Protest art refers to the signs, banners, and any other form of creative expression used by activists to convey a particular cause or message. It is a visual action taken by social activists to make a point clear. Protest art is also used to with the intention to promote counter-thinking about the fabric of society itself. Often such art is used as part of demonstrations or acts of civil disobedience. Some key icons in protest art have been the dove, the peace symbol, and taunting messages.
Protest art relies on people's understanding of the symbols used in the art. Without understanding the piece is useless.
While some protest art is associated with trained and professional artists, an extensive knowledge in art is not required to take part in protest art. The most important part of protest art is element of social activism. Therefore, protest art requires most importantly a cause or an issue. Protest art can take on the form of a simple sign displaying a social message of displeasure or a large banner expressing discontent with something in particular or in general.
Often protest artists bypass the "artworld institutions and commercial gallery system" in an attempt to reach a wider audience through means that are most accessible to them. Instead of creating social activist art and displaying them only in art galleries where access is restricted to the "economically privileged", protest artists are trying to ensure their message reaches the largest number of people. Furthermore, protest art is not limited to one region or country but is rather a social activism method that is used around the world. For example, artists in South Africa during the 1990s created art using a range of media that explored memories of an integrated community that was once the heart of Cape Town.
There are many politically charged pieces of fine art - such as Picasso's Guernica, some of Norman Carlberg's Vietnam war-era work, or Susan Crile's images of torture at Abu Ghraib - which could perhaps be termed "protest art", except that they lack the easy portability and disposability often associated with protest art.
It is difficult to establish a history for protest art because many variations of it can be found throughout history. While many cases of protest art can be found during the early 1900s, like Picasso's Guernica in 1937, the last thirty years has experienced a large increase in the number of artists adopting protest art as a style to relay a message to the public.History
As awareness of social justices around the world became more common among the public, an increase in protest art can be seen. Some of the most critically effective artworks of the recent period were staged outside the gallery, away from the museum and in that sense, protest art has found a different relationship to the public.
Activist art represents and includes aesthetic, sociopolitical, and technological developments that have attempted to challenge and complicate the traditional boundaries and hierarchies of culture as represented by those in power. Like protest art, activist art practice emerged partly out of a call for art to be connected to a wider audience, and to open up spaces where the marginalized and disenfranchised can be seen and heard.
Activist art incorporates the use of public space to address socio-political issues and to encourage community and public participation as a means of bringing about social change. It aims to effect social change by engaging in active processes of representation that work to foster participation in dialogue, raise consciousness, and empower individuals and communities. The need to ensure the continued impact of a work by sustaining the public participation process it initiated is also a challenge for many activist artists. It often requires the artist to establish relationships within the communities where projects take place.
If social movements are understood as “repeated public displays” of alternative political and cultural values, then activist art is significant in articulating such alternative views. Activist art is also important to the dimension of culture and an understanding of its importance alongside political, economical, and social forces in movements and acts of social change. One should be wary of conflating activist art with political art, as doing so obscures critical differences in methodology, strategy, and activist goals.
Historical basis in art and politics
Activist art cites its origins from a particular artistic and political climate. In the art world, performance art of the late 1960s to the 70s worked to broaden aesthetic boundaries within visual arts and traditional theatre, blurring the rigidly construed distinction between the two. The transient, interdisciplinary, and hybrid nature of performance art allowed for audience engagement. The openness and immediacy of the medium invited public participation, and the nature of the artistic medium was a hub for media attention.
Emerging forms of feminism and feminist art of the time was particularly influential to activist art. The idea that “the personal is the political”, that is, the notion that personal revelation through art can be a political tool , guided much activist art in its study of the public dimensions to private experience. The strategies deployed by feminist artists parallel those by artists working in activist art. Such strategies often involved “collaboration, dialogue, a constant questioning of aesthetic and social assumptions, and a new respect for audience” and are used to articulate and negotiate issues of self-representation, empowerment, and community identity.
Conceptual Art sought to expand aesthetic boundaries in its critique of notions of the art object and the commodity system within which it is circulated as currency. Conceptual artists experimented with unconventional materials and processes of art production. Grounded by strategies rooted in the real world, projects in conceptual art demanded viewer participation and were exhibited outside of the traditional and exclusive space of the art gallery, thus making the work accessible to the public. Similarly, collaborative methods of execution and expertise drawn from outside the art world are often employed in activist art so as to attain its goals for community and public participation. Parallel to the emphasis on ideas that conceptual art endorsed, activist art is process-oriented, seeking to expose embedded power relationships through its process of creation.
