Evaluation & Reflection

My blog analyses the creative dissent of artists and designers on the theme of conflict. Their work has been produced because of conflicts in order to generate; peace, political activism, cultural activism. I settled on the theme for my blog during the first-week because of my active interest in wars and war propaganda. Therefore, I thought it captures my attention and would be interesting to write about. During the 8 weeks of writing the blog, I researched into eight different areas of conflict, and various mediums used to create activism. The size of conflicts I have covered varies from small-scale conflicts between protestors and Militia to large-scale warfare, for example, the Iraq War.

I believe the strengths of the blog are the detailed research that I had undergone to assemble a complete view of the conflict. Also, how the creative activism can cause constructive change far better than just protesting or just writing an opinion. The amount of high-quality imagery is a strength of my posts, this backs up the arguments and give great visual reference to the text.

One of the weaknesses of my blog was choosing the best conflicts to write about with so many to choose from. I wanted to primarily pick influential conflicts that had high-quality design material which was not always the most well known. The 300/ 350 word limit per post was quite limiting. To talk about the conflict and then the activist work so it was balancing between the two, writing about one war per post was probably too much to fit into one post. I did a lot of reading for each individual post so maybe I should have paired the posts together to give me more space to present the different arguments. Looking back on my earlier posts, they seemed to be too opinionated and didn’t have enough fact to back my statements up, throughout the blog I believe the posts became more effective and thorough.

The varieties of mediums and forms of dissent has been really informative such as; films, posters, knitting. It has opened up my creative mind to think of possible ways I could bring these into my personal practice and that protest it's not only about posters and placards.

My understanding of how creative protest is used to construct change within conflicts has improved greatly. Alongside my growing knowledge of the conflicts, I have developed my knowledge of international design and arts, which has broadened my design practice.

The opinions I have formed are well informed and considered. This is because of the exaggeration and bias opinions on both sides of mainstream news and charity campaigns, who are also biased in their opinion. By balancing up information I have been able to gain my own perspective on the conflicts. The various forms of research material that I collected were either in books or online. The books that I read were very informative and visually engaging, I chose to read sections of these books because they were on the reading list and contained information on my topic. Websites that I used to reference were a mixture of news outlets and activist websites, their credibility is more limiting that published books and I found myself questioning where the information was coming from.

My personal practice has been affected by the module. I developed my own response to the Yemen war disaster which was well informed by research undertaken in this module. I am also looking at social change design agencies for my placement year as I believe I would enjoy working in this sector.

Yemen War

The Yemen war between the Houthi forces and Saudi Arabia backed Hadi government forces has raged for over 3 years and is a very controversial subject regarding UK government involvement. The UK currently has arms deals to Saudi Arabia, worth £4.6bn since 2015. The Saudi government, who back the Hadi government forces in Yemen, are using arms against innocent civilians. Air strikes and drone strikes have been misused and have subsequently taken thousands of lives.

Donald Trump confirmed a new arms deal with Saudi Arabia worth £8.9bn on 20/3/18 which risks more war crimes in Yemen and potentially more civilian casualties.

Below is a protest by amnesty international from 2016. The drone is labelled ‘made in Britain, ruining lives in Yemen’ a protest highlighting the involvement of the UK in the Yemen War. This protest was successful as it created attention and awareness around the issue which extended beyond the houses of parliament into the houses of the public. By choosing the media of paper mache and its weak strength it juxtaposes the death and destruction the real mass destruction weapon can cause.

An Amnesty International campaigner holds a model of a missile in protest at British arms sales to Saudi Arabia. Photograph: Chris Ratcliffe/Getty Images




Amnesty International, No to Drones Protest, Outside the Houses of Parliment,
alamystock.com, 2016.

This issue became the focus of my practical work where I created four posters exploring consequences of this war. A running theme in the work is the lack of media coverage, reflected in the title ‘3 years unreported’. I created the designs to resemble movie posters to attract more attention than the usual charity poster. The ‘credits’ are facts about the war and the Saudi arms deals.

