visitors guide aesthetics of persuasion

VISITORSGUIDEAESTHETICSOFPERSUASION

GraphicVisualizationsofEntreaties&WarningsByartists,graphicdesigners,andneighbors

CuratedbyLindaWeintraub

August10-October14,2018WoodstockByrdcliffeGuildKleinert/JamesCenterfortheArts

Woodstock,NY

ISITORSGUIDE

P a g e |4

“TheAestheticsofPERSUASION”LINDAWEINTRAUB-Exhibitioncurator

“TheAestheticsofSLOW”

JENNIFERHICKS&PHILJAMES–Interactivedance/music

“TheAestheticsofCIVICRESPONSIBILITY”TIMGAUDREAU–Publicartist

“TheAestheticsofSUBVERSION”CRITICALARTENSEMBLE–Artist/Activist

“TheAestheticsofAIDSPREVENTION”

ADRIENNEKLEIN-Collector/Artist

“TheAestheticsofPRAYER”LAURABATTLE–Collector/artist

“TheAestheticsofEMPATHY’

ARTNAUTS-Artistcollective

AGATHERINGofPERSUADERSTalks/Interactions/Performance

3–5pmSundaySeptember23

KleinertJamesCenterfortheArtsWoodstock,NY

ACKNOWLEDGEMENTS:ThisexhibitionwasaccomplishedunderthedirectionofDerinTanyol,withthegenerousassistanceofOscarBuitrago,NathalieAndrews,MarthaRusso,GeorgeRivera,AdrienneKlein,MirandaWhitus,andmyhusband,AndrewWeintraub.

?Whatarethevisualequivalentsofoooooh,aaaah,yikes,mmmmm

?Whatvisualsyntaxcorrespondsto…..!?+/

?Howdoartistsexpresstheemotionsthatarestandardizedbyemoji

Expletivesaboundinverballanguage.Punctuationconveysthemeaningsandconnotationsofwordsinwrittenlanguage.Emojiareiconsthatprovideshort-handexpressionsofemotion.Allthreenotonlyindicatetheexistenceofafeeling;theyalsocommunicatetheintensityofthatfeeling.Significantly,thesedeclarationsofemotionexistindependentoftheactualobjectoreventthatiselicitingtheresponse.Becausetheyareallattachmentsontoacommunication,theseemotionalindicatorsarecapableofmodifyinganyobjectorsituation.TheAestheticsofPersuasionpayshomagetothestrategiesthatenablearttoelicitemotion,captureattention,stimulatethought,andarousecuriosity.However,thementalstatesconveyedbyworksofartdonotrelyuponsuchstandardizedsystemsofcommunications.Insteadofattachingpre-configured,predictablemarkersofemotionontotheirpaintingsorsculpturestoindicatethefeelingstheyintendtoconvey,theyimbedemotionalsignificancewithintheimagesorobjectstheycreate.Whileexpressionisacherishedqualityofvisualart,thisfertilecreativeterritoryisrarelyexplored.AestheticsofPersuasionelicitsthestrategiesofvisualcommunicationthathaveaccountedforart’spowertostirtheemotionsthroughouttheages.Thisexhibitionlinkstwofamiliarzonesoftheartexperience:thestimulus(theartwork)andtheresponse(theartviewer).Thetransmissionthatoccursbetweenthemisfrequentlyoverlookedinartanalysis.Both

AESTHETICSofPERSUASION Graphic Visualizations of Entreaties & Warnings by Artists,

Graphic Designers, & Neighbors

INTRODUCTIONLindaWeintraub

P a g e |6unschooledandsophisticatedindividualsarelikelytoobjectdesignatingonea“cause”andtheotheran“effect.”Theymightevenagreeonthesametworeasonsforthisomission:

- Artisticintentionistooelusivetobereducedtoameansandanoutcome.- Respondingtoartistoopersonalandsubjectivetobeanalyzed.

