OT AT T o h m d t .”

TH use mas dra

“ORDINARY PEOPLE ARE RESPONSIBLE FOR SUCH GREAT ACHIEVEMENTS IN SPACE.”

THE RIGHT STUFF (1983) 44

Up to this point in my research it was my belief that posters in the modern day took design influence from propaganda art as ive shown below comparing the poster from The Right Stuff made in 1983 and Lost in Space made in 1998 to russian propaganda posters from the early sixties.

“

The fact that as Toby Clarks book states that propagandists drew inspiration from movie advertising pre war almost suggests that modern movie posters draw inspiration from propaganda that draws inspiration from movie posters?

MODERN MOVIE POSTERS DRAW INSPIRATION FROM PROPAGANDA THAT DRAWS INSPIRATION FROM MOVIE POSTERS?

”

LOST IN SPACE (1998)

45

“IN SPACE – SOVIET ROAD!”

“HOMELAND! THE STAR TO PROGRESS AND PEACE YOU FIRSTLY LIT ABOVE EARTH! GLORY TO SCIENCE, GLORY TO WORK! GLORY TO SOVIET BUILD!”

“GLORY TO THE CONQUERORS OF SPACE!”

ce n flue in DIA E M OM D AR R L N F A E GU ME M E C L R FI UEN A E SO N N ER INFL A O BTL RE D MO KES AND E SU RE A N IN E G V TA OPA SOM THE RAW HA D PR SIS, NT. ES HAT LY A T BA ANT COD RY IMP AND T S BL UAL ISTO TO GOD UNIS AR W VIS OM H SED ARE OMM LD Y L FR EN U HO ND C WOR IAL W BE LY ZI A THE SPEC A IMP D. N OF E E S BA YLE A AR .

ST O ER ANT L TW EVE PR

S R E P O 0 R T M R O T S

46

Hollywood and other modern cinema have been using the visual codes from the Nazis rallies for years, one of the most blatant was in Star Wars, from the Stormtroopers, a name lifeted directly from the German Troops to the imperial uniforms. The latest film almost perfectly recreated the rallies, banners and all. The Hunger

47

Games movies also recreated this look perfectly. Through years of seeing and knowing these images to be very wrong the simple visuals now even in another context already present as being the bad side, or dark side.

We are basically programmed now to recognise this as wrong.

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HE T D OF NDE D N OU CAL E I F HE TTI LIT T O RE RINE T P THE T O EF , MA URIS ING T A HE B d an AR FUT UTT MEN OF T LINI W m s P i tur HE TY, OVE ONT SSO T Fu n R E M FR MU can lia cs ure PA i Ita t i l t TIR ORE FOR OF en po mix N e d E E F T EA tw an this is. be n. t R ID r Y. s w a O o s ba L nt TH on ow i h w e P t A P HE IT ho nd las rm d ec ll kn nn on ed, a nd c c fe e , an s SU T ED i t n co is we s a o link al a ti rop s w D s r e m s a i h N u i c le y T cis IFI r al of E 4. Th hich A e ct icabl te so N s n e w g 1 j a e e U , f b tr ni e g l lif e 19 ism izzyin ly. A n o inex defi d f t h c t u a fo r i t a l id sa

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ALESSANDRO BRUSCHETTI SINTESI FASCISTA [FASCIST SYNTHESIS]

BRITAIN & EUROPE BEFORE 1914 When the new generation of artists raised the standard of revolt against the old conservative style of academic art they were reflecting this new spirit. This ferment and clash of ideas and schools indicated a profound current in the intelligentsia of the main countries of continental Europe. The exception was Britain, where the new trends were weakly represented, if they were represented at all. This difference was no accident.

At the commencement of the 20th century, British capitalism still enjoyed a crushing superiority over its rivals.

Its industry ruled supreme in world markets as its warships ruled supreme on the high seas. It presided over an empire on which the sun never set, as they boasted in London.

This is the basis of Anglo-Saxon empiricism and pragmatism. It is a tradition that could only arise from a privileged economic position that does not place any serious demands on the intellect. It breeds a generally conservative outlook that regards the present situation as eminently satisfactory and encourages a kind of vulgar “evolutionism” that imagines that tomorrow will always be better than today. Such an intellectual background is unfavourable to bold and imaginative thought in general. It is profoundly anti-dialectical, holding fast 49

to the belief that “nature does not make leaps”. Only great historical events could shake this smug and superficial view of the universe.

At a time when the French were overthrowing the old academic art, in Britain it was firmly entrenched.

The striking contrast between the intellectual life of Britain and France before the First World War is explained both by the different traditions of the two countries and their recent history.

After Impressionism, Fauvism and Pointillism came Cubism, Dadaism and Surrealism. This was the Paris of Picasso and Satie, Stravinsky and the Ballets Russes. It was a world of chaos and turbulence, of constant movement and change that mirrored the revolutionary changes brought about by capitalism in the early years of the 20th century and that represent the starting point for Futurism.

Art was alive and kicking. It still had the power to “shock and awe”, and to provoke powerful emotions, for and against. Art aroused passion, in a way that it no longer does today.

How does one explain this passion?

It reflected a definite mood in a layer of society.

FUTURISM & CUBISM The rapid rise of industry and the widespread application of new technology captured the imagination of the new generation of artists who rejected the stale conventionalism of the Academy. The cult of the machine was central to Futurism. Cubism had already started to represent reality as a series of geometrical forms. Futurism took this one step further, elevating the straight lines and streamlined forms of industry to a new form of art.

The first Futurist exhibition was held in Paris in 1911, but it originated in Turin in March 1910 and was associated with the work of F.T. Marinetti. It advocated the renovation of Italian art and declared that art could live only by emancipating itself from the dead hand of the past. It repudiated tradition, academic training, museums, picture galleries and the art of previous ages. All these things were regarded as so many fetters on the development of art.

Marinetti experimented with new literary forms that attempted to express emotions directly to the eye of the reader through the use of different types, suggestive arrangements of spacing and lines and other devices that were later developed by Mayakovsky and the Russian Constructivist artists after 1917.

IN THE WORLD OF FUTURISM THE MACHINE IS GOD

GIACOMO BALLA – LINE OF SPEED, 1913

According to the futurist manifesto, a picture “must be a synthesis of what one remembers and what one sees.”

Thus, a futurist painter would paint not only what he saw before him but would combine this information with the recollections of previous scenes that lingered in his mind. Objects and persons were studied from all sides so that every aspect would be represented - visible or invisible, front and back. The original futurists were Marinetti, Boccioni, Carra, Russolo, Balla and Severini.

In its initial stages Futurism was really an offshoot of Cubism. Many of its earliest productions could almost be mistaken for Cubist paintings.

Futurism began as a specifically Italian variant and development of Cubism.

The Futurists, in common with the Cubists, rebelled against the artistic Establishment and the 19th century.

They looked for new themes, and found them, not in the mists of the past, but in the present - and in the future.

Their art was based on the cult of the modern. Whereas the 19th century Romantics recoiled in horror from the age of the machine, the futurists embraced it with enthusiasm. The machine forms an important element in this art.

In 1915 Marinetti, the founder of Italian Futurism, published a book with the title La Guerra - Sola Igiene del Mondo (“War - the Sole Hygene of the World”). Here we have the distilled essence of imperialism - the notion that wars are a necessary means whereby humanity overcomes stagnation and purifies itself through fire.

This adequately conveys the delirium of the Italian imperialist petty bourgeoisie who greeted the horrors of the First World War as one would welcome the invitation to a party.

Later on this dream of the Italian imperialist petty bourgeoisie turned into a nightmare. But in the years that preceded the great imperialist slaughter of 1914-18, it acted as the mainspring of the main trend of Italian art. From the beginning, futurist art was impregnated with a spirit of suppressed violence and aggression.

Here in paint we see the concentrated expression of the pent-up rage and frustration of the Italian imperialist petty bourgeoisie.

The slashing lines that criss-cross these abstract paintings are like the tracer bullets that light the sky over a battle at night-time. The jagged edges speak of lacerations. The whole thing is filled with an explosive element that anticipates war, upheaval and conflict.

The human disappears completely.

This is really a preparation for the totalitarian state where the individual is completely at the service of the imperialist state and the military machine. Machinery, of course, has many applications, most of them of a socially useful character. But in the epoch of monopoly capitalism and imperialism machinery has as its highest purpose the production of armaments for the purpose of dividing the world between different groups of robbers. And the highest function of people is to act as meat for this huge mincing machine. This crude reality of imperialism is where the Futurist dream ends up.

THE CLASS BASIS OF ITALIAN FUTURISM In Literature and Revolution, Trotsky writes: “Futurism originated in an eddy of bourgeois art, and could not have originated otherwise. Its violent oppositional character does not contradict this in the least.

When investigators define the social nature of early Futurism and ascribe a decisive significance to the violent protests against bourgeois life and art, they simply do not know the history of literary tendencies well enough.

The petty bourgeoisie - the discontented peasant, the ruined shopkeeper and the frustrated government clerk, fall under the influence of the right wing intellectuals, the pampered sons of the rich, the golden youth whose restless and adventurist spirit finds an outlet in extreme and belligerent patriotism.

Disappointed chauvinism in turn fuses imperceptibly with fascism. Italian Futurism is transformed into art in the service of fascist reaction and Mussolini’s corporate state.

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FUTURISM & FASCISM

“

In the beginning, the highly combustible mood that underlies this art could be mistaken for a revolutionary feeling, and in fact it reflects a revolutionary trend insofar (and only insofar) as it rejects the status quo. This art is a slap in the face for existing society, its aesthetic norms and values. It announces the immanent end all that is: it proclaims that all that present society regards as sacred and valuable is based on a rotten foundation. This foundation must be dynamited, blown sky high, in order that the creative spirit of the people should be liberated.

What began as an artistic message the rejection of stagnation and inertia in art - now becomes a clearly political message. Not just the old art, but all the other manifestations of the old society must be overthrown.