3 Years Unreported, Cholera Outbreak, James Kiely, 2017.

3 Years Unreported, No Access to Food, James Kiely, 2017.

3 Years Unreported, No Access to Education, James Kiely, 2017.

3 Years Unreported, Refugees, James Kiely, 2017.





References

Playing with Words While Yemen Burns: Managing Criticism of UK Arms Sales to Saudi Arabia Source: Global Policy [1758-5880] Stavrianakis, Anna yr:2017 vol:8 iss:4 pg:563 -568

https://www.express.co.uk/news/politics/928303/Saudi-Arabia-Prince-Mohammed-bin-Salman-UK-visit-protests

https://www.rt.com/op-ed/424980-yemen-saudi-strike-media/

http://www.spokesman.com/stories/2017/jun/28/from-destruction-to-cholera-yemen-war-brings-disas/#/0

https://www.gettyimages.co.uk/event/amnesty-protest-against-arms-sales-to-saudi-arabia-611726507#amnesty-international-activists-march-with-homemade-replica-missiles-picture-id516312958


Palestine Poster Project

The Palestine poster project documents the propaganda and creative dissent from 1965 to 2000 it is one of the largest libraries of its type. The role of the poster is one of the most important media types of 'dissent', over recent history, it has been the most popular form of publicising opinion and demonstrating change.

Jornada de Solidaridad, Faustino Perez, 1968.


The conflict in 1965 involved the extremist group known as Fatah, a militant group of Palestinian nationals. The poster attempts to stereotype this group with the usual wear of a Palestinian Nationalist, however clever use of replacing the eye with the barrel of a gun. The barrel is illustrated in red giving connotations of death and destruction. Day of solidarity to of Palestine is the title of the poster a UN day of remembrance for people who have died during the Palestine wars.


Visit Palestine, Franz Krausz, 1936.
Visit Palestine, Amer Shomali, 2009.

Visit Palestine, Des affiches pour Gaza, 2014.

David Tartakover's response reimagines the first poster that was initially used to generate more tourism in Palestine during the late 1930's. The poster reappropriates the landscape by adding militants, explosion clouds and the 'separation barrier'. What I would call a lighter-hearted attempt to generate a serious response by the viewer. I say 'light-hearted' due to the reappropriation of the initial poster, an area looking so positive becoming somewhere so contradictory. The poster is almost a crude representation of the conflict and the area.

Gaza Love, Kyle Goen, 2014.

A very well known symbol again reimaging a western icon. Initially titled 'love' to 'Gaza' this was made in the USA to generate a military response, it was used throughout many protests. Its iconic appearance makes it stronger as it alternates the familiar and therefore evokes a strong response.



Gaza Pinwheels, Mohammed Hassona, (Palestine), 2014.
Part of the Project Pinwheel memorial project the poster above attempts to raise awareness and remember the 521 children killed during the operation protective edge. The dark poster depicts the falling shells and the innocents of the children below that were lost in the conflict.


The 50-year difference between the first and last poster shows the prominence of the poster in Gaza, and the change it can promote. A very different selection of graphic art created to cause a change. However, with 50 years of conflict and 1,600 recorded posters does this show the little impact posters can make, the situation in Gaza is as volatile as ever and I wonder how many more posters it could take to make the constructive change needed to establish peace?

References


Visual Impact, Creative dissent in the 21st century, Liz McQuiston.

http://mondoweiss.net/2015/07/bombers-blood-posters/

https://im7mad.wordpress.com/

http://www.palestineposterproject.org/content/about-the-palestine-poster-project-archives-0

http://www.bbc.co.uk/news/world-middle-east-20415675

https://www.afsc.org/resource/gaza-pinwheel-project

Craftivism and War

Craftivism is the concept of marrying craft and activism together usually referred to as a 'quiet' form of activism. Using textile, most often, to create political or social statements. Today I shall examine the role craftivism has in war and conflict.

During the first and second World Wars crafting was used in multiple ways. The first was as a therapeutic tool to calm soldiers with shell shock a form of PTSD (post-traumatic stress disorder).

During the second world, war activism established itself. Major Alexis Casdagli, was held in a Nazi prisoner of war camp, after six months he began to produce a cross stitch pattern on a piece of canvas. The dotted message around the edge border deciphers God Save the King and Fuck Hitler. This tapestry was then hung in the camp where he was imprisoned, the code was never deciphered. A quiet protest that only the prisoners would have understood, attempting to raise morale and keep pushing without getting themselves killed.