Thisprojectaddressesbothconcerns:

-Artisticintentionisknownbecausetheartworksitassembleswerecreatedto“persuade.”Ineachinstance,theworkwasconceivedtoconveyaspecificmessageandserveapre-determinedagenda.Examiningthemeansbywhichapersuasionistransmittedbyanartisttoaviewer,therefore,isframedbyaknownartisticintention.-Perceptionsofartareneitherpurelysubjectivenorpurelymechanicalrecordingsofretinalstimuli.Theyinvolvetheperceptionofpatternsandforms.Thesepatternsandformsproducetheextraordinaryrangeofemotiveresponseswecherishinourartencounters.1Consider,forexample,threeartworksthatallpresentasimilarcurvingpattern.Onedepictsthemeanderingcontourofacoastline.Thesecondrendersthesinuousshapeofasnake.Thethirdconsistsofanundulatinglinedrawnbytheartist.Despitetheirvariedsubjects,thecurvingpatternevokesananimatedresponseineachinstance.

Asimplecircleinsideasquaresufficestodemonstratethatvisualperceptionisnotlimitedtotheshapesrecordedbytheretina.Perceptioninvolvesinvisibleforcesthatintroduceattractionsandrepulsionsbetweenthecomponentsofavisualfield,triggeringanemotionalresponse.

1)Thiscircleappearssolidandstationarybecausethedistancestotheouteredgeofthesquareareequalinalldirections.However,thecircleisnot‘dead’center.Thetensionsbetweenhighandlow,leftandrightstillexist;buttheyareinbalance.Artistsutilizesuchbalancetoconveysthefeelingofcalm,quiet,peace,tranquility,andserenity.

2.Theoff-centerarrangementofthiscirclewithinthesquaredisturbstheequilibrium.Itnotonlyintroducestension,itevokesthesenseofmovement.Thiscircleappearstobemovingtowardtheright.Becauseitiscapableofmoving,itappearsanimatedandcommunicatesthefeelingofbeingfreeofconstraints.

1 ThefollowinganalysisofformalrelationshipsisderivedfromGestaltpsychology,abranchofpsychologythatdevelopedinthetwentiethcenturyandformedthebasisofthemodernstudyofperception.Itexaminesthemind’sabilitytoacquireandmaintainmeaningfulperceptionsinanapparentlychaoticworld.ThecentralprincipleofGestaltpsychologyisthatthesensationsreceivedbythehumanperceptualsystemareintegratedwholes(“Gestalts”)andnotcollectionsofindependentelementsthatarepassivelyregisteredbythephysicalorganism.Perceptionemergesfromrelationalconditions.Unlikethescientificstudyofmentality,Gestaltpsychologyintegrateshumanisticdimensionsofperceptions,suchasemotion,intoitsexplorations.TheCzechGestaltpsychologist,MaxWertheimer(1880-1943)demonstratedtheexistenceof“emergentexperiences,”suchastheimpressionofmovementinastaticartwork,thatarenotaccountedforbythephysicalstimuli.