In the political sphere, the militancy and identity politics of the period fostered the conditions out of which activist art arose.
Strategy and practice
In practice, activist art may often take the form of temporal interventions, such as performance, media events, exhibitions, and installations. It is also common to employ mainstream media techniques (through the use of billboards, posters, advertising, newspaper inserts…etc.). By making use of these commercial distributive channels of commerce, this technique is particularly effective in conveying messages that reveal and subvert its usual intentions.
The use public participation as a strategy of activating individuals and communities to become a “catalyst for change” is important to activist art. In this context, participation becomes an act of self-expression or self-representation by the entire community. Creative expression empowers individuals by creating a space in which their voices can be heard and in which they can engage in a dialogue with one another, and with the issues in which they have a personal stake.
The Artist and Homeless Collaborative is an example of a project that works with strategies of public participation as a means of individual and community empowerment. It is an affiliation of artists, arts professionals and women, children and teenagers living in NYC shelters, the A & HC believe that their work in a collaborative project of art-making offers the residents a “positive experience of self-motivation and helps them regain what the shelter system and circumstances of lives destroy: a sense of individual identity and confidence in human interaction.” The process of engaging the community in a dialogue with dominant and public discourses about the issue of homelessness is described in a statement by its founder, Hope Sangrow: “The relevancy of art to a community is exhibited in artworks where the homeless speak directly to the public and in discussion that consider the relationship art has to their lives. The practice of creating art stimulates those living in shelters from a state of malaise to active participation in the artistic process”
The A & HC came into being at a time when a critique of the makers, sellers, and consumers of art that addressed social concerns became increasingly pronounced. Critics argued that the very works of art whose purpose was to provoke political, social and cultural conversation were confined within the exclusive and privileged space of galleries museums, and private collections. By contrast, the A & HC was an attempt to bridge the gap between art production and social action, thus allowing for the work subjects that were previously excluded and silenced to be heard.
Resistance art has long been a term used to describe those that use art as a way of showing their opposition to powerholders. The term has been used to define art that opposed such powers as the German Nazi party, and the Bolshevik Revolution. The term most recently has been applied to artists opposed to apartheid in South Africa. Willie Bester is one of South Africa's most well known artists who originally began as a resistance artist. Using materials assembled from garbage, Bester builds up surfaces into relief and then paints the surface with oil paint. His works commented on important black South African figures and aspects important to his community. South African resistance artists do not exclusively deal with race nor do they have to be from the townships. Another artist, Jane Alexander, has dealt with the atrocities of apartheid from a white perspective. Her resistance art deals with the unhealthy society that continues in post-apartheid South Africa.
- ^ Reed, T.V., The art of protest : culture and activism from the civil rights movement to the streets of Seattle. (Minneapolis: University of Minnesota Press, 2005) xiv.
- ^ Suzanne Lacy, ed. Mapping the Terrain: New Genre Public Art. (Seattle: Bay Press Inc., 1995) 27
- ^ Wolper,Andrea. Making Art, Reclaiming Live: The Artist and Homeless Collaborative. (Seattle: Bay Press Inc., 1995) 252-253
- ^ Wolper,Andrea. Making Art, Reclaiming Live: The Artist and Homeless Collaborative. (Seattle: Bay Press Inc., 1995) 253
- Felshin, Nina. But Is It Art? The Spirit of Art as Activism. Seattle: Bay Press Inc., 1995.
- Lacy, Suzanne. Mapping the Terrain: New Genre Public Art. Seattle: Bay Press Inc., 1995.
- Muller, Mary Lee ; Elvehjem Museum of Art. Imagery of dissent : protest art from the 1930s and 1960s : March 4 - April 16, 1989, Elvehjem Museum of Art, University of Wisconsin–Madison (Madison, Wis. : The Museum, ©1989) ISBN 0-932900-20-8 (exhibition devoted to two periods of intensely political protest art: the Spanish Civil War and America's Vietnam War)
- Perry, Gill, and Paul Wood, eds. Themes in Contemporary Art. New Haven: Yale University Press, 2004.
- Reed, T.V. The art of protest : culture and activism from the civil rights movement to the streets of Seattle. Minneapolis: University of Minnesota Press, 2005.
- Robertson, Jean. "Themes of Contemporary Art - Visual Art after 1980". New York: Oxford University Press, Inc. 2005.
- Wolper, Jean. "Making Art, Reclaiming Lives: The Artist and Homeless Collaborative." But is it Art? The Spirit of Art as Activism. Ed. Nina Felshin. Seattle: Bay Press Inc., 1995.