This merging of Futurism with fascism after 1918 is so rapid that it seems to flow from the very essence of Futurism itself. But this conclusion would be too simple. In Russia, Futurism took precisely the opposite direction and placed itself at the service of the October Revolution. The great Russian Futurist poet Mayakovsky joined the Bolshevik Party before the Revolution and remained a Bolshevik until his tragic suicide in 1931.

The reason for the difference between Italian and Russian Futurism is not to be found in art (broadly speaking they shared a common artistic view) but in the different objective conditions of Russian and Italian society. Whereas the Italian bourgeoisie had already fulfilled its progressive mission in the unification of Italy, in Russia the bourgeoisie was incapable of playing

any kind of progressive role. Only the coming to power of the working class by revolutionary means could clear away the accumulated rubbish of feudalism and open the way to further development through a nationalised planned economy. Therefore the most progressive elements of the Russian artists and intellectuals gravitated to the camp of revolution. The left wing predominated.

Fascist art - like totalitarian art in general - can never be great art.

In order to flourish art, literature, music and science need the fullest freedom to develop, to experiment and to make mistakes. These branches of human knowledge can never flourish when regimented, censored and subjected to petty surveillance by ignorant bureaucrats.

THE ART OF THE FUTURISTS, WHICH IN ITS INITIAL PHASE SHOWED GREAT PROMISE AND VITALITY, UNDER THE FASCIST REGIME DEGENERATED INTO MERE PROPAGANDA AND ANOTHER ARM OF THE CORPORATE STATE. IT VANISHED WITH THE COLLAPSE OF THE LATTER AT THE END OF THE SECOND WORLD WAR.

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NATALIA GONCHAROVA, CYCLIST, 1913 51

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“The Green Berets” simply will not do as a film about the war in Vietnam. It is offensive not only to those who oppose American policy but even to those who support it. At this moment in our history, locked in the longest and one of the most controversial wars we have ever fought, what we certainly do not need is a movie depicting Vietnam in terms of cowboys and Indians. That is cruel and dishonest and unworthy of the thousands who have died there.”

Roger Ebert June 26, 1968

People at home were on one hand being shown government censored imagrey via the news networks whilst seeing loved ones drafted and often not coming home, as the war progressed

the stories and the horrors of the war became common knowledge and the social crisis began. There is very little government produced propaganda trying to keep those at home happy

as seen through WW2 and before its almost as thought due to the draft they did not bother, those against the war, well that is a different matter.

MORE THAN 3 MILLION PEOPLE (INCLUDING 58,000 AMERICANS) WERE KILLED IN THE VIETNAM WAR; MORE THAN HALF WERE VIETNAMESE CIVILIANS “Opposition to the Vietnam War was an issue that galvanised a generation of students and activists - many of whom turned to the medium of the poster to express their moral dissent from the war. ‘Fuck the Draft’, is perhaps the most iconic of all. Designed by student activist Kiyoshi Kuromiya, under the fictional name ‘Dirty Linen Corp’ the poster protests against the drafting of young men into the military to fight in the conflict with Vietnam. The drafting of men became a major catalyst for opposition to the Vietnam War, especially among college students for whom burning the draft card became a symbolic act of defiance.”

Date: 1968 (made) Artist/Maker: Kuromiya, Kiyoshi born 1943 - died 2000 (designer) Lithographic print 53

A PEACE SIGN PRINTED ON THE AMERICAN FLAG IS RAISED DURING AN ANTI-WAR PROTEST IN WASHINGTON, D.C.

The anti war “propaganda” against the system is the first real style change that still rings true today.

The was well crafted work of artists alongside private work of whoever decided to pick up a paintbrush and make their feelings known.

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ON NOVEMBER 15, 1969, MORE THAN 500,000 PROTESTORS FLOODED INTO WASHINGTON, D.C. THE MORATORIUM MARCH - ONE OF THE LARGEST ANIT-WAR DEMONSTRATIONS IN U.S. HISTORY.

In contrast to the patriotic, colorful war propaganda posters of the first half of the 20th century, the 1960s and 70s gave rise to another type of political advertisement -- the simply drawn, sometimes sobering protest poster. Decorating the bulletin boards of college campuses, these posters served as rallying cries for peace, defamations of Nixon and the federal government, and tributes to the martyrs of the civil rights movement.

THE FLAG IS BLEEDING 1967 FAITH RINGGOLD

Martha Rosler refused to be involved in the gallery and market system seeing the work more relevent at that time to show in the street. now, So much of my work involved the Vietnam War that it would have been obscene to show it in a gallery. But now, it’s different; it’s important to remember and to enable the young to discover what to some of us is still so present.

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EUREKA MOMENT!

# Angry Arts Week

This phrase just jumped off the page at me, with my mind on modern propaganda and the way the 21st century public uses the internet especially Social Media to share their opinion and to try to influence others by getting ‘their’ point across, the concept of bringing together a week like this in a modern format intrigues me.

“When I read the words “Angry Arts Week” my mind cynically again made the statement, if that was now they would just launch Facebook page and Tweet about it a lot!”

That is the inspiration! rather than just track what people are commenting on social media and lets face it from amazon reviews to news reports to what somebody said at the weekend people are venting anger and frustration the opportunity to have a body of work based on modern day anger and frustration opening up a moderated blank canvas is intriguing.

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Leon Golub and Nancy Spero were the main artists mentioned in Art & Propaganda in relation to the Angry Arts Week, no mention if they were the main organisors but certainly a big influence

LEON GOLUB 1922-2004 American painter. In 1942 he received a BA in art history from the University of Chicago and enlisted in the US Army. After World War II he studied at the Art Institute of Chicago (BFA 1949; MFA 1950). The Holocaust and atomic bombings of Hiroshima and Nagasaki were early themes in his work.

LEON GOLUB - VIETNAM II 1973

During the 1950s Golub received considerable attention through exhibiting in New York, Chicago, London and in Paris, where he lived from 1959 to 1964. In his paintings of this period he depicted man as the victim of his own civilisation, incorporating imagery from Assyrian, Hittite and Aztec art.

In his Vietnam series (1972–4) Golub confronted the immoral destructiveness of contemporary violence. This shift from an ideal concept to a precise exposition required him to specify weapons, uniform and napalm through references to news photography, which give a mordant, contemporary edge to the pathology of power. From 1970 Golub no longer used stretchers for his canvases but hung them directly from nails in the wall, sometimes cutting away portions of the paintings.

This heightened immediacy continued in a series of some hundred portraits (1976–9) of world leaders such as Brezhnev, Franco, Pinochet and Kissinger.

Golub’s work conscience and commitment to man’s existential world.

LEON GOLUB’S “MERCENARIES I,” 1976

stresses political has an unswerving the expression of relationship to the LEON GOLUB AT SERPENTINE

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NANCY SPERO 1926 - 2009 Nancy Spero was born in Cleveland, Ohio, in 1926. She received a BFA from the School of the Art Institute of Chicago (1949), and honorary doctorates from the School of the Art Institute of Chicago (1991) and Williams College (2001).

PEACE

Spero is a pioneer of feminist art. Her work since the 1960s is an unapologetic statement against the pervasive abuse of power, Western privilege, and male dominance. Executed with a raw intensity on paper and in ephemeral installations, her work often draws its imagery and subject matter from current and historical events such as the torture of women in Nicaragua, the extermination of Jews in the Holocaust, and the atrocities of the Vietnam War. Spero samples from a rich range of visual sources of women as protagonists—from Egyptian hieroglyphics, seventeenth-century French history painting, and Frederick’s of Hollywood lingerie advertisements. Spero’s figures coexist in nonhierarchical compositions on monumental scrolls, and visually reinforce principles of equality and tolerance.

A DETAIL OF THE RE-BIRTH OF VENUS, HANDPRINTING ON PAPER, 1984

SKY GODDESS/EGYPTIAN ACROBAT 1987-88

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Spero was elected to the American Academy of Arts and Letters (2006). Awards include a Lifetime Achievement Award from the College Art Association (2005); the Honor Award from the Women’s Caucus for Art (2003); the Hiroshima Art Prize (jointly with Leon Golub, 1996); and the Skowhegan Medal (1995). Major exhibitions include Centro Galego de Arte Contemporanea, Santiago de Compostela (2003); Massachusetts Institute of Technology, List Visual Arts Center, Cambridge (1994); the Institute of Contemporary Art, Boston (1994); the Museum of Modern Art, New York (1992); and the Museum of Contemporary Art, Los Angeles (1988). Spero lived and worked in New York, where she passed away in October 2009.

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Title Week of the ANGRY ARTS Against the War in Vietnam Creator Angry Arts Date 1967 (Jan. 29) Description Listing of events for the week, in which “artists of New York speak

through their own work to disassociate themselves from U.S. policy

in Vietnam.” From the New York Times Keywords Vietnamese Conflict, 1961-1975; peace Location Oversized Items Collection: NEWSPAPER ADS COLLECTION Notes Participants and sponsors were numerous, including:

Twyla Tharp, Andy Warhol, Roy Lichtenstein, Judy Collins, Phil Ochs, Allen

Ginsburg, Susan Sontag, Alan Alda, Ossie Davis, Ruby Dee, and Eli Wallach.

Database Number scpcNewsAd0090 Number Kept 1 Size 15” x 23” Type Newspaper Ad Removed From Misc.