Major Alexis Casdagli, Cross Stitch on Canvas, 1941.


Contemporary craftivism contributions to anti-war protests depict very different scenes. Rugs created in Pakistan and Iraq have contained images from assault rifles to military drones. particularly Pakistan rugs had seen a large increase is drone patterns due to the on-going US military drone program.

"According to an October 2014 update from the UK-based Bureau of Investigative Journalism, more than 1,000 civilians have been killed in Pakistan by drone strikes over the past ten years, around one-fifth of them children."
Embroidered Rug, Artist Uknown, Location Uknown.
Embroidered Rug, Artist Uknown, Location Uknown.
Embroidered Rug, Artist Uknown, Location Uknown.


“One of the older local weavers, now in her 80s, told me that the reason for weaving drones on carpets by women here is to show to the West that their brutal killing machines are always under our feet" - https://www.pri.org/stories/2015-02-19/their-brutal-killing-machines-are-always-under-our-feet-pakistans-war-rug-weavers

The importance of the creation of these rugs, I believe, is the dominance of conflict in these peoples lives. This could be all they’ve ever known of their country, constant war, the quiet protest of creating these rugs are the way to publicise to the rest of the world. Although in recent history the creation of these rugs has been questioned with more and more copies of the rugs being made for sale in the US, prices range from hundreds of dollars to several thousand. Art collectors believe these rugs are being made to gain a profit and are growing into a tradeable commodity.

References

http://craftivism.com/blog/category/anti-war/

https://www.theguardian.com/artanddesign/shortcuts/gallery/2015/feb/03/drones-ak-47s-and-grenades-afghan-war-rugs

https://www.warrug.com/

http://www.colorsmagazine.com/blog/article/drones-on-rugs


Sarajevo and The Trio Design Group

The graphic design group 'Trio' was founded in Bosnia's capital city Sarajevo in1985, producing work throughout Bosnia and the surrounding countries in a collaborative effort. The Trio group became an established design agency doing corporate work across Europe, as the Bosnia war broke out in 1992 the design group became trapped in Bosnia, within their personal practice they begun to campaign against the Seige of Sarajevo by the Serbian Military.

'War Studio' Photograph of The Trio, Bojan and Dalida Hadzihalilovic, Bosnia 1993. Scanned from Graphic Agitation, Liz McQuinston.
By using western cultural icons, the group reinterpreted adverts and symbols into ironic and dark humoured posters and postcards. The use of computers with very early versions of sketch and adobe photoshop enabled the manipulation of advertising campaigns and logos. A recurring theme throughout the work is the 1984 winter Olympics held in Sarajevo, referring ironically to the lack of international intervention and the need for dominance by the UN. Postcards were used because of the ease of transportation with the intention of sending them around the world to publicise the disaster. The works gained the Trio international recognition and became the face of the war. 

'Enjoy Sara-jevo' postcard, The Trio, during the Bosnia War 1993/94. Scanned from Graphic Agitation, Liz McQuinston.


Selection of postcards produced by The Trio, reworking cultural icons. Designed between 1993/94. Scanned from Graphic Agitation, Liz McQuinston.

Selection of postcards produced by The Trio, reworking cultural icons. Designed between 1993/94. Scanned from Graphic Agitation 2, Liz McQuinston.

Disunited Nations of Bosnia and Herzegovina, Bosnia 1993. Scanned from Graphic Agitation 2, Liz McQuinston.

Post Office, Trio, Bosnia 1993.

The relationship between graphic art and the political warfare in Sarajevo enabled the worldwide attention the war deserved. This evoked a greater, more appropriate, response from the United Nations in August 1995 as Nato launched airstrikes against the Serbian military. Graphic arts acted as the enabler, attempting to re-focus international intervention by using culturally relevant advertisements and specific western brands to stir a response from those in power.

The Trio group later developed in the internationally renowned design studio Fabrika working with some of the largest brands across the globe such as BMW and BIENNALE.

