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Attn Teachers: I’ve put together a powerpoint that outlines the unit we plan on doing for the next 5 weeks. In a broad manner, it is about the theme of “Protest,” however it more specifically involves the idea of “War” on multiple levels, the idea of Individual and community action and the existence and importance of Political Art. Please check out the website below for a detailed description of Art 21’s documentary about Protest; It encompasses the idea of our unit and also offers plenty of ideas for how it can relate to the core curriculums and national standards. http://www.pbs.org/art21/series/seasonfour/prot est.html

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Page 1: Attn Teachers:

Attn Teachers:

• I’ve put together a powerpoint that outlines the unit we plan on doing for the next 5 weeks. In a broad manner, it is about the theme of “Protest,” however it more specifically involves the idea of “War” on multiple levels, the idea of Individual and community action and the existence and importance of Political Art.

• Please check out the website below for a detailed description of Art 21’s documentary about Protest; It encompasses the idea of our unit and also offers plenty of ideas for how it can relate to the core curriculums and national standards.

• http://www.pbs.org/art21/series/seasonfour/protest.html

Page 2: Attn Teachers:

Engaged Art as a form of Interdisciplinary and Participative Practice; or in other words, making a case for ‘working this in’ to

core curriculums…

• Engagement takes place on multiple levels and is implicit in all forms of art-making, in varying degrees.

• ‘Engaged art activities’, referring to art activities which engage with social issues, have been on the rise in response to social and political issues challenging contemporary cultures.

• It is important for a more expanded, extended and active form of engagement; for art to work in collaboration with other disciplines, and with societal structures, to influence social change.

• For contemporary art to play an effective role as a catalyst for change, it has to go beyond display (show), spectacle, and critique.

• Art needs to situate itself as part of a wider network of practices, and be willing to engage in dialogue with other practices, disciplines, publics and structures.

Page 3: Attn Teachers:

What is WAR?

What Types of WAR are there?

What is PROTEST?

Page 4: Attn Teachers:

Brainstorm a list of Conflicts:• PERSONAL: Paying attention/focusing, relationships, self-respect, low self-

esteem, self-loathing, maturity, sexual identity, trust issues, neglect, drug abuse, depression, domestic abuse, poverty

• LOCAL: gun violence, school lunches-nasty-laziness, school cleanliness-dirty environment, under-funded, no mutual respect, favoritism, gang violence, drug-use, selling, low-graduation rate, police brutality, imprisonment, stereotypes, lack of positive male role models,

• NATIONAL: unemployment, economy falling, taxes rising-property values, property values dropping, global warming, pollution, rape, lack of education (educational inequalities) violence, racism, lack of morals, aids, stds, teen pregnancy,

• INTERNATIONAL: economic downfall, recession, global warming, EGYPT youth movement, depletion of natural resouces, war terrorism, diamond conflict in africa, genocide,

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Some Advice:

Consider sources: newspapers, television, Internet, radio, etc. Can you identify who is taking part in these conflicts? How are the opposing sides described or named? Who are the heroes or heroines in these events? Who are the villains or the anti-heroes and anti-heroines?

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• How does the art of today record and describe the world around us?• How have experiences of war changed throughout time and what has

provoked these changes?• Discuss the concept of dehumanization as it relates to war.• How does point of view change the stories that get told about war? Is

history told only by the winners?• How do contemporary artists engage politics, inequality, and the many

conflicts that besiege the world today?• How do artists use their work to discuss or oppose misery, turmoil, and

injustice? • How do issues of ambiguity and contradiction surface in the work of

artists featured in the protest episode?• How do these terms challenge conceptions about the nature of protest

and how protest is realized?• How do these artists address or anticipate their audiences?• What are the expectations of viewers/(the audience) in relation to their

work?• How do artists tell stories in their work? • How does contemporary art reflect and reveal narrative traditions?