Copyright Reproduction for any purpose other than teaching, personal use, or research may be a

violation of federal copyright law. If you wish to reproduce or publish these materials

for any other reason, see: http://www.swarthmore.edu/Library/peace/peacewebsite/ scpcWebsite/Documents/Policies.htm#copyright Repository http://www.swarthmore.edu/Library/peace Contact For more information, write to the Curator at wchmiel1@swarthmore.edu Institution Swarthmore College Department Swarthmore College Peace Collection Collection Peace Collection Ephemera

L I A R G Y L O H E H T G N I D N I F E K LI MARYLIN MONROE - ANDY WARHOL - 1967 SAME YEAR AS THE ANGRY ARTS WEEK

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http://www.thequill.ca/2013/03/18/ angry-arts-week-at-bu/

“ARTISTS AGAINST ESCALATION” PROTEST AT LACMA (LOS ANGELES COUNTY MUSEUM OF ART), MAY 16, 1965

WEEK OF THE ANGRY ARTS-VIETNAM MOBILIZATION POSTER AT LONGSHOREMEN’S HALL, SF.

The Actual ‘Angry Arts Week’ that happened from the 29th January to the 5th February in 1967 although mentioned in a number of texts does not seem to be well documented.

According to ‘Art & Propaganda’ by Toby Clark it saw a festival of art events involving some 600 artists yet very little imagrey from the event is available.

The organising group included Leon Golub and Nancy Spero who herself said:

T “ HE VIETNAM WAR WAS THE PRIMARY IMPETUS IN RETHINKING MY POSITION AS AN ARTIST” 64

BELIEVED TO BE A PICTURE FROM THE NEW YORK - ANGRY ARTS WEEK

AFTER THE ARTISTS’ PROTEST COMMITTEE HAD MOUNTED THE PEACE TOWER, ANOTHER ORGANIZATION, THE “ANGRY ARTS” OF SOUTHERN CALIFORNIA, TOOK OVER THE MANTLE OF PROTESTING THE VIETNAM WAR. LESS SPECIFICALLY ROOTED IN THE VISUAL ART COMMUNITY, THE CREATIVE PROTEST ACTIVITIES THAT TOOK PLACE IN JUNE AND JULY OF 1967 INCLUDED POETRY READINGS, FILM SCREENINGS, THEATRICAL PERFORMANCES, AND A SALE OF SOME OF THE PAINTINGS THAT HAD BEEN ON DISPLAY AT THE PEACE TOWER.

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RUDOLPH BARANIK - POSTER FOR ANGRY ARTS WEEK

ANGRY ARTS WEEK GRATEFUL DEAD QMS BIG BROTHER 1967 FLYER 66

ANDY WARHOL 1960S Getting an idea of the mentality at the time During the 1960s, Warhol also groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation “Superstars”, including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis, and Candy Darling.

These people all participated in the Factory films, and some - like Berlin - remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and filmmaker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol’s connections to a diverse range of artistic scenes during this time.

ANDY WARHOL - MARYLIN MONROE - 1967

Less well known was his support and collaboration with several teen-agers during this era, who would achieve prominence later in life including writer David Dalton, photographer Stephen Shore and artist Bibbe Hansen

Actors perform over stretcher-borne figure representing U.S. war dead in Vietnam at Sheridan Square Playhouse last night.

It was the second night of scheduled eight-day ‘ Week of the Angry Arts’ protesting the war. January 31, 1967.

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reflection I find the post world war two era interesting as the Allies Propaganda during the war only helped to support the peoples thoughts and beliefs of the enemy.

The change from that to first the Korean War which began in 1950, only 5 years after the end of WW2 was an interesting one and the change in the peoples beliefs by Vietnam were very different. These two wars were happening on the other side of the world and were not directly threatening the western shores.

This was where the government lost the people. The masses were not susceptable to the traditional propaganda and protests took over.

From a creative point the carefully planned and created propaganda of old was now replaced by thrown together passionate protest art which took on a whole new look and feel to that in the past. It was rustic, naive at times but was made with meaning and simplicity to get the message accross as quickly as possible with meaning!

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otest r p rt a “ all art is an uncommitted crime ” THEODOR ADORNO

What is the scope and impact of protest art? As Adorno famously wrote, ‘all art is an uncommitted crime’, meaning that art challenges the status quo by its very nature.

Thus it can be argued that all art is political in the sense that it takes place in a public space and engages with an already existing ideology and dominant discourse.

Yet, art can often become dangerously and explicitly political and serve as a powerful weapon. Throughout the history of social movements and social revolt, art has always reacted against oppression, violence, injustice and inequalities. Addressing socio-political issues and challenging the traditional boundaries and hierarchies imposed by those in power, art can open up the

space for the marginalized to be seen and heard and contribute to the social change by producing knowledge and solidarity or simply raising awareness.

In this way, the personal life and work of the artist transcends the individual and speak meaningfully to a larger audience bringing together the political and human functions of art.

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Since many variations of protest art can be found throughout the history, it is difficult to establish the beginning of this politically engaging artistic expression. Activist conceptual and performance art was majorly influenced by Dada, an anti-war movement which used satire, nonrational and anti-idealistic discourse to critique the First World War and its capitalist agenda. Some of the other early examples of protest art include the Mexican muralist David Alfaro Siqueiros who has been very active in left-wing politics in the beginning of the 20th century and wanted to reach hard-working Mexicans through art. When it comes to fine art,

Picasso’s Guernica (1937) based on the Spanish Civil War and capturing its atrocities and inhumanity, served as an inspiration for the modern human rights movement.

War was often a motivating factor for artists, also providing the metaphor for the more general exercise of power.

Many artists during the 1960s and 1970s visibly opposed the Vietnam War including Ronald Haeberle, Peter Saul, Carl Andre, Norman Carlberg and Nancy Spero and produced artworks that raised awareness and called for the responsibility. Chris Burden’s performances with intentional wound inflicting called upon the audience to

engage with political messages and consider their responsibilities. Art became a potent language to speak against various forms of oppression and persisting inequalities regarding gender, race or class. As one of the founding members of the Feminist Art Movement, Judy Chicago explored the women’s position in culture and history through large collaborative installations. Art has also shaped the cultural and political response to the AIDS pandemics during the 1980s, with artists like Keith Haring, Niki de Saint Phalle or Robert Mapplethorpe raising their voice.

HOW CAN YOU BE “ AN ARTIST AND NOT REFLECT THE TIMES?” NINA SIMONE

BANKSY 72

THE ALBUM’S SLEEVE USES A 1967 PHOTOGRAPH OF MARINE CPL. MICHAEL WYNN IN THE VIETNAM WAR, THOUGH WITH THE WORDING ON HIS HELMET CHANGED FROM “MAKE WAR NOT LOVE” TO “MEAT IS MURDER”.

carnage in vietnam and that was the obvious reason why that soldier had written that on his helmet. Finding out later that Morrisey was a staunch vegetarian made sense.

Banksy on the other hand was interesting to me, as soon I became aware of his work. I had long been a fan of grafitti, and other street art and admired his clever satire but

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Looking back i think the cover of “Meat is Murder” by the Smiths was the first time I became aware of protest art in any form and was yet totally unaware that the wording on the side of the helmet had been edited from the original wording for effect. In my head, that of a relatively naive 12 year old who was just into the music I concocted a story in my head that it was in relation to the

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never expected the speed in which society adopted this work and that of his peers as part of the mainstream.

A shocking image such as the napalm image from vietnam satired by Banksy holding hands with Mickey Mouse and Ronald McDonald now available to buy for your living room wall? A fact Banksy himself probably finds greatly amusing!

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He once characterized graffiti as a form of underclass ‘revenge’ that allows an individual to take over the power, territory and glory from the privileged. He has dealt with various political and social themes such as antiwar, anti-consumerism, anti-fascism, anti-imperialism, anti-authoritarianism or anarchism.

Banksy has recently created a series of works across Palestinian ruins in the Gaza strip, as well as in Syria. He has also done a series of murals in Calais refugee camp making a clear statement regarding the refugee crisis and the treatment of refugees.

Another recent politically charged project was a subversive and dark theme park Dismaland packed with irony, satire and honesty, that was later dismantled and sent to Calais to be used as a shelter for refugees.

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GRAFFITI AS A FORM OF UNDERCLASS R ‘ EVENGE’

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”

A Russian feminist punk rock group that has staged numerous unauthorized provocative guerrilla performances in various public locations, Pussy Riot has shook the world in 2012 with their protest performance in Moscow’s Cathedral of Christ the Savior directed at Orthodox Church’s support for Vladimir Putin. They have dealt with various politically charged themes such as feminism, LGBT rights, democracy, freedom of speech and opposition to Vladimir Putin.

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The Pussy Riot trial after their ‘punk prayer’ and a jail sentence for their members presented an even more obscene performance of state power and became a symbol of the battle against Putin’s oppressive regime.

Their political action through performance art is an example of how the power of the state and authoritarian policies can often produce some of the most provocative art practices.

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Often referred to as a ‘living pain’ artist, Petr Pavlensky chooses performance art that often takes form of extreme acts as his political language. Some of his stunts involve sewing his mouth shut in political protest against the incarceration of Pussy Riot members, wrapping himself naked in a barbed wire as a commentary on a series of

laws suppressing civic activism and intimidating the population, nailing his scrotum on the Red Square referring to the apathy, political indifference and fatalism of Russian society, or cutting of his earlobe in protest against Russia’s use of forced psychiatry against dissidents. He is now facing three years in prison for burning doors of the headquarters of Russian Federal Security. Blurring the boundaries between art and his anti-Kremlin views, he sets himself apart from other similar artists by making weakness central to his work.

Interesting thing is that he considers the authorities’ reaction in advance and makes it a part of his performance.

If the authorities act as an aggressive apparatus, then they act according to his scenario.

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A Figure of the Crafticism Movement

She uses murals, ceramics, screenprinting and graphic design in her work and is called upon to speak on the use of craft and art as protest.

Famous for her continuing work in activism, an artist Carrie Reichardt takes interest in the social, economic and political issues that range from unjust imprisonment and death penalty to new colonial wars.

Baroness Carrie von Reichardt was born in London. Her title, used ironically, has a connection with the last Tsar of Russia, who made her grandfather an honorary general for helping the allied forces in WW1.

A figurehead of the Craftivism movement that joins craft and activism.