3.Adiscpositionedtotheleftofthespacealsoappearstobemoving.Peoplewhoareaccustomedtoreadinglanguagefromlefttorighttendtoperceivethisconfigurationasthebeginningofajourneythatwillprogresstowardtheright.Thiscircleappearstomovefreelyandswiftly.4.Iftheartistindicatesthatthecircleismovingfromtherighttotheleft,itappearstobemovingbackwards.Whereasrightwardmovementisswiftandlively,leftwardmovementappearsslow,asiftheformhadtoovercomeresistance.Thus,ourvisualperceptionsofshapespresentedinstaticartworksnotonlyevokemovementanddirection;theyalsoconveytempo.5.Thiscircle’slocationneartherightedgeofthesquaregivestheimpressionthatitismovingsoswiftlythatitseemscapableofmovingbeyondtheboundaryofthesquare.Suchanarrangementallowsartiststoexpandtheworkbeyonditsphysicallimits.Furthermore,becauseweperceivewherethismigratingcirclehasbeen,andsurmisewhereitisgoing,thisconfigurationimpliesaprogressionintimeaswellasspace.Thisfunctionofperceptionenablesstaticartworkstoconveystoriesandnarratives.6.Gravityisnotonlyaphysicalforce;itisavisualforcetoo.Thecircleatthebottomofthesquareseemstosuccumbtotheforceofgravity.Itappearsdenseandheavy,visualizingthefeelingofbeingdepressedandlistless.Thesamecircleatthetopofthesquareseemstoriseeasily,overcominggravity.Itconveysconfidenceandoptimism.Whilesuchresponsesaretypicallysubliminal,theyarepowerfulinfluencesinourperceptualresponses.Theseimpressionsofmovement,direction,space,time,andtempowereallconstructedbyvaryingthepositionofasimplecircleinasquare.Considertheexpressiveopportunitiesunleashedbyvaryingtheseelementarygeometricforms.Whatemotionalresonancewouldariseiftherewasmorethanonecircle;orifthesecirclesoverlapped;orifthesquaremorphedintoarectangle;orifthecirclewascutinhalf;oriftheshapesweretextured;orifcolorwasadded;orifthecirclebecame

asphereandthesquarebecameabox?Evenintheabsenceofsubjectmatter,theseabstractconfigurationsprovideauniverseofexpressiveopportunities.Artistsactivelysummonandmagnifythesubjectivecommunicationpotentialofshapes,colors,textures,and

lines.Inthisexhibition,theirskilledmanagementofthevisualfieldlinksemotionalcorollariestoidentifiable

intentions.The“persuasion”partoftheexhibitiontitleAestheticsofPersuasionisdesignedtowarn,plead,

relax,motivate,enlighten,frighten,amuse,andinstigatemanyotherformsofinfluence.Eachpersuasionis

constitutedoutofthevocabularyandsyntaxofthevisuallanguagethatisart’sspecialprovince.

ThisexhibitionisindebtedtothecomprehensiveresearchconductedbyRudolfArnheim,(1904–2007).The

German-bornperceptualpsychologistisrenownedastheauthorofArtandVisualPerception:APsychology

P a g e |8oftheCreativeEye(1954and1974).ThefiveprinciplesthatshapedthisprojectarederivedfromArnheim’s

exhaustiveresearchonperception.Theexhibitionappliestheseprinciplestotheperceptionofworksofart:

Principle#1:Whileitiscommontodefinetheappearanceofanobjectaccordingtoitsphysicalshape,color,andtexture,perceptually,anobjectisnotlimitedtothesecharacteristics.Principle#2:Visualperceptionsofobjectsalwaysincludetheirlocationsinspace.Theperceivedobjectisneverisolatedfromitscontext.Principle#3:Sinceeveryperceptionofanobjectencompassesspace,componentsofthesurroundingenvironmentdictatewhetheranobjectappearslargeorsmall,brightordull,nearorfar.Perceptions,therefore,differfrommeasurabledimensions,colors,andlocations.Eyesdonotcalculatetheprecisediameters,lumens,andyardsofdiscreteentities.Visually,anobjectisknownbycomparingittoallthecomponentswithinavisualfield.Thesensoryperceptionofanobject,therefore,consistsofitsrelativesize,relativebrightness,andrelativedistance.Principle#4:Visualperceptionisnotlimitedtorelativesize,brightness,anddistance.Tensionsemergewithinthevisualfieldasonecomponentinteractswithanother.Thesevisualtensionsaccountforart’spowertoaffecttheviewer.Eitherintuitivelyorconsciously,artistsorchestratethemagnitudeanddirectionoftensionstotriggerpsychologicalstatesofbeing.Thetensionsthatexistamongshapesandcolorsconveytheemotionalaspectsoftheartwork’sthematiccontent.Principle#5:Perceivingisneveramechanicalrecordingofretinalstimuli.Viewinginvolvesinvisibleforcesproducedbythesestimuli.Formisnever‘pure’becauseitcannotbedivorcedfromitscapacitytotransmitemotionandmeaning.Theseaestheticforceslinkartists’intentionstoviewers’responses.Thesefiveprinciplesprovidethegeneralartisticdevicesthatareappliedtotheworksinthisexhibition.Theydemonstratehowformalpatternsareconcreteembodimentsofartisticintentions.Thesequalitiespervadeallstylesofart–fromthemostexpressivetothemostdisciplined.Likewise,theyarerelevanttoallartmovements–fromthebaroquetominimalism.Thisexhibitionsubstantiatesthisboldassertionbyassemblingawiderangeofartworksandthendisclosingthemeansbywhicheachitemrevealsthework’semotionalandnarrativecontent.Theseexpansiveconsiderationscomprisemywelcometovisitorstoexplorethewondrousworldofaesthetics!NTRODUCTIONTOTHEEXHIBITION:TheAestheticsofPersuasionassemblesover100imagesthatdisplayall