Important questions…these are for you to consider and tailor to the students level of comprehension

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VOCABULARY

• WAR-armed conflict between two ar more parties

• CONFLICT-a disagreement /a struggle, mental or otherwise

• POLITICS-the art or science of government• BIAS- to influence in a unfair way• NEWS MEDIA-newspapers and broadcast that

deliver information• DESENSITIZATION-to become LESS sensitive

or INsensitive

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• DEHUMANIZATION- to deprive of human qualities, such as individuality, compassion, or civility: degrading

• CONTEMPORARY ART-art produced at this present point in time

• POLITICAL ART: art that exists to create political change

• PROTEST: to speak strongly against or object to…

• POINT OF VIEW: A manner of viewing things; an attitude.

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• SUBVERSIVE: something that is radical, that attempts to undermine or overthrow an idea or political act

• OVERT: something that is OPEN and obvious, observable

• APPROPRIATION: to adopt borrow or recycle images or other material from man-made visual culture into art

• INSTALLATION ART: art work that is 3-D and made specifically for a space, to transform how that space is perceived.

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• ACTIVISM: the use of direct action , such as a demonstration, strike or protest to achieve a political goal

• INJUSTICE:Violation of another's rights or of what is right

• EMPATHIZE: to identify with and understand fully

• STENCIL: a template made by cutting a design into a surface, and cutting away negative space so that when inked it can be reproduced quickly

• STATISTIC: the collection, organization and interpretation of numerical data

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Research Assignment DUE FRIDAY

• www.euronews.net• Euronews on channel 20 at 5AM• 1. Report on a conflict:-name the conflict-describe it-who is involved? Why?-Describe how the perspective of the US on the conflict

might be different-do you think it would have been reported in us news? Why or why not?

2. NO COMMENT: video clip-Write a comment for the no comment video-why do you

think it was “no comment”?

Page 12: Attn Teachers:

Art 21

• The Art in the Twenty-First Century documentary “Protest” explores these questions in the work of the artists Alfredo Jaar, and Nancy Spero.

• Art 21 documentary “Story-Telling” with artists Kara Walker and Do-ho-suh explores similar themes of conflict and war in a much more narrative way.

Page 13: Attn Teachers:

Art 21 episode synopsis: “protest”

This episode examines the ways in which contemporary artists picture and question war, express outrage, and empathize with the suffering of others. Whether bearing witness to tragic events, presenting alternative histories, or engaging in activism, the artists interviewed in “Protest” use visual art as a means to provoke personal transformations and question social revolutions.

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Objectives for Project A: “My side of the story”- political stencil art

• Students will consider how history is constructed by voices that typically represent only one side of conflict.

• Students will explore artist Kara Walker and Banksy’s work as it relates to the idea of conflict and opposition, the hero/heroine and the anti-hero/anti-heroine.

• Students will create their own representations of opposition and conflict

• Students will explore the medium of the silhouette to describe and represent ideas including its history as an art form, the formal element of contrast, and the conceptual notion of symbolism.

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Objectives for Project B: Beyond the Pale Installation

• Students will consider the representation of conflict in visual art and the notion of presenting opposition through symbolic and conceptual ideas.

• Students will consider how history is constructed by voices that typically represent only one side of conflict.

• Students will define and understand the definiiton of “war”, and how the term relates to them on a global, national, community-based and personal level.

• Students will consider themes of protest, conflict and story-telling in the observation and discussion of the installation “above and Beyond” from the Vietnam Veterans Art Museum.

• Students will observe statistics of gun violence in Chicago, and discuss the impact of this on their community, and what is being done to draw attention to these issues.

• Students will will create their own sculpture and installation art as response to conflict in community

Page 16: Attn Teachers:

Initial Activity

• Looking at Conflict Have each student brainstorm a list of personal, local, national and international conflicts they are aware of. Ask them to consider their sources: newspapers, television, Internet, radio, etc. Compile a group list. Ask students to identify who is taking part in these conflicts. How are the opposing sides described or named? Who are the heroes or heroines in these events? Who are the villains or the anti-heroes and anti-heroines?(Time: Half a 45 minute session)

Page 17: Attn Teachers:

Preliminary Activity to ALL Protest Projects

• Voices in Writing and MusicChoose a selection of “Protest” songs from different perspectives and different times in history. Have students read in groups or individually and discuss who the authors are, when they are writing, what they are writing about, and the tone in their description or narrative. Have each group listen to their individual song and choose a 10-30second passage they feel embodies the identity of the author. Have students present their songs to class.

• Ask students as a class to consider how the voices in each work vary with the different forms of writing, the different time periods the authors are writing from, the different styles of music and the different roles they are describing. (Time: 2 45 minute sessions)

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Preliminary Activities for Project A• Make a list of the various symbols and appropriated

imagery used by the artists featured in the protest episode. Create a new set of symbols, images, or text that can be used in a poster series, a postcard, or another printed form to express personal ideas about a current event or political cause. Display or your work to a targeted audience.(1 45 min class period)

• Redesign found images of political propaganda or protest related material, (and possibly juxtapose with new set of symbols/images/text) to create a sense of ambiguity and encourage a conversation or dialogue about related issues within a stencil format.(3-4 45min class periods)

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Preliminary Activities for Project B

• Watch Euronews/France24 on channel 20 @ 5AM-Have students report an 3 items of importance within the segment; specify they should be on different levels (i.e. international, cultural, “no comment”, etc)--Compare with Nightly News on local channel the next evening-write a personal response regarding what should/should not be covered in local news. (Homework)

• Show students Image from “nocommentTV.com”-Have students “comment” on image-why is this called “ no comment? (Homework)

• PRESENT-students discuss findings/reports from News.(2 45min Sessions)

• Define phrase ”Beyond the Pale”;discuss how phrase relates to installation “above and Beyond”.

• Discuss how dogtag is significant to soldier. Can a shoe carry same significance to gun violence victim?

• Observe techniques of sculpting shoe(2 45 min sessions)

Page 20: Attn Teachers:

“PROTEST”Art-Politics-Community

The following presentation details Political Art and community Activism in conjunction with a plan for the project inspired by the Vietnam Veteran’s Memorial “Above and

Beyond” called “Beyond the Pale”, a student led installation piece that draws

awareness to the victims of gun violence in Chicago

Page 21: Attn Teachers:

Artist Alfredo Jaar

Jaar explores the public’s desensitization to images and the limitations of art to represent events such as genocides, epidemics, and famines. Jaar’s work bears witness to military conflicts, political corruption, and imbalances of power between industrialized and developing nations.

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The Rwanda Project:“The Silence of Nduwayezu.”

The strategy here was to create a volume of approximately one million slides in reference to the one million dead in Rwanda.

Some people interpret it as a body, others see a country’s landscape. But basically it’s just sheer accumulation that in every place takes a different shape.

It presents the enormity of the tragedy. It initiates talks about a country, a continent, criminal indifference from the world community. Basically, when we say one million dead, it’s meaningless. So the strategy was to reduce the scale to a single human being with a name, a story. That helps the audience to identify with that person. And this process of identification is fundamental to create empathy, solidarity, and intellectual involvement.

I visited a refugee camp and Nduwayezu was seated on the stairs of a door. I discovered very quickly that all these kids were orphans that had witnessed how their parents were killed. Nduwayezu actually saw his mother and father killed with machetes. His reaction was to remain silent for approximately four weeks. He couldn’t speak. His eyes were the saddest eyes I had ever seen, so I wanted to represent that and speak about his silence—because his silence refers to the silence of the world community that let this happen.

The only way for you not to dismiss this image is to understand the story. If not, it becomes just another image. So it was very important for me to create a truly memorable image, a memorial for the people of Rwanda.  

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Artist Nancy Spero

• Affected by images of the war broadcast nightly on television and the unrest and violence evident in the streets, Spero began her War Series (1966–70). These small gouache and inks on paper, executed rapidly, represented the obscenity and destruction of war. The War Series is among the most sustained and powerful group of works in the genre of history painting that condemns war and its real and lasting consequences

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Something to possibly print and read with students:

“Chicago loses more Black kids than soldiers in Iraq to gun violence”

-a recent publication from a political blogger

Besides the fact that this affects me personally, this is the reality of life in the United States for ethnic minorities.  While the U.S. purports to bring democracy and the American way of life to Iraq, children die in the U.S. due to gun violence.

Recently in Chicago, a teen gunman boarded a crowded public bus near a high school and opened fire with a handgun. I imagined this scene must have been similar to the bus bombings that are so common in wartorn Iraq.

As I researched this analogy, I found striking similarities between what is happening in black communities across the United States and what is happening in a full-fledged war zone in Iraq. The major difference is that far more black children are dying in Chicago than Chicago soldiers are dying in Iraq.

At about 24 deaths a year, Chicago children are being killed 24 times the rate that Chicago soldiers are being killed in Iraq. Statistics from Military Genealogy Trails show that during the five-year period between September 2001 and July 2006, six soldiers from Chicago were killed in Iraq combat. In a startling comparison, however, during an eight-year period between 1998 and 2007, 190 Chicago Public School children, mostly black, died in gun-related incidents.

This year, the violent death toll in nine months totals 27 for Chicago's public school students, again, mostly black youth.

Chicago is no different than any other city, because deadly violence in the lives of black children today is a constant, overwhelming reality in America

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In a five-year period between 2001 and July 2006, six soldiers from Chicago were killed in Iraq combat.

In a startling comparison, however, during an eight-year period between 1998 and 2007, 190 Chicago Public School children, mostly black, died in gun-related incidents.

Page 28: Attn Teachers:

Gun Violence Statistics

• In 2008, there were 412 gun homicides in the City of Chicago. (1)

• If we look at the past five years rather than the past 10 years, Chicago averages 360 gun homicides per year. (1)

• The likelihood that an assault-related gunshot wound results in the death of the victim is about one in six, so that for each gun homicide we observe in a city, on average we expect there to be an additional five nonfatal firearm assaults-that’s 1,440 non-fatal assaults per year on average. (2)

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Gun Violence Statistics, cont.• The most detailed data on Chicago homicides are drawn from the 190

reported cases in 2005, where the victims were between the ages of 10 and 24.

• We examined these cases closely using data from the Illinois Violent Death Reporting System (IVDRS).

• IVDRS links data from the Cook County Medical Examiner’s Office, Illinois Department of Public Health, and Chicago Police Department to create the most detailed available picture of these homicides.

• Ninety percent of these young homicide victims were male. • More than 90 percent were African American or Hispanic/Latino. • African Americans comprised 36 percent of Chicago residents and 67

percent of young homicide victims.• These figures reflect the disproportionate toll violence takes on African

American youth, who across the United States face seven times the homicide rate experienced by non-Hispanic whites.

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Gun Violence Statistics, cont.

• For this report, University of Chicago student Garrett Brinker systematically reviewed web/media accounts of every available homicide in which the victim was a Chicago youth between 13 and 18 years of age between September 11, 2006, and September 6, 2008.

• This analysis reviewed all stories in the Chicago Tribune, the Chicago Sun-Times, and CBS News.

• Not every known murder was covered in these news outlets. However, news stories covered murders of 73 youth. Sixty-two of these homicides involved a firearm.

• One-fifth of these cases (15/73) involved an unintended victim caught in crossfire, killed by a stray bullet, or a victim killed within a crowd into which shots were apparently fired indiscriminately.

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Gun Violence Stats, Cont.

• 2008-2009 School Year, 258 public school students were shot in Chicago, 32 fatally, on their way to or from school, traveling through gang-infested territory and narcotics wars on the South and West Sides.

• 2009-2010 School Year, 218 students were shot (40 fewer than last year), and 27 of the shootings were fatal. These statistics do NOT include youth NOT registered in Chicago Public Schools, NOR does it include gun violence that occurs during the summer.

* From “Graduation is the Goal, Staying Alive is the Prize” Article By SUSAN SAULNY Published: July 1, 2010, NYTimes.com

Page 32: Attn Teachers:

Resources

• (1): Figures for the numbers of gun homicides for the years 1999 through 2007 come from the Chicago Police Department’s “2006–2007 Murder Analysis in Chicago” (https://portal.chicagopolice.org/portal/page/portal/ClearPath/News/Statistical%20Reports/Homicide%20Reports/2006%20-%202007%20Homicide%20Reports/06-07_MA.pdf).