Carrie trained at Kingston University and achieved a First class degree in Fine Art from Leeds Metropolitan.

CARRIE REICHARDT

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She was Artist in Residence at Camberwell Art College in 2009.

Following a period as Artist in Residence at The Single Homeless Project, she remains a proactive supporter, donating a percentage of the profits from some of her ‘Mad in England’ series to the charity.

Her work has appeared in leading galleries around the world and she represented the UK as part of a group of international artists invited to mosaic the Argentinian Government building in Buenos Aires.

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STREET POSTER OPPOSING THE DE GAULLE GOVERNMENT. A CARICATURE OF CHARLES DE GAULLE HOLDS A RIOT BATON BEHIND HIS BACK AND PATRONIZINGLY PATS A REPRESENTATION OF FRANCE. “JUST VOTE, I WILL DO THE REST.” 80

The volatile period of civil unrest in France during May 1968 was punctuated by demonstrations and massive general strikes as well as the occupation of universities and factories across France. At the height of its fervor, it brought the entire economy of France to a virtual halt.The protests reached such a point that political leaders feared civil war or revolution; the national government itself momentarily ceased to function after President Charles de Gaulle secretly left France for a few hours. The protests spurred an artistic movement, with songs, imaginative graffiti, posters, and slogans but also intense violence, which ultimately ensured their defeat and the Gaullist government to remain strong and unopposed by its socialist critics.

for 23 June 1968.Violence evaporated almost as quickly as it arose. Workers went back to their jobs, and when

the elections were finally held in June, the Gaullist party emerged even stronger than before.

The unrest began with a series of student occupation protests against capitalism, consumerism and traditional institutions, values and order. It then spread to factories with strikes involving 11 million workers, more than 22% of the total population of France at the time, for two continuous weeks.

The movement was characterized by its spontaneous and de-centralized wildcat disposition; this created contrast and sometimes even conflict between itself and the establishment, trade unions and workers’ parties. It was the largest general strike ever attempted in France, and the first ever nationwide wildcat general strike.

The student occupations and wildcat general strikes initiated across France were met with forceful confrontation by university administrators and police.

The de Gaulle administration’s attempts to quell those strikes by police action only inflamed the situation further, leading to street battles with the police in the Latin Quarter, followed by the spread of general strikes and occupations throughout France.

De Gaulle went to a French military base in Germany, and after returning dissolved the National Assembly, and called for new parliamentary elections 81

STREET POSTER FAVORING THE UPRISINGS, DEPICTING AN OCCUPIED FACTORY. “MAY 68: THE BEGINNING OF A PROLONGED STRUGGLE.”

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Despite not being a coherent art movement, some of the most immediate, insightful and human art seen for some time has been produced during the Arab Spring in 2011 when protesters armed with spray cans articulated their interpretations of the uprising on the walls around them.

Not that present and common in the Arab world before the uprising, graffiti became a tool for providing social and

political meaning. Filled with vibrant political and social commentary, the streets became canvases for artists to show their revolt, to remember people who have been lost and communicate directly to the oppressors.

Ranging from writings to drawings and varying in techniques used, graffiti were the only public means for sending a message. Realizing the power and danger behind these artistic

expressions confronting censorship and oppression, the government soon started whitewashing them only to trigger more artists to come back.

The Arab Spring has launched careers of many artists such as el Seed, ZooProject, Ganzeer, El Teneen, Aya Tarek, Alaa Awad or Ammar Abo Bakr, and has been a subject of numerous curated exhibitions.

2011 ARAB UPRISINGS: WHY THE NAME THE A “ RAB SPRING”?

The term “Arab Spring” was popularized by the Western media in early 2011 when the successful uprising in Tunisia against former leader Zine El Abidine Ben Ali emboldened similar anti-government protests in most Arab countries.

The term was a reference to the turmoil in Eastern Europe in 1989, when seemingly impregnable Communist regimes began falling down under pressure from mass popular protests in a domino effect. In a short period of time, most countries in the former Communist bloc adopted democratic political systems with a market economy.

WHAT WAS THE AIM OF ARAB SPRING PROTESTS? The protest movement of 2011 was at its core an expression of deep-seated resentment at the aging Arab dictatorships (some glossed over with rigged elections), anger at the brutality of the security apparatus, unemployment, rising prices, and corruption that followed the privatization of state assets in some countries.

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REASONS FOR THE ARAB SPRING Was Arab Spring a Success or Failure?

Arab Spring was a failure only if one expected that decades of authoritarian regimes could be easily reversed and replaced with stable democratic systems across the region. It has also disappointed those hoping that the removal of corrupt rulers would translate into an instant improvement in living standards. Chronic instability in countries undergoing political transitions have put additional strain on struggling local economies, and deep divisions have emerged between the Islamists and secular Arabs.

But rather than a single event, it’s probably more useful to define the 2011 uprisings as a catalyst for long-term change whose final outcome is yet to be seen.The main legacy of the Arab Spring is in smashing the myth of Arabs’ political passivity and the perceived invincibility of arrogant ruling elites. Even in countries that avoided mass unrest, the governments take the quiescence of the people at their own peril.

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WITH ALL THE RECENT EVENTS IN THE WORLD, SOCIAL MEDIA HAS SHOWN ITS REAL POWER TO MAKE A REAL DIFFERENCE IN THE POLITICAL ORDER

With all the recent events in the world, Social Media has shown its real power to make a real difference in the political order, whether it is a positive change or negative.In 2011, the Arab Uprising movement across the MENA region was mainly due to the people’s will to reform a political change in the system and according to Philip Seib,

“it was due to their ability to connect.”

Internet movements were recognised back in 2003, when bloggers started to share their opinions and share their experiences in Iraq invasion, following that, WikiLeaks was created to provide

the bloggers with a safe space to share their information anonymously, but even with all this effort, it did not help to reform the demanded change.

Recently with the rise of Facebook and Twitter this has been changed.

Activists found Facebook and Twitter as a window to escape the dark and demand their rights, from this window they were able to share their tragic experiences with the rest of the world.This reformed some how a way to put their leaders under pressure to change the system.The Social media may have been a good tool and helped activists and protestors to communicate, and may reformed a political change in some countries

such as in Tunisia and Egypt.

”

On the other hand, Social media may have been the start to more complicated conflicts in 154763_6002the region. Even though the uprising was successful in some countries, it was the opposite in other countries such as Yemen and Syria. The movement did not achieve its main goal in Syria but created a tragic continuous civil war, which resulted to huge number of casualties. Such circumstances may have been the reason behind terrorist groups taking over the country such as ISIS and Al Nusra. The later may have been the current reason to destabilizing the region’s security.

In conclusion, whether social media was effective during the Arab spring or not, it played a major role in reforming governments and creating complicated conflicts in the region.

The successful reformation in the region was not due to the social media, it was somewhat because of the people’s sheer will to make a demand for their rights and preform a change in the system. Social media maybe just a tool that can be used for good causes as it was useful in helping activists to help people be more aware of what’s rightfully theirs and share their political views, or it can be used for bad as it helped to promote the violence terrorist groups have caused.

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ARAB SPRING 2011

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mad affiti r g week

RIN SP B A T AR FA IT, RAA A ER TR M OR ISLA NZE P A R OF G : EE NZ RAIT EDIT A G RT CR PO AGE IM

In May 2011, Egyptian graffiti artists hosted “Mad Graffiti Weekend,” as a response to government censorship of Islam Rafaat’s portrait in Bab al-Loq. Painted by Egyptian artist, Ganzeer, the image depicts the eighteen-year old boy, who was killed during the January 25 revolution. It is one of the many portraits painted of the men and women who died during the protests, fighting for freedom and democracy The event was followed by “Mad

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Graffiti Week,” in January 2012, a global event in support of the Egyptian revolution. An initiative also spear-headed by Ganzeer, the event involved several artists gathering together and painting graffiti images in both Zamalek and downtown Cairo.

Among the event’s highlights was a new martyr mural, dedicated to Islam Raafat.

Yemen’s “The 12th Hour Campaign,” which was organized by Murad Subay

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and took place in July 2013, tackled twelve cultural concerns being debated in the country at the time.

Gun control, sectarianism, and state executed kidnappings were among the issues addressed by the campaign.

In April 2011,“Freedom Graffiti Week,” which was organized by Tarek Alghorani and Ahmed Abdullah and took place in Syria and across the Arab world, invited people to pick up a can of spray paint and peacefully express their feelings in a public place.

Now is the time to join the Love is Louder community and remind everyone that we are #LouderTogether.

n ly s o ne , t i lo as ne not a tive . o osi ing re est ou a tay p r e ind y s nt dk n i , that ed to n a a is e us ng cio ent ethi you n a r m m om et ve g, g s”. the to tin dnes mo t of s ngs g f p r o e i e ia kin cc th ud par any med e a re of slo eel a bad m i b l , e a s i o u lov o f ow oc tar le t ult g s e of s e # a is t tter h op a “c i h e b T nd ma e e p ate us om itive r ag o cre age t no s u o s t by o . tha enc se , ed as a p sage k to ne el c s s a e s e b i i o r th t m is It t ever y nt i see grea e o m d a t ove ls an with m l e s a d i Th e mo n ide rol ead a spr

A lot of people in the Love is Louder community are expressing hurt and confusion right now. It’s not easy when the things we believe in feel threatened, or when we feel misunderstood, marginalized or discriminated against. We have to remember that we’re a community of people from all walks of life, all over the globe, who are committed to creating a world where we all feel more supported and connected.

We’re in this together. You’re not alone.

And if you’re feeling overwhelmed or sad, you aren’t alone in those feelings.

Love is still louder than any voice that tries to bring us down. Sometimes we just have to work a little harder to hear it…and work together to amplify it.

So what can we do today? We can stay positive and take things one day at a time. We can do things to deal with the stress and calm feelings of fear, anxiety or sadness. We can support our friends. We can start working on healing relationships that have been strained during this election season.

And we can amplify messages of hope, take actions to understand each other better, stomp out apathy, continue to fight for equality and promote a culture of kindness.

At this very moment, we are working on new programs and tools to help us all heal and strengthen our families and communities. So we hope you’ll encourage your friends to join the Love is Louder community by joining our email list or following us on social media. We can’t forget, we’re #LouderTogether.

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BRITTANY SNOW ANNA KENDRICK

In 2010, we started Love is Louder with The Jed Foundation to amplify a simple message – love and support are louder than any voice that tries to bring us down. Our movement started at a time when there was a lot of anger and confusion online after a series of tragedies involving bullying. Six years later, hundreds of thousands of you have grown the movement around the world. We are relaunching Love is Louder as a community because we want to turn our message into action. We want individuals and communities all over the globe to commit to taking actions that make us all feel more connected and supported.

Now feels like a good time to revisit the Love is Louder message. Once again, we find ourselves in a time where tensions are high on and offline.

Conversations have become a war of insults. Instead of celebrating and embracing our differences, we’ve let them divide us. We’ve forgotten the power of communicating with kindness and taking the time to really understand each other. It feels like our digital lives are disconnecting us instead of bringing us closer together.

KENDALL JENNER

That’s why we are asking you to help us grow the Love is Louder community.

That’s why we are asking you to commit to being #LouderTogether. Over the next week, we will be sharing ways that we can all tune out some of the negative noise, turn our social media accounts into positive forms of expression instead of speaker systems for harmful words and actions, and to help us better understand and respect each other…even if we don’t always agree.

Sign up for our email list and follow us on Facebook, Instagram, Twitter and Tumblr to be part of our community.

Thank you for being part of Love is Louder. xo, Brittany Snow Co-Founder

KESHA DEMI LOVATO MILEY CYRUS

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MANUFACTURING QUALITY DISSENT SINCE 1989 The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as

“

“ THE PROCESS OF LETTING THINGS MANIFEST THEMSELVES.”

”

Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation.

Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail.

The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker.

Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities.

Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation.

The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions.

Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily.

THE FIRST AIM OF PHENOMENOLOGY IS TO REAWAKEN A SENSE OF WONDER ABOUT ONE’S ENVIRONMENT. THE OBEY STICKER ATTEMPTS TO STIMULATE CURIOSITY AND BRING PEOPLE TO QUESTION BOTH THE STICKER AND THEIR RELATIONSHIP WITH THEIR SURROUNDINGS. 91

The Obey Giant website says: “The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker”.

The website also says, by contrast, that those who are familiar with the sticker find humor and enjoyment from it and that those who try to analyze its meaning only burden themselves and may condemn the art as an act of vandalism from an evil, underground cult.

Originally intending the sticker campaign to gain fame among his classmates and college peers, Fairey says,

SHEPARD FAIREY POSES ON A ROOF TOP IN FRONT OF HIS “HOPE” POSTER

“

AT FIRST I WAS ONLY THINKING ABOUT THE RESPONSE FROM MY CLIQUE OF ART SCHOOL AND SKATEBOARD FRIENDS. THE FACT THAT A LARGER SEGMENT OF THE PUBLIC WOULD NOT ONLY NOTICE, BUT INVESTIGATE, THE UNEXPLAINED APPEARANCE OF THE STICKERS WAS SOMETHING I HAD NOT CONTEMPLATED. WHEN I STARTED TO SEE REACTIONS AND CONSIDER THE SOCIOLOGICAL FORCES AT WORK SURROUNDING THE USE OF PUBLIC SPACE AND THE INSERTION OF A VERY EYE-CATCHING BUT AMBIGUOUS IMAGE, I BEGAN TO THINK THERE WAS THE POTENTIAL TO CREATE A PHENOMENON.”

”

In a manifesto he wrote in 1990, and since posted on his website, he links his work with Heidegger’s concept of phenomenology. His “Obey” Campaign draws from the John Carpenter movie They Live which starred pro wrestler Roddy Piper, taking a number of its slogans, including the “Obey” slogan, as well as the “This is Your God” slogan. Fairey has also spun off the OBEY clothing line from the original sticker campaign.[citation needed] He also uses the slogan “The Medium is the Message” borrowed from Marshall McLuhan. Shepard Fairey has also stated in an interview that part of his work is inspired by other street artists.

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SHEPARD FAIREY FINISHES “MAKE ART, NOT WAR” MURAL IN SILVER LAKE

Shepard Fairey is not reinventing the wheel, he is drawing upon visual codes known to the public via mass media propaganda, adding other influences and nuances to it and adding new messages.

To some its great parody, to others its new and inventive.

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THEODOR ADORNO His writings are not only focused surrounding modern art, but also specific critical analysis’s surrounding classical art and literature. Some of his most prominent writings include: “Dialectic of Enlightenment (1944); “The Philosophy of Modern Music” (1949) and “Minima Moralia: Reflections form Damaged Life” (1951).

Adorno proclaims a very provocative and bold statement when he says,

“Every work of art is an uncommitted crime.”

When considering this statement, one should not only look at the use of the word “crime”, but also the use of the word “uncommitted.” The word “uncommitted” refers to an indifferent or apathetic way in which we as social entity perceive art to be. This result in an unmoved or uninterested way of recognising what art is and as a result how it shares the idea of something “uncommitted.” This statement should reveal a sense of urgency when Adorno uses the word “crime.”

One should believe that the processes of art should in fact not be associated with something cruel and violating such as the offence of a crime. It could also be said that Adorno is in fact illustrating crime as extended metaphor for the uprising against social constructs.

Theodor Wiesengrund Adorno (1903-69) was one of the most prominent theorists, philosophers and social critic of the 20th century. His theories were greatly influenced by the writings of Hegel, Marx and Freud.

Another significant effect on Adorno’s writings, were the rise of fascism in Germany, therefore the repression and dictatorship surrounding society and Marxism’s failures.

ADORNO AND BENJAMIN, DEBATING ART IN THE TECHNOLOGICAL AGE, SUSTAINED ONE OF THE TWENTIETH CENTURY’S RICHEST INTELLECTUAL CONVERSATIONS. ILLUSTRATION BY PATRICK BREMER LEFT: ULLSTEIN BILD / AKG; RIGHT: IMAGNO / AKG 94

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COLLAGE The dadaists further developed the collage technique recently discovered

by Pablo Picasso and Georges Braques in Paris. Like the cubists, the dadaists pasted papers, fabric and other twodimensional materials to their works, breaking down the barrier between art and everyday life. But the dadaists abandoned the pretense of still life or other identifiable subject matter in favor of abstract collages, and they cast their net far wider for their source material: the collages of Hannover dadaist Kurt Schwitters, for example, included such items as transportation tickets, calendars, candy wrappers, lace, printed pamphlets, maps, and other disposable ephemera collected in the course of the artist’s daily outings.

Collaged together, they formed a chaotic visual diary of modern life.

READYMADE

To common household goods, he added signatures and titles, converting them into works of art. When he modified these objects, for example by penning mustache and goatee on the color reproduction of the Mona Lisa, he called them “assisted” or “rectified readymades.” Duchamp’s most scandalous readymade was the porcelain urinal that he turned on its back, titled Fountain, signed R. Mutt (a pun on the German word Armut, or poverty), and submitted to the supposedly jury-free exhibition at the Society of Independent Artists. When it was rejected, the dadaists launched a publicity campaign and defense of the work.

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“THE PATH FOR HUMANS IS OPEN” (WITH FAMOUS 1919, DOGS BY THAT WENT TO SPACE) “DADA PANORAMA” COLLAGE, HANNAH HÖCH. SHE WAS THE ONLY WOMAN TO TAKE PART IN THE FIRST INTERNATIONAL DADA FAIR IN JULY 1920.

PHOTO MONTAGE

Readymades are everyday manufactured goods that are deemed to be art merely by virtue of the artist’s selection of them as such. They were invented by Marcel Duchamp who wanted to test the limits of what qualifies as a work of art. Although he had collected manufactured objects in his studio in Paris, it was not until he came to New York in 1915 that he identified these objects as a category of art, giving the English name “readymade” to any object purchased “as a sculpture already made.”

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MARCEL DUCHAMP FRENCH, 1887–1968 L.H.O.O.Q., 1919 RECTIFIED READYMADE: PENCIL ON REPRODUCTION OF LEONARDO DA VINCI’S MONA LISA

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ITS DADA AND WE DIDNT EVEN KNOW IT? MEME [meem]

A cultural item in the form of an image, video, phrase, etc., that is spread via the Internet and often altered in a creative or humorous way.

“THE PATH FOR HUMANS IS OPEN”

ANTI-TRUMP (WITH FAMOUS DOGS THATMODERN WENT TO MEME SPACE)

BASED ON THE 2016 ELECTION - MODERN DADAISM

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That is the definition still published in the Oxford English Dictionary and it still sums up the meaning perfectly, but is what we deem as propganda still relevent in the modern world?

Looking at the examples from WW2 being produced by the Nazis or Soviet Union or equally from the British, Japanese and USA, just through the style we know its propaganda, but does modern society still see propaganda when put in front of them via Social Media or through modern day advertising. Is there a style or format to ‘modern propaganda’?

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visual codes

D: E AIN L XP E S OW C H I AN NTO IOT S M I I D N S SE TE O C INS I I A S G T T E I I Y MIO TIGA S CR ING S OR TUD S E S ES G I AN . IT IC S BOL E V N IN ANI W M TED EM YM ) ME D HO NICA ACAD ND S TIC S AN MMU HE NS A GUI T IG LIN CO IN S D G. LIE HOW AN ANIN L ING E OF SUA ME E E SE F I F TH E (V EAT O O Y AND HOW TUR CR A A W RLD, DING CUL S A OF S I D IT E WO TAN AN E HA ALL S TH DER APE LIV ON .