thehallmarksof‘fineart’exceptone–theyarefunctional!Functionandartarecommonlyconsidered

contradictions.Historically,however,thiswasnotso.Theannalsofartaredominatedbyartthatfunctioned

byelevatingthestatureofleaders,infusingcouragetomarchintobattle,instillingpietybeforegods,

inspiringpatriotism,orexposingevil.Itwasnotuntilthenineteenthcenturythattheconceptof“art-for-

art’s-sake”becamearulingcreed.Itcontendedthatart’sesteemiscorruptedbymoralizingandentreaty.

Thisrarifiedconceptpurgedartofmotives,leavingonlyart’sjustificationforitself.

Byconverting“self-expression”into“publiccommunication,”theimagesexhibitedinTheAestheticsof

Persuasionreverse“art-for-art’ssake”mandates.Theyaredrawnfromhistoricandcontemporarysources,

andincludethesatiricalimagesbyHonoréDaumier,warningsbyinternationalAIDSorganizations,

recruitmentforenlistmentinthetwoWorldWars,commemorationofthenationalparksbyWPAartists,

popularcultureentreaties,andcollectionsofcontemporaryartworks.Ineachinstancethecreativeprocess

originatedintheintentiontoserveasocialfunction.Theystimulatetheeyetoconvert,warn,instruct,and

entice.,whichmeanstheymaybebeautiful,distressing,endearing,andcunning.Thisexhibitioncelebrates

theremarkablecommunicativepotentialofvisualformandcolorwhenitissummonedtostirtheviewers’

emotions,thoughts,andultimatelytheirbehaviors.

Thisexhibitionislaunchedbypresentingtwoexamplesofartistswhointendtopersuadetheirviewersby

NOTvisualizingtheemotionalsignificanceoftheirtheme.Theydemonstratethattheaestheticappearance

ofanartworkcanbeatoolofpersuasionevenwhenartistsREJECTaestheticopportunities.Thejustification

ofthesestrategiesisexplainedinthefollowingtext.

P a g e |10

“AcceptableLosses”examinesquantitativerepresentationsofdeath.TheartworkexposeswhichformsofhumansacrificeareacceptablewithinUSsocietytoday,andwhicharenot.Thisartworkpresentsrawfactstoexposethenonrationalresponsestodeaththatinformpublicpolicy.Becauseexpressiveaestheticelementsseemsubjective,theyunderminetheimpressionoffactualreporting.Forthisreason,theCriticalArtEnsemble(CAE)madethetacticaldecisiontoeliminatecolor,imagery,style,dynamism,texture,shading,dimension,shape,andillusion.Byomittingtheseaestheticelements,theworkconveystheimpressionof

objectiveaccuracy.Thisstraightforwardapproachalsomakesthetextextremelyreadablewhichisessentialsincethe“persuasive”partofthisartworkdependsuponreadingthestatistics.SteveKurtz,amemberoftheCAE,explainedinaninterview:

- Whatarethespecificcharacteristicsofthefontyouselected??It‘sfairlyconventional,soasnottocallattentiontothetypeface.