References

Graphic Agitation 2, Liz McQuinston, 2004.

http://bosniavolimte.blogspot.co.uk/2011/05/trio-sarajevo-surrealism-art-at-its.html

http://www.fabrika.com/

https://backspace.com/notes/search.php?q=bosnia&n=0&submit.x=0&submit.y=0&submit=submit

http://www.bbc.co.uk/news/world-europe-17617775

Iraq war - Blair & Bush

The Blair and Bush coalition was a relationship that took the UK to the Iraq war under questionable pretences, to which creative dissent thrived.

Following 9/11 in 2001 the US took military action in Afghanistan in October. September 2002, the UK publish a dossier on the threat that Iraq poses claiming that Sudam Hussain is in control of weapons of mass destruction that could be used within 45 minutes. Questions about the motive of the war around the oil reserves in Iraq continue to be a question to protesters in UK and US.

"Iraq remains a destabilising influence to... the flow of oil to international markets from the Middle East” - US Vice President Dick Cheney

Thousands marched in cities around the country, including New York City, to protest the war in Iraq, available. http://www.nydailynews.com/news/iraq-war-protest-gallery-1.18871





















David Gentleman, an illustrator and artist who developed the campaign against the war, it became the iconic poster seen in protests throughout the UK. The posters (below), contain bold black typography and blood splatters against a stark white background. 
David Gentleman, DISSENT, March placard, Stop the War, 2003.


David Gentleman, DISSENT, March placard, Stop the War, 2003.


David Gentleman, DISSENT, March placard, Stop the War, 2006.

David Gentleman, DISSENT, March placard, Stop the War, 2006.



Below is an installation by Gentleman placed next to the Houses of Parliament in Parliment Square, it contains 1,000 paper cards with 100 splatters of blood on each to represent the 100,000 British lives lost in Iraq. A devesting statistic that is visually shown to show the scale of death. In my opinion, the blood splatters can represent a protest by those lost service men and women, questioning those in power on the legitimacy of the war.

David Gentleman, DISSENT, Installation in Parliament Square, Stop the War, 2008.

Gentleman's blood splatter visualises the death and destruction the war was doing especially bringing the bloodshed back to the UK. The UK's society were forced to question political connections to the war because if the use of poster and protest placards. They also protested against the coalition between Blair and Bush creating large-scale hysteria and anger by the public, this eventually lead to the iraq war inquiry.

References 

Visual Impact, Creative dissent in the 21st century, Liz McQuiston.

Graphic Agitation 2

http://www.nydailynews.com/news/iraq-war-protest-gallery-1.18871?pmSlide=1.18968

https://www.theguardian.com/books/gallery/2011/dec/13/stop-the-war-a-graphic-history-in-pictures

https://www.creativereview.co.uk/history-anti-war-protest/?nocache=true&login_errors%5B0%5D=invalidcombo&_lsnonce=e5cff56e51&rememberme=1

http://www.artofthestate.co.uk/Banksy/Banksy_Wrong_war_Bridge.htm

http://www.bbc.co.uk/news/magazine-36702957

https://www.theguardian.com/environment/earth-insight/2014/mar/20/iraq-war-oil-resources-energy-peak-scarcity-economy

Croatian War of Independence & Propaganda

The Croatian War of Independence was between 1991-95, Croatia were fighting against the Yugoslav regime and for the independence of the Croatian state. The conflict is said to have been 'well documented' showing the horrifying war crimes including ethnic cleansing, massacres and tortures. However, it is reported that 70 journalists were killed over the 5 year period of fighting, allegedly deliberately targetted. Photojournalism seems to be less pivotal comparing to the Vietnam War, for example, maybe this is due to how dangerous the conditions were for reporters. Below are two photographs by Jean-Claude Coutausse. These photographs were extremely powerful because of how close he managed to get to live conflict, this shows just how terrified the subjects were illustrating to the rest of the world the problem and the need to UN interference.

CROATIA, OSIJEK. Croatian women under a bombing attack from the Yugoslav federal army in September 1991. Jean-Claude Coutausse.

CROATIA, OSIJEK. Croatian militiaman on the front line in September 1991. Jean-Claude Coutausse.

Reinstatement of the red and white checkerboard into the flag, which was previously banned by Yugoslavia, became a large feature in the propaganda showing a clear divide between forces. In1991 Zagreb Arts Fund created an exhibition, 'For the defence and renewal of Croatia', containing and calling for all creatives to develop propaganda posters to show the disturbance to the bloodshed of the conflict. 

VUKOVAR & KRV-ATSKA! / Logo & poster. The town of Vukovar in exile. By Boris Ljubicic. 1991.

Amalgamation of the words; Hrvatska in Croatian 'containing within it', Krv meaning 'blood'. This captures the anger and the disruption that the war is having on the population. The play on words makes it propaganda that engages the viewer and the use of blood shows the loss of Croats as it is bright red, the same as the checkerboard pattern.

Read Between The Lines. Poster/ Broadsheet. Boris Ljubicic. 1994.

The poster/ broadsheet illustrating the actual details of the Battle of Vukovar an award-winning piece of graphic design. Again bringing up the concept of, how artists and designers alike can alter the censorship of information by governments and the military.

Documenta Croatica. S Henningsman & M Tudor. 1991-2. Croatian History Museum.
Above, charity campaigns printed in two sets of colour; red to show the devastation to the people, green to show destruction to the environment.

Last summer I spent a month travelling around Croatia, the signs and war still ever present, especially in places such as Dubrovnik. Bold graffiti of the checkerboard pattern is across the country showing the pride in being its own entity.

References

Graphic Agitation 2- Liz McQuiston. Chapter 3 Perceptions of War.

http://www.e-ir.info/2007/12/22/framing-the-war-in-croatia-propaganda-ideology-and-the-british-press/

http://news.bbc.co.uk/1/hi/world/europe/4997380.stm

http://www.graphis.com/entry/435a1d42-bc94-11e2-b739-f23c91dffdec/



Technology Challenging the Appearance of Dissent

Journalists and protestors have been recording their experience in rallies and protests since the invention of cameras. The development of camera phones and their widespread availability has meant this footage has become commonplace, with photographs and videos online and in the dominant media documenting peoples experiences. The quality of this footage is and its legitimacy is often questioned due to the off the cuff nature of the recording. Usually, the footage is filmed in a frantic crowd. According to Fred Dalmasso, this allows the dominant media outlets to manipulate the footage and to capture typical faces of dissent and aggression.

Below is an example of a 'typical' media response to a protester, the man is captured in the defiant action of throwing a smoke bomb, attempting to make the mob appearance more dangerous than the police.

Protesters and the police clashed Friday in Istanbul. Demonstrations began Tuesday over plans to redevelop a park in Taksim Square that is the last significant green space in the centre of the city. Credit-Bulent Kilic/Agence France-Presse — Getty Images

Here, however, is a photo that was featured in the same article, civilians running away tear gas surrounding them, a more empathetic response to the civilians.

Protesters waded through tear gas on Friday at Taksim Square in Istanbul. Credit Tolga Bozoglu/European Pressphoto Agency.

Hiwa K's work 'This Lemon Tastes of Apple' shows his perspective from the protests, tear gas surrounding him and members of his family. The title refers to the smell of the gas and how the locals use lemon juice to combat the effects. The video is very powerful, the pain of the protesters being swarmed by tear gas is shown effectively. In my opinion, this shows the danger of the police or the military and protests against they're harsh and dangerous actions. The video is part of an installation (shown below) the sound is very loud and immerses the viewer in the footage.


Hiwa K's. This Lemon Tastes of Apple. Installation. 2011.
Videos from the kettles are effective in showing the carnage and the intense feeling of danger, footage like this are now easily circled through social media channels this allows more freedom of speech. It also shows the acts of terror from the police or militia who are meant to be there to protect society.

To conclude, technology is changing the way people perceive protests personal approaches including mobile phone footage aids people in the kettle, giving them protection to a certain degree. However, media outlets will always be able to edit anything put in the public domain. The attitude of the dominant media outlets needs to change, people need to understand their agendas and political connections along with commercial gain.


References

Remote Spectating, Drone images and the Spectacular Image of revolt- Fred Dalmasso.

Art and Politics Now - Anthony Downey


https://www.youtube.com/watch?v=fgmGxKvGFWU

http://www.nytimes.com/2013/06/01/world/europe/police-attack-protesters-in-istanbuls-taksim-square.html



Vietnam War & Challenging Public Perceptions of Conflict

Public perceptions of conflicts are primarily shaped by the media. However, the arts has its own voice, using predominately an image to tell the story it has a power far greater than just using words. An image can portray; emotion, a connection to the viewer, dissent. Within this post, I shall discuss the power of art when forming dissent against the filtering of information by the government and media outlets.




Jarr’s work above shows how the U.S. filtered the visual information from the Afghanistan War, the public was not allowed to see anything not deemed appropriate. This was done by buying all satellite imaging rights so they were in control of the images the public were allowed to see. This enabled them to feed the population with images selected by the government and create a war 'aesthetic'.  The power of the text is its transparency. The lack of image represents the filtering of information, leaving the public with just facts and information. Free from any influences, such as the media, it was placed in a gallery leaving the viewer to believe that this information to be unbiased. However, Jarr will have his own bias opinion on the conflict this will have an influence on the work, therefore, this works success is limited in my opinion.


Gianni Motti's work titled Collateral Damage, are photographs from the Yugoslav wars. These photographs were given to him by various media outlets because they had not been used, this was due to the photos creating the wrong aesthetic. The photographs show the beautiful landscapes interrupted by clouds of smoke from weapons of mass destruction. This reinforces the theory of governments and the media creating an aesthetic, by removing the inappropriate images from circulation to give people false impressions of conflicts. The strength in Motti's work is the selection of photographs in the series, (available here: http://www.cabinetmagazine.org/issues/12/motti.php) standing alone the image does not do it justice.

Gianni Motti's Collateral Damage, 2003.


Changing the public perception of wars away from government lead media outlets is a form of creative dissent. Particularly in conflicts, photojournalism has been a crucial method used. The Vietnam war captured by Philip Jones-Griffiths is beyond dark and upsetting, these images didn’t fit in the U.S. government war aesthetic, therefore it took them 3 years to become published (1971).  The body of work Griffiths produced has an integrity because of its raw uncensored view of the conflict. Photojournalism has been questioned for being unethical because the photographer can frame the image to provoke a different response than the real-life situation. Ethics are also questioned when looking at the image rights, do the people in the photograph have rights to the image royalties.
“Philip Jones-Griffiths' brutal and shocking documentation of the horrors of the Vietnam War that was crucial in changing public perceptions of the conflict”
“Griffiths created a compelling argument against the dehumanizing power of the modern war machine and American imperialism.” - Magnum Photos

Quang Ngai, Vietnam. Philip Jones Griffiths. 1967. © Magnum Photos

Philip Jones Griffiths-VIETNAM. Hue. Refugees flee across a damaged bridge. Marines intended to carry their counterattack from the southern side, right into the citadel of the city... using skin-diving equipment from the Marines. 1967. © Magnum Photos.


Philip Jones-Griffiths. Prisoners of war were afforded very different treatment by each side... captured Vietcong was to, raped, and killed... 1970. © Magnum Photos.

Philip Jones-Griffiths. The battle for Saigon. American G.I's often shown compassion toward the Vietcong...This VC had fought for three days with his intestines in a cooking bowl strapped to his stomach. Vietnam. 1968. © Magnum Photos.

The effect of these photographs being released was huge, changing the way many pictured war. Connotations of war hero's and bravery were taunted, with the many war crimes that occurred in Vietnam. Crimes not only against the Vietnamese people but the American soldiers fighting the war under false information by the government. The power of the photographer had truly been reached affecting how much information governments now give to the general public.

References;

Art and Politics Now. Anthony Downey.

Visual Impact, Creative dissent in the 21st century, Liz McQuiston.

Graphic Agitation 2

Philip Jones-Griffiths Magnum Photographer, more photographs and larger detailed captions available here >>>  https://www.magnumphotos.com/newsroom/conflict/vietnam-inc/

https://www.independent.co.uk/news/obituaries/philip-jones-griffiths-photographer-whose-vietnam-images-changed-photojournalism-799333.html