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EVERYONE IS A SEMIOTICIAN, BECAUSE EVERYONE IS CONSTANTLY UNCONSCIOUSLY INTERPRETING THE MEANING OF SIGNS AROUND THEM – FROM TRAFFIC LIGHTS TO COLOURS OF FLAGS, THE SHAPES OF CARS, THE ARCHITECTURE OF BUILDINGS, AND THE DESIGN OF CEREAL PACKAGING. Semiotics is a key tool to ensure that intended meanings (of for instance a piece of communication or a new product) are unambiguously understood by the person on the receiving end. Usually there are good reasons if someone doesn’t understand the real intention of a message and semiotics can help

unravel that confusion, ensuring clarity of meaning.

Semiotics started out as an academic investigation of the meaning of words (linguistics), it moved into examining people’s behaviour (anthropology and psychology), then evolved to become an enquiry into culture and society

(sociology and philosophy), following that it moved onto assisting with analyses of cultural products (films, literature, art – critical theory), and finally and more recently became a methodology for researching and analysing consumer behaviour and brand communications.

This poster is a perfect combination of visual codes and blatant communication. The statement at the top with the evil eyed german sporting the pointed helmet, a perfect representation of the enemy that existed in the publics mind.

The new enemy, same eye, no pointed helmet but the addition of a swastika that the bayonet is pointed almost directly at leading our eyes to it, the soldier is dark and menacing and a modern version of who we feared before but worse.

“WE’LL BEAT ‘EM AGAIN” Such a simple message but so effective.

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Strolling into the British Library, I was brought up short by a gigantic white-bearded man, pointing sternly in my direction. The iconic image of Uncle Sam, taken from a 1917 US army recruitment poster, was advertising its exhibition Propaganda: Power and Persuasion. In one corner, the picture fragmented into pixels: the exhibition will include not only retro memorabilia such as posters, stamps and flags, but also Facebook and Twitter. How rare, I thought, for any aspect of western culture to be identified as propaganda, let alone social media, that beacon of transparency and individual empowerment. I resolved immediately to attend. The image had done its work.

It’s easy to ogle North Korea and claim that its weirdly uniform society is nothing like our own. But last year, as millions of westerners found themselves transfixed by South Korean pop video Gangnam Style, a

PH

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film entitled Propaganda was uploaded to YouTube. Purporting to have been made by North Korean apparatchiks, but subsequently revealed to be a New Zealand-produced mockumentary, it makes the compelling case that in the west today there is no distinction between propaganda, advertising and mass consumerism. A political system that protects elites and provides a mere illusion of democratic choice relies on a population enthralled by the latest iPhone.

But does it really wash to assert that we are just like North Korea?

The problem with propaganda is that it’s not at all clear what the word actually means. To some, it’s pejorative disinformation. But to the wartime ministry of information, the Catholic church, and Edward Bernays, nephew of Sigmund Freud and author of the 1928 public relations bible Propaganda, it is necessary and even beneficial persuasion.

Propaganda is obvious, crude and naive, but it’s also subliminal, underhand and insidious. Its paradoxical definition is more than just a semantic curiosity. It represents our inability to get to grips

The assumption that we are free and self-determining makes our advertising culture seem less blatant and ubiquitous than it really is.

Children throw it into relief. Catching sight of a huge Big Mac billboard ad, my threeyear-old son remarked with straightforward appreciation, “That’s a nice sandwich.”

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with how we are influenced, and by whom.

We disown overt propaganda by associating it with other places and other times, by thinking not of those proliferating outdoor advertising screens but of five-year plans and Your Country Needs You!. And we dismiss covert propaganda by proclaiming that we are sophisticated consumer-citizens, immune to manipulation and mind-games.

This latter blind spot is enabling the rise of two new forms of hidden persuasion: behaviour change and social media.

Now that ideology is disavowed as passé and “divisive”, governments are adopting subliminal forms of policy and persuasion. Behaviour change – the “new science of irrationality”, “neuro-economics” or “nudge” – claims that since people often fail to act rationally and in their best interests, their decisions and behaviour should be guided subconsciously by (rational) experts. David Cameron’s “nudge unit” is run by David Halpern, a former social psychology lecturer, whose cabinet office paper Mindspace: influencing behaviour through public policy advocates an approach that relies on citizens “not fully” realising “that their behaviour is being changed”.

It may be good for us to eat more cabbage and prioritise our pensions. But this modish wonkery is all about eroding vital distinctions between government, psychology and marketing. The government’s public health responsibility deal works jointly with the nudge unit and fast food giants. The nudge unit is itself to become a profitmaking business. According to Rory Sutherland of Ogilvy Change, a “behavioural sciences practice” that builds “connections, in all directions, between the social sciences, business and policy making”, this enterprise is “bigger than the internet”.

We are no longer appealed to as thinking citizens. We are simply flawed 113

units to be prompted into spending more and costing the state less.

The propaganda lies not only in the political-corporate manipulation of the public but also – most insidiously – in the way this is cloaked in the language of ideology-free empiricism and the semblance of autonomy: the idea that people are being nudged “to make better decisions for themselves”.

Let’s take the second revolution – in social media. To read the trade literature of the PR and online advertising industries is to be hit by a tidal wave of guff about authenticity, engagement and twoway conversations. In the “era of participatory public relations”, the story goes, “the people have defeated the corporation”. The objective now is to “make your customers a partner in the selling process”. This is pseudoegalitarian code for the voluntary circulation of Facebook ads. The notion that propaganda is always a state-run, top-down affair provides a cloak for our complicity. Social media’s veneer of openness and people-power exemplifies western propaganda’s habit of masquerading as its opposite.

The apparently spontaneous Harlem Shake meme, a carnivalesque subversion of

conformist work culture, was in fact orchestrated by new media companies that monetise virals.

The “Mr Cake” resignation viral, while apparently genuine, was gleefully converted by the media into great PR for no-jobs-for-life entrepreneurialism and the pernicious myth of easy internet-driven success. Our most palatable propaganda appears to be homemade.

How Neville Chamberlain’s heart would sink were he alive to enter a Whitstable homewares boutique.

Originally the subject of a moraleboosting poster produced on the eve of the second world war, the slogan Keep Calm and Carry On has been co-opted by a brand of capitalism that disguises itself as humane, ironic and artisanal, and it serves austerity Britain by lending it an aesthetic of jolly stoicism. Post-Thatcher propaganda operates in the places it’s least expected: not, as everyone complained, in the eulogies, but in the admissions that the woman was “flawed”.

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of TE A UL C I RT F A O R O OR T T FEA IP, H IG UT RSH OF LY, R E HO SO OM OUS H N T G S T S WI CE REED NYM IVIN I R O H E EC IDEA ON O RM F SYN REC E P ND TI TE ED NG, , S A I A L HE US EKI EAS OF NS A T S T M DO INIO T RE ION. TIME F SE OR ID D. E P T O E E E FR E'S O MEN ANC SOM ACT TION US N ON VER AL S N IS NY RMA DIUM A GO CIET SIO ES INFO E ME RTY S SO PRE LUD ING TH ”. ON LIBE C F EX T IN ART S O DUCTORY P BU D IM LES ). “INTRO D 9 AN GAR ART (185 RE JOHN STU

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PROPAGANDA FREEDOM OF SPEECH

information, especially of a biased or misleading nature, used to promote a political cause or point of view.

the right to articulate one's opinions and ideas without fear of government retaliation or censorship, or societal sanction.

LYING ADVERTISEMENT

the telling of lies, or false statements. Telling or containing lies, deliberately untruthful, deceitful, false.

Freedom of speech is the right to articulate one’s opinions and ideas, propaganda is to share information promoting a political cause or point of view and in the modern day everyone has a voice and with the current state of the world whether from social, economic, or political standpoints millions of people voice those opinions via social media, forums, blogs using written word or images in the forms of memes or other satire created by themselves or shared.

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a notice or announcement in a public medium promoting a product, service, or event or publicizing a job vacancy. A person or thing regarded as a means of recommending something.

NOT GOING TO LOOK AT ADVERTISING, IT WOULD BE AN OBVIOUS LINK BUT TO INCLUDE ADVERTISING WOULD BE TO SAY THAT ALL ADVERTISING IS BIAS PROPAGANDA, IT IS PROMOTION / PUBLICITY AND BIAS BY NATURE BUT THE DEFINITION IS SUCH THAT ITS REGULATED AND ACCEPTED.

reflection Where first person protest was a Reflection regular first port of call event in the past across western society from Vietnam to Greenham Common, although it still exists as shown by the student and race marches in London and most recently the anti-Trump marches in the US, there has been a large shift to online demonstration and comment.

People have a voice and they use it from their keyboards whether a straight comment, a meme or just sharing a news story they effect the popular belief in some way.

Propaganda still exists but it has moved online, not entirely but for the masses this is the connection, the outlet, the voice for it.

I’m going to coin a phrase:

“Periscope Propaganda�

The masses have a voice but also understand consequence, so a keyboard and a like or share is like contributing but never sticking your head over the ramparts, just peeking from a position of safety.

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AR W G ANY N T I ST OR UT 21S E OT LLY E B M A , R S E T P IFICA CAU FRO TIV O ES N EC IC T EC I K P A T DIA SP ECIF G AT ERS T E HA L M HIP SP OKIN Y P T R E CIA IONS I COU V LO NTU I O T LD T S E C A A LL BU BUY THEM T C E L DEFIN T IS THIS A SP OUN RE R IN E CC ES OF TH G MOMEN P L T A I S PRO E A O P R J O E C T T E ?

H A AY IN D PE .

DOMA W E I N W S AR AVAI L AN H IT IVE HAV ME A B LE E T T THE FACEB WI EC CAN N SO OOK P PA H AS G O N E B GE RS NE CE I RD. E S UT E I EMS U O A N U E A P ERY VO HE S T E L ER E PAHE TWITTER D H EV OBA N BE GE IS W AT AVAI L A E L E A B LE G DC IV CR AY T C W N AN PE CA WN N. S ER ONE IR O SEE P A ERY THE BE U? AM EV T IN CAN O U Y YO KS CRE VEY AR D IT S E T IR IT, S CON S K AN MA WHA UT ST EEM U T S YO A ?

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KIDS

PEOPLE THAT GO TO THE GYM AND JUST MESS ABOUT ON THERE PHONES

CORRUPTION

IGNORANCE

MY SON NOT DOING AS I’VE ASKED HIM 10 TIMES ALREADY!

THE POLITICAL ESTABLISHMENT TELLING US WE ARE ALL IN IT TOGETHER WHILST FEATHERING THEIR OWN NESTS

LACK OF APPRECIATION!

TERRIBLE DRIVING (INCLUDING MY OWN SOMETIMES)

LAZY PEOPLE WHO HAVE A MASTERS DEGREE IN HOW TO CLAIM BENEFITS

FLOPPY SANDWICHES

PEOPLE THAT SHIT IN MY FROM GARDEN AND DOG POO ON THE STREET

CAT SHIT

COMMUTER CYCLISTS WHO USE ROADS WHEN THERE IS A CYCLE PATH RUNNING ALONG SIDE

PEOPLE WHO TELL LIES

THE NOISE OF BOTTLE FLIPPING

TRUMP

FUCKING BT!!

LYING

WOMEN DRIVERS

CORRUPTION

STUPIDITY, NOTIGNORANCE THAT CAN BE UNLEARNED

CINEMA ETIQUETTE

LIES

RUDE PEOPLE

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GENERALISATION

40 MPH CLUB

HUGE FAT PEOPLE IN MOBILE CHAIRS

HANGOVERS LIKE THIS ONE

SMALL MINDED PEOPLE THAT ARE ENGULFED IN THEIR OWN BUBBLE OF EXISTENCE AND HAVE NOT REALIZED THAT THEIR LIFE IS TO BE LIVED AND ENJOYED

BUSSES THAT USE THE NORMAL LANE WHEN THERE IS A BUS LANE TO USE THAT IS EMPTY

PEOPLE WHO CAN’T DRIVE PROPERLY

WRONG LANE ON A ROUNDABOUT

MONDAY MORNING FACEBOOK POST FROM YOU ASKING WHAT MAKES PEOPLE ANGRY

NARROW MINDED PEOPLE

AGGRESIVE PEOPLE

VICTIMISATION

LIERS

BEING USELESS

JOBS THAT MAKE ME FEEL THAT I’M WASTING MY LIFE

PEOPLE THAT LOVE THE SOUND OF THEIR VOICE

UNPROFESSIONALISM

DONALD TRUMP

OTHER DRIVERS

PEOPLE ASKING ME TO ANSWER QUESTION

LACK OF UNDERSTANDING OF MENTAL HEALTH ISSUES!

PEOPLE IN A MANAGERIAL POSITION THAT HAVE NEVER WORKED IN THE POSITION OF THE PERSONNEL THEY ARE TRYING TO MANAGE!

BAD TABLE MANNERS

SELFISHNESS

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CONSTANT BATTLE TO GET HELP AND SUPPORT FOR MY GIRL JUST BECAUSE THEY CAN’T PIGEON HOLE THE CONDITION!

IGNORANCE

FLOPPY SANDWICHES

HUMANS

PEOPLE CHUCKING MCDONALDS PACKAGING OUT OF CAR WINDOWS

PEOPLE ASKING WHAT MAKE YOU ANGRY

A SOGGY BOTTOM

BAD MANNERS

RUDE PEOPLE

DROPPING HALF A BAG A RICE ON THE FLOOR LIKE I DID THE OTHER DAY

STUPIDITY, NOT IGNORANCE THAT CAN BE UNLEARNED

DISORDER IN MY KITCHEN CUPBOARDS WHEN SOMEONE PUTS STUFF AWAY WRONG

WHEN OTHER PEOPLE DO THINGS DIFFERENTLY TO HOW U WOULD DO IT OR WITHOUT THINKING ABOUT HOW IT COULD REFLECT ON OTHERS?

BEING ASKED STUPID QUESTIONS BUT BALD BLOKES WITH BEARDS

BUMS WHO TRAVEL THE WORLD AND RUB YOUR FACE IN IT

CHILDREN NOT LISTENING OR DOING AS THEY’RE TOLD

HITTING MY THUMB WITH A HAMMER

SHORTSIGHTENNESS. (NOT THE MEDICAL SIDE) A FAILURE TO SEE THE BIGGER PICTURE

STUBBING MY TOE!

BEING TREATED UNFAIRLY

As this is from my own facebook feed i know these people so can see straight away these responses are very individual and very localised to their day to day, which make me ask the questions.

MENOPAUSE

How important are global issues to most people in the 21st century compared to their day to day? more importantly...... Has social media redifined our response mechanism to questions?

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ART IS AN ENERGY

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ANGER Anger or wrath is an intense emotional response. It is an emotion that involves a strong uncomfortable and emotional response to a perceived provocation, hurt or threat.

Anger can occur when a person feels their personal boundaries are being

or going to be violated. Some have a learned tendency to react to anger through retaliation as a way of coping.

Anger may be utilized effectively by setting boundaries or escaping from dangerous situations.

William DeFoore, an angermanagement writer, described anger as a pressure cooker: we can only apply pressure against our anger for a certain amount of time until it explodes.

THREE TYPES OF ANGER are recognized by psychologists:

Hasty and sudden anger

By Joseph Butler, an 18th-century English bishop, is connected to the impulse for self-preservation. It is shared between both human and non-human animals, and it occurs when the animal is tormented or trapped. This form of anger is episodic.

Settled and deliberate anger Is a reaction to perceived deliberate harm or unfair treatment by others. This form of anger is episodic.

Dispositional anger Is related more to character traits than to instincts or cognitions and cases of scrutum contractions. Irritability, sullenness and churlishness are examples of the last form of anger.

Anger can potentially mobilize psychological resources and boost determination toward correction of wrong behaviors, promotion of social justice, communication of negative sentiment and redress of grievances. It can also facilitate patience.

In contrast, anger can be destructive when it does not find its appropriate outlet in expression.

Anger, in its strong form, impairs oneâ&#x20AC;&#x2122;s ability to process information and to exert cognitive control over their behavior.

An angry person may lose his/her objectivity, empathy, prudence or thoughtfulness and may cause harm to themselves or others.

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le pp d A my pire on e ins not t ar do xis t e hese that a h s t ts e . T nt n fo n w h e r r i c fo f eve i e r e o n e s l ns d s s e r ge see nce . s a n fo n t n g fo s i f t o ie g ki tha aud ion urcin s loo t n n c g i o a s s ign ele de ith a s thout ale s to te w t s S i n Ju c w olf na tio mo t reso Ma the G e s a by ire . add ics th e p r t s u in io at n n e sem a v m Hu se ha h t e

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THE HASHTAG A hashtag is a type of label or metadata tag used on social network and microblogging services which makes it easier for users to find messages with a specific theme or content. Users create and use hashtags by placing the hash character (or pound sign) # (also known as number sign or octothorpe) in front of a word or unspaced phrase, either in the main text of a message or at the end. Searching for that hashtag will yield each message that has been tagged with it.

PERF EC YOU C T STYLE O ITS S L U LD SAY IG H T L Y A NGR Y BUT THE M I LIKE A STRO NUA L K HA N D ES ITS DRAW N

With the exhibition going online, the promotion being primarily an online campaign and an interactive element that will be fed by social media the hashtag will form a large part of the process.

To include the hashtag in the logo or make it the logo sets out to promote the project as being online and ties in perfectly with the original thought that led to the Angry Arts Week.

A SIGN SUGGESTING THE USE OF A #TIMETOACT HASHTAG AT A 2014 CONFERENCE

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KASIMIR MALEVICH’S BLACK SQUARE

PERCEPTION The work is frequently invoked by critics, historians, curators, and artists as the “zero point of painting”, referring to the painting’s historical significance as a paraphrase of a number of comments Malevich made about The Black Square in letters to his colleagues and dealers.

Malevich had made some remarks about his painting.

“It is from zero, in zero, that the true movement of being begins.”

“I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting - to non-objective creation.” “the experience of pure non-objectivity in the white emptiness of a liberated nothing.”

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“I“ T IS FROM ZERO, IN

ZERO, THAT THE TRUE MOVEMENT OF BEING BEGINS.” ” In 1916 the artist, in a characteristically bold and provocative mood, declared the square to be the ‘face of the new art ... the first step of pure creation’.

Malevich gave his ‘new art’ a name, suprematism, announcing a few years later that ‘To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling’.

True to these principles, Black Square is radically non-representational.

The slab of black paint that dominates the canvas works as grand refusal, repudiating nature in favour of abstraction. As such, the painting may be read in terms of the Kantian

135

theory of the sublime. Favouring flatness over depth, Black Square conveys, in the words of Kant’s ‘Analytic of the Sublime’ (1790), ‘the feeling of displeasure that arises from the imagination’s inadequacy’ in an estimation of ‘formlessness’ or ‘magnitude’.

to exhibit the ‘higher’ faculty of reason, a faculty that exists independent of nature.

The experience of viewing the painting thus involves a feeling of pain brought about by the breakdown of representation followed by a powerful sense of relief, even elation, at the thought that the formless or massive can nevertheless be grasped as a mode of reason. In other words, the failure of the black square to represent this transcendent realm serves ‘negatively’

n Pure non-objectivity

#ANGRY ARTS WEEK

#ANGRY ARTS WEEK

#ANGRY ARTS WEEK

#ANGRY ARTS WEEK

The nature of the black square: n From zero n Being begins n Non-objective creation n Formlessness n Higher faculty of reason n Non-representatinoal n Meaningless n The first step of pure creation Destined to form part of the Angry Arts Week style/look/brand.