- Whyaretheworkswiderthantall?Sowedon'thavetobreaklines.- Whydidyouuseboldtype?Easytoreadfromanywhereintheroom.- Whatistheroleofwhitespaceinyourcomposition?Toemphasizeseparationand

singularity.- Whyisthecompositionofeachpostersymmetrical?Aestheticconvention.Easierfor

anaudiencetoengageitasart,andnotjustasstatistics.

CAEisacollectiveoffivetacticalmediapractitionersofvariousspecializationsincludingcomputergraphics

andwebdesign,film/video,photography,textart,bookart,andperformance.

SERIESA.HowdoestheCRITICALARTENSEMBLEpersuadeviewerstobelievethatthestatisticsitreportsinACCEPTABLELOSSES(2013,9xeroxedprints)areaccuratelyreportedfacts?

1.NukeCuisinewascreatedforthesoloexhibition,“TheAtomicCowboy:TheDazeAfter,”whichmarkedthe50thanniversaryontheattackonPearlHarbor.Theoriginalinstallationconsistedof835“CloudofMushroomSoup”cansintroducingarecipefor“SplitPeaceSoup.”Thenumberofthesoupcanscorrespondedtothenumberof“announced”AmericannuclearteststhatwereconductedbytheUnitedStatesbetween1945and1992whentheinstallationwascreated.TheseatomictestscoincidedwiththeemergenceofPopArtwhenAndyWarhol’ssilkscreenofCampbell’ssoupcansandotherpopularitemsbecamerenownediconsoftheera.Nagasawa’saestheticstrategyinvolvesforegoingtheopportunitytoinventherownaestheticstrategy.Instead,sheadoptedthecolor,form,size,andformatofCampbellsoup,thenthencapitalizedonitsfamiliaritytotransformthisvisualsymbolofdomesticsecurityintoanindictmentofweaponstesting,ahorrificthreattodomesticsecurity.Multiplicityintensifiesthissubversivethematicreversal.ForNagasawa,itsignalsmultipleactsofdangeranddestruction,whereasforWarhol,itrepresentedabundanceandefficiency.Therecipeonthebackofeach“CloudofMushroomSoup”

INGREDIENTS:PLUTONIUM,HIGHEXPLOSIVEPORTIONS:5.3Billionservings1CupSplitPeace21⁄21OuncesofHope(gratedorfinelydiced)1QuartWater(ifavailable)3TablespoonsFreshOceanicSludge1RaceofMan(lightlybeaten)1HeadofGrief(looseleaf)1⁄2DollopAtomicPlutonicDashofAcidDrizzle(optional)

METHODPromptlyrefrigerateunusedportioninseparatecontainer.1.SoakSplitPEACEandHOPEinWATERandsetasideovernight.2.Heatasaucepanwith10,000sunsandcoatlightlywithOCEANICSLUDGE.3.AddRACEandMANandHEADOFGRIEFandsauté́untiltransparent4.Combineallingredientsandcookuntildone.DONOTBOIL.5.OptionaldollopofACIDDRIZZLEifneeded.

2.Thesilkscreen,HOWtoSURVIVEaNUCLEARWAR(1992)isanotherexampleofNagasawa’sappropriationofimageryandaesthetics.Thisartworkduplicatesthefoundimageofa“goodAmericanhomemaker.”Itwaspublishedinthe1950sbythePrudentialInsurancecompanyadvertisingthesafetyofatomictests.Thestyleofthisdepictionisanexampleofthe"GoldenAge"ofadvertisingthatlastedfromthe1950‘sto1960‘s,aperiodwhentheU.S.recoveredeconomicallyfromthewarsandbecameaneconomyofconsumerism.Whilefearofatomicannihilationwaskeen,itcoincidedwiththepursuitofthe“Americandream."Thestyleofthisillustrationepitomizesthisoptimism.Itisdrawnwithaconfidenthand.Evidenceofinsecurityorhesitationarebanished.Confidenceisreinforced

SERIESB.HowdoesNOBUHONAGASAWAconvinceviewersofthedangersofnuclearwarintheseworks:NUKECUISINE:CLOUDofMUSHROOMSOUP(1992)andHOWtoSURVIVEaNUCLEARWAR(1992)?