• (2): Analyses by Crime Lab team member Philip Cook of Duke University (Cook, 1985).

Page 33: Attn Teachers:

Myanmar artist Nyo Win Maung

Installation art that represents VICTIMS of WAR:

Specific Questions for Art

• How do you think these hands demonstrate a CONFLICT?

•Why are they positioned the way they are?

• Why are the hands in a Gallery colorful, but the ones outside

White?

Page 34: Attn Teachers:

Doris Salcedo• Doris Salcedo makes sculptures and

installations that function as political and mental archaeology, using domestic materials charged with significance and suffused with meanings accumulated over years of use in everyday life. Her early sculptures and installations, such as La Casa Viuda (1992-1995), combined domestic furniture with textiles and clothing.

• Salcedo derived her materials from research into Colombia’s recent political history, so these belongings, suffused with the patina of use, were directly linked to personal and political tragedy.

• . Noviembre 6 y 7 (2002) was a commemoration of the seventeenth anniversary of the violent seizing of the Supreme Court, Bogotá on 6 and 7 November, 1985.

• Over the course of 53 hours (the duration of the siege), wooden chairs were slowly lowered against the façade of the building from different points on its roof, creating “an act of memory” in order to re-inhabit this space of forgetting.

• In 2003, in Istanbul, she made an installation on an unremarkable street comprising 1,600 wooden chairs stacked precariously in the space between two buildings.

Page 35: Attn Teachers:

1600 chairs were used in the making of this monstrous work of urban art. To further charge her work she frequently puts it right in public view, displacing a space people normally think of as empty to send her (open-to-interpretation) political, economic and historical messages. Often the process of putting objects in place, piece by piece, carries significance for this artist as well – which makes sense as the history of the individual items plays a strong part in the final intent of the work

Page 36: Attn Teachers:

Here is a public art installation at Portland State University that acknowledged how many people had been killed in the Iraq war at that time. Each red flag represented 5 Americans killed. Each white flag represented 5 Iraqis killed.

Page 37: Attn Teachers:

These white dresses were located just off of a busy street, where it was impossible not to walk by. Each had the look of handmade and represented a woman lost to domestic violence. Adorning each dress was an outline of some weapon, spotlighting the gristly reality of the issue. These were done in beautiful beading or applique, just as one would adorn another white dress for a happier occasion.

Page 38: Attn Teachers:

BANKSY-Street Artist / REBEL

• Movie: Exit through the gift shop-documents Street Art, subversive Art and Street Artist Banksy

• News Clip: The Art of War-documents impact of Banksy’s work in Israel, West Bank wall.

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Article: Intro to PROTEST ART specific to gun violence

5 Anti-Gun Violence CampaignsBy BrittPublished: January 13, 2011

“With the recent tragic events in Tucson, Ariz., on my mind, for this post I’ve decided to round up strong anti-gun violence designs. The posters, ads and billboards below are chilling and remarkable.

Some of the designs use violent imagery to shock viewers. Others tap into more mundane concepts to illustrate how gun violence can affect anyone. These five examples do a fine job of getting the viewers’ attention. The designs interrupt you from what you were thinking about and their unforgettable imagery and concepts resonate afterward.

What do you think of the campaigns below? What do you think the biggest design challenges are surrounding complex, emotional or politically charged issues?”

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Dog Tag Sculpture Honors Vietnam Veterans

Dog tags hang from the ceiling of an exhibit titled 'Above and Beyond' at the National Vietnam Veterans Art Museum April 29, 2005 in Chicago, Illinois. The 10 x 40 foot sculpture is comprised of imprinted dog tags, one for each of the more than 58,000 service men and women who died during the Vietnam War. 'Above and Beyond' is the first new permanent Vietnam War memorial since The Wall in Washington, DC, that lists all those killed in action.The 30th anniversary of the fall of Saigon, and what is considered the end of the Vietnam war, will be marked on April 30.

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“Above and Beyond”: Vietnam Veterans Art Museum Memorial