#ANGRY ARTS WEEK A great way to display all submitted work on matching panel sizes but this would limit the artists, possibly use unless an alternate is required, for submitted quotes this could be an option?

INITIAL IDEAS THOUGHT PAGE

#ANGRY ARTS WEEK

# #ANGRY ARTS WEEK

#ANGRY ARTS WEEK

#ANGRY ARTS WEEK

#

#ANGRY ARTS WEEK

#ANGRYARTSWEEK

#ANGRYARTSWEEK

First design from the initial ideas in my head, my first impressions based on my research thus far

136

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#ANGRY ARTS WEEK

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A text smiley face is used to convey a facial expression or emotion in texting and online chat conversations. This Webopedia guide shows you how to read smiley faces and how to make your own.

HOW TO CREATE A SMILEY

A smiley face is ordinary keyboard characters used in text-based communications to represent a human facial expression.

The close bracket represents a sideways smile )

:( :-( 145

To create a text smiley face you use standard characters and punctuation marks in sequences that look like human facial expressions. Smiley face text are all sideways. Here are some basics to get you started with understanding what different characters used in smiley faces mean:

n Add in the colon and you have sideways eyes : n Put them together to make a smiley face :) n Use the dash - to add a nose :-) n Change the colon to a semi-colon ; and you have a winking face ;) with a nose ;-) n Put a zero 0 (halo) on top and now you have a winking, smiling angel 0;) with a nose 0;-) n Use the letter 8 in place of the colon for sunglasses 8-) n Use the open bracket ( to turn the smile into a frown :-( The First Smiley Face: History of the Symbol Smiley Face SymbolThe idea and first use of a text smiley face is credited to Scott Elliott Fahlman, a computer scientist at Carnegie Mellon University. He thought using smile and frown text symbols would help message board users distinguish between serious posts and jokes. The message detailing the use of the smiley emoticons was posted in September, 1982. In this article, Smiley Lore :-), Fahlman describes why he felt there was a need to mark posts that contributors did not intend to be taken seriously by others reading the message board: “This problem caused some of us to suggest (only half seriously) that maybe it would be a good idea to explicitly mark posts that were not to be taken seriously. After all, when using text-based online communication, we lack the body language or tone-of-voice cues that convey this information when we talk in person or on the phone. Various “joke markers” were suggested, and in the midst of that discussion it occurred to me that the character sequence :-) would be an elegant solution – one that could be handled by the ASCIIbased computer terminals of the day.”

#angryartsweek

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reflection Creating the brand / logo went well Reflection and at the same time helped me truly hone down areas of thoght i had about the exhibition. It’s an online project, it’s existance is a vehicle for the work, not work itself therefor trying to stay neutral.

The logo itself: “Good ideas turn into good designs fairly quickly. If you catch yourself fiddling too much with colors, borders and treatments to bring a design together, chances are the problem lies somewhere deeper.”

Ryan Singer A belief ive held for many years adn rang true this time, the original idea that had formed in my head prior to designing was the basis of the outcome.

An outcome im pleased with.

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ANGER IS AN ENERGY ART IS AN ENERGY DON’T GET ANGRY GET CREATIVE WHAT MAKES YOU ANGRY?WHATIRKSYOU?PAINTIT SHOUT IT SCREAM IT WHISPER IT IRRITATED? IF YOU COULD SHOUT ABOUT ONE THING WHAT WOULD IT BE? WHATS ANNOYED YOU LATELY?TODAY,HOW’S IT GOING?

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BEHAVIOURS MIGHT INCLUDE: STARING & ANGRY FACIAL EXPRESSION AGGRESSIVE BODY POSTURE GO TOWARDS WHAT MAKES US ANGRY ATTACKING OR ARGUING HITTING OUT (OR URGE TO HIT OUT) SHOUTING, SNAPPING AT OTHERS RUNNING OR STORMING AWAY STAYING SILENT, INWARDLY SEETHING DOOR SLAMMING, MAKING LOTS OF NOISE SULKING OR BEING SARCASTICORPAINTING?ANGER IS A NORMAL REACTION AND EMOTION. IT CAN BE VERY HELPFUL AS IT MOTIVATES US TO DO SOMETHING TRY PAINTING. 151

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DONâ&#x20AC;&#x2122;T GET ANGRY, GET CREATIVE What makes you Angry what irks you paint it shout it scream it whisper it just convey it in the way that seems most appropriate to you in that moment!

This site is a holding site, the information will certainly change as will the design, it is part of a Masters Degree research project so is subject to ongoing research that will directly influence all aspects of the project.

This is a serious idea so if you would like to contribute to the Angry Arts Week in any way please feel free to contact me at this time via the social media channels linked via the icons on this site.

MANIFESTO A Work in Progress i feel this project needs a manifesto plus always wanted a good reason to write one!

Intentions My intention is to take a week in August 2017 and exhibit as large an array as possible of mine and other artists work ranging from the traditional to the obscure, painting, print, design, music, poetry, thoughts, quotes, all under the heading Angry Arts Week. What makes you Angry what irks you paint it shout it scream it whisper it just convey it in the way

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that seems most appropriate to you in that moment!

Opinions

As more details of the history is found it will be updated here.

From Wikipedia, the free encyclopedia

A perspective where everyone can have a global voice in some way and can be heard.

Iâ&#x20AC;&#x2122;m not taking a stance I have my own world beliefs i have my own issues with my surroundings both local and global this Angry Arts Week is for others to interpret theirs.

Angry Arts week was an event organised by a group of radical artists based in Lower East Side, New York City in January 1967. It brought together such people as Michael Brown of the Pageant Players, Peter Schumann from the Bread and Puppet Theatre Osha Neumann and the painter Ben Morea. They were particularly active opposing the Vietnam War.

A perspective where everyone can create art in their own way and it can be seen. hence!

The Vision We are bombarded by waves of opinion, rants, memes, everyday of our lives whether sourced or not, I want to bring together many opinions on many topics a concentration not of anger but of ideas, thoughts, satire, issues, beliefs, a concentration of individual social comment.

THERE IS HISTORY Still tracking down more information regarding the Angry Arts Week, I came across a sentence in Art & Propaganda by Toby Clark (p127) stating that it happened from 29 January to 5 February 1967 and saw a festival of arts involving some 600 artists. Some contributers are mentioned but nothing else regarding the actual week. There is comment in Wikipedia cited below which references a page in another book which is proving elusive.

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References Neumann, Osha (2008). Up Against the Wall Motherf**kers: A memoir of the 60s with notes for the Next Time.

Seven Stories. ISBN 978-1-58322849-4., p. 43

WHY ANGRY ARTS WEEK This concept i read about planted the seed of an idea, not protesting war specifically or any specific cause but looking at it from a 21st Century perspective, A perspective that takes into account Social Media and peoples relationship with it.

What makes you Angry what irks you paint it shout it scream it whisper it just convey it in the way that seems most appropriate to you in that moment!

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WE ARE MAKING ART ABOUT THINGS THAT MAKE US ANGRY!

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reflection Angry Arts Week! The response has been positive from those i have spoken to and the Social Media following is growing on Facebook and Twitter but especialy Instagram.

The Digital Marketing of the project is one of the next steps with a importance being placed on Social Media Engagement.

The look and feel of the project at this stage, i am very happy with. It is early days and there is a lot of work to be done not only preparing the next stage of the website which will be geared towards attracting interest in the exhibition especially from contributors and fully integrated with what is happenign on the social media.

Coming across Angry Arts Week and linking it to the modern day i still feel was definately the right thing to do.

The concept to me is a very strong one and very solid especially when explained and linked to modern day and i do believe it will be successful.

A lot does hinge on the input of others so the marketing has to be right but thats the research and the execution at the next stage.

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BIBLIOGRAPHY Toby Clark Art and Propaganda 1997 Great Britain George Weidenfeld and Nicolson Ltd Colin Moore Propaganda Prints 2010 Great Britain A&C Black Publishers Limited Immanuel Kant Critique of Practical Reason 1997 Cambridge, Great Britain University Press, Cambridge Tilman Osterwold Pop Art 2003 Italy Hohenzollernring 53, Koln, Germany Peter Kennard Unofficial War Artist 2015 London, Great Britain IWM, Lambeth Alexander Dunbar et al Futurismo 1909 - 1919 1972 Newcastle upon Tyne, Great Britain Hindson Print Group

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photo/actors-perform-over-stretcher-borne-figure-representing-u-s-news-photo/534924220#actors-perform-overstretcherborne-figure-representing-us-war-dead-in-picture-id534924220 Week of the ANGRY ARTS Against the War in Vietnam :: Peace Collection Ephemera ae. [viewed Nov 14, 2016]. Available from: http://triptych.brynmawr.edu/cdm/ref/collection/SC_Ephemera/id/1423 Welcome to Dismaland: A First Look at Banksy’s New Art Exhibition Housed Inside a Dystopian Theme Park [Updated 8/22] 2015e. [viewed Nov 22, 2016]. Available from: http://www.thisiscolossal.com/2015/08/dismaland/ The west’s hidden propaganda machine 2013. [viewed Jan 9, 2017]. Available from: https://www.theguardian.com/ commentisfree/2013/may/17/west-hidden-propaganda-machine-social-media WESTSMITH, M., Famous Graffiti artists (Banksy) [viewed Nov 17, 2016]. Available from: http://martynsgraffitiblog. blogspot.com/2013/09/famous-graffiti-artists-banksy.html What Is the Arab Spring?af. [viewed Nov 21, 2016].Available from: http://middleeast.about.com/od/humanrightsdemocracy/a/ Definition-Of-The-Arab-Spring.htm What were the protests against the Vietnam War?ag. [viewed Nov 10, 2016]. Available from: https://www.reference.com/ history/were-protests-against-vietnam-war-505fc4a9a464f526 WIKIPEDIA, 2016. Gerundive [viewed php?title=Gerundive&oldid=748645369

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