P a g e |12bythetriangularcompositionformedbythehomemaker’sheadatthetopandthefooditemsatthebase,creatingasenseofunwaveringstability.Nagasawaenlargedtheimageandinstalleditsothataghostimageofthewomanappearsbehindit,likeashadow.This"shadow"referstothefamous“photograph”takenbytheatomicflashinHiroshimaaftertheatomicbombwasdropped.Itregisteredanimagethatresemblestheshadowofaladderandaperson-allthatremainedaftertheywerevaporizedbytheblast.Insteadofinventingherownaestheticarrangements,bothartworksadoptfamiliarimagery.Theyarepersuasivepreciselybecauseherinterventionsdonotdisruptthefamiliaraestheticarrangements.Theirpowerisaproductofthecontrastbetweentheirintendedmeaning,andthemeaningNagasawaascribestothem.

Dr.EdwardAtwater,aphysicianinRochester,NY,begantocollectAIDSposterstochroniclewhenandhowthesyndromewasaddressed.Postersaremostoftenproducedforimmediateandtemporarydisplay;theyareseldomsaved.Dr.Atwater'spersistenteffortsatbuildinganinternationalnetworkofcontactsnettedhimacollectionofover6,000AIDSeducationposterswhichhedonatedtotheUniversityofRochester’sRareBooksandSpecialCollectionslibrary.Mostoftheseposterswerecreatedinthe1980sand1990s.Theimagesshownaresame-sizedreproductionsoftheoriginals.AdrienneKlein,artistandeducator,selectedtwenty-sixpostersfrommultiplecountries.WhiletheapproachesrepresentedbytheexhibitedAIDSpostersreflecttheirculturalcontextsandtheirintendedaudiences,thefollowingcommentsfocusonthespecificaestheticarrangementnecessitatedbytheirformsofpersuasion:fear,comfort,warning,precaution,information,indignation.

1.PROTECT:“Don’tShareNeedles,”HongKong.

LindaWeintraub(LW):Thisposterpersuadestheviewertoexamineitscontentswithacleverdevice–thebackgroundandforegroundexchangeroles,thusactinglikeavisualpuzzle!Viewingvacillatesbetweenseeingthefiguressurroundedbydarkblue,orseeingthehypodermicneedlebetweenthemsurroundedbylighterblue.Thevisualsharingbetweenthetwofiguresismadeliteralbecausetheiridenticalbodiesarejoinedatthehip.ButthisbalanceisintentionallydisruptedbytheappearanceofthenastyAIDSviruscarryingatridentlocatedinsideonefigure.

Theorangearrowleadstheviewer’seyetothevirusitself.2.COMFORT:“Reflexion/Reaktion,”Germany.DeutscheAIDS-Hilfee.V.Translation:Despairandsilencewillnothelp.Wedonotwantpity,butsupportandhelpwhenweneedit.Solidarityisneeded,notonlyincrisissituations.

AK:Whilemostpostersarebyunnameddesigners,thisimageisbytherenownedGermanpainterSalomé.LW:Thispostercreatesavisualequivalentto“solidarity”byweavingthefiguresofthestandingmenintoasinglepattern.Note,forexample,howtheupperpartofthearmofthemanwiththegreenshirtcontinuesthelineoftheupperarmofthemanwiththeorangeshirtstandingbehind

him.Likewise,thecurveofthelowerarmofthemanwiththegreenshirtislinedupwiththearmsofthemanintheredshirt.Inthismanner,theimagecreatesapatternthatencirclesthepatient,providingavisualequivalentofcare-giving.

SERIESC:HowdotheseINTERNATIONALAIDSPOSTERSpersuadeviewerstoprotectthