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15 Οκτ 2020 · The 25 Most Influential Works of American Protest Art Since World War II. Three artists, a curator and a writer came together to discuss the pieces that have not only best reflected the era,...
24 Μαρ 2017 · As protest marches find renewed relevance and the Imperial War Museum looks back at 100 years of peace protests in its latest show, here are 11 images by artists that have come to the aid of political movements from the 1950s to today. Sunflower design and words by the artist Lorraine Art Schneider.
19 Ιουν 2020 · My most recent conversation with artists Danielle Demetria East, Robert L. Hodge, David Jeremiah, and Vicki Meek led me to consider some of the works of art I’ve seen over the past few years that deal with the subject of protest and police brutality. Concentrated over the period between 1963 and 2020, and in no sense comprehensive, the ...
15 Οκτ 2020 · The 25 Most Influential Works of American Protest Art Since World War II. The list includes comments on each work by the panelists who did the choosing: artists Dread Scott, Catherine Opie and Shirin Neshat, journalist Nikil Saval and Whitney Museum of American Art assistant curator Rujeko Hockley.
15 Φεβ 2021 · Art has long been a tool of expression and documentation in times of revolt, protest, and upheaval. Whether during periods of revolution, war, or social change, artists have always strived to capture the spirit of the moment.
12 Φεβ 2014 · Throughout the 1960s, a decade marked by an ardent civil rights fight that swept the American nation, many artists found themselves on the side of a burgeoning protest movement. From assemblage artists to Minimalist masters to Pop Art figures, those working in a wide breadth of media turned to art as an act of political defiance.
16 Οκτ 2020 · I had asked each to nominate five to seven works of what they considered the most powerful or influential American protest art (that is, by an American artist or by an artist who has lived or exhibited their work in America) made anytime after World War II.
