It seems as though the people of politics and government have always used art (or a lack thereof) in some shape or form to showcase their status, power, and wealth--to show superiority or to suppress public expression. Where commissioned art garnered a sense of respect and authority for the elite and affluent of history, today art is becoming the evermore loud and boisterous voice of the frustrated common man and the oppressed.
In the words of renowned, anonymous street artist and political activist, Banksy, “Art should comfort the disturbed and disturb the comfortable.” This is protest art at its finest
That said, art has a way of interrupting the static of the times and constantly reevaluating the status quo. Born out of the jungle of the contemporary art world, the Guerilla Girls are a great example of an activist group taking an inventory of our modern culture and society via artistic pathways--and encouraging others to do the same. This group of anonymous artists, art critics, museum workers, and scholars is no spring-chicken when it comes to activism and protest art. Since 1985, the Guerrilla Girls have been holding demonstrations in the streets wearing iconic gorilla masks and creating posters with poignant imagery and statistics. “We try to be different from the kind of political art that is angry and points to something and says ‘This is bad.’ That’s preaching to the converted. We want to be subversive, to transform our audience, to confront them with some disarming statements, backed up by facts and great visuals.”
In this way, the Guerilla Girls use their artistic merit to “disturb the comfortable,” and inform the uninformed. Their goal is to draw attention to “the art world’s male- and caucasian-centered focus” by highlighting the still lingering sexism and underrepresentation of women in the art world. This underrepresentation is not only detrimental to non-male artists, but could also have a profound effect on politics. As protest art begins to hold its own as a linkage institution in the political process, serving as a voice for public opinion, would it not become all the more critical that the population of artists exhibited correlates with the population of producing artists?
In the words of renowned, anonymous street artist and political activist, Banksy, “Art should comfort the disturbed and disturb the comfortable.” This is protest art at its finest
That said, art has a way of interrupting the static of the times and constantly reevaluating the status quo. Born out of the jungle of the contemporary art world, the Guerilla Girls are a great example of an activist group taking an inventory of our modern culture and society via artistic pathways--and encouraging others to do the same. This group of anonymous artists, art critics, museum workers, and scholars is no spring-chicken when it comes to activism and protest art. Since 1985, the Guerrilla Girls have been holding demonstrations in the streets wearing iconic gorilla masks and creating posters with poignant imagery and statistics. “We try to be different from the kind of political art that is angry and points to something and says ‘This is bad.’ That’s preaching to the converted. We want to be subversive, to transform our audience, to confront them with some disarming statements, backed up by facts and great visuals.”
In this way, the Guerilla Girls use their artistic merit to “disturb the comfortable,” and inform the uninformed. Their goal is to draw attention to “the art world’s male- and caucasian-centered focus” by highlighting the still lingering sexism and underrepresentation of women in the art world. This underrepresentation is not only detrimental to non-male artists, but could also have a profound effect on politics. As protest art begins to hold its own as a linkage institution in the political process, serving as a voice for public opinion, would it not become all the more critical that the population of artists exhibited correlates with the population of producing artists?
"Many of the rights and freedoms we take for granted were won by disobedience."
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Catherine Flood and Gavin Grindon, co-curators of the show “Disobedient Objects” at the Victoria & Albert Museum in London, made a point to exhibit a wide spectrum of political protest art--showcasing a variety of artists and media. Today, political art is not just present in the form of posters but also objects. It is important to note that this shift has caused political art to expand beyond its simple provocative purposes to incorporate the use of art not just as a weapon but also as a form of defense. Inflatable cobblestones created by the Eclectic Electric Collective exhibited in the streets of Barcelona reflect this transformation. These pieces of art did not exist solely for their esthetic, sculptural appeal, but they also served as barricades used during the 2012 strike in Barcelona to protect demonstrators.
Perhaps the most distinguishing aspect of political art--from evocative billboards to rowdy street performances and demonstrations, multi-purpose sculptures and objects--is that it encourages action. Art--because of its visual potency and public appeal--has the ability to reach people in ways that other forms of political advocation cannot. Just as people obtained their freedoms from participating in acts of civil disobedience, art also has the potential for liberation. Protest art--however unconventional--is ultimately a powerful form of political participation.
Perhaps the most distinguishing aspect of political art--from evocative billboards to rowdy street performances and demonstrations, multi-purpose sculptures and objects--is that it encourages action. Art--because of its visual potency and public appeal--has the ability to reach people in ways that other forms of political advocation cannot. Just as people obtained their freedoms from participating in acts of civil disobedience, art also has the potential for liberation. Protest art--however unconventional--is ultimately a powerful form of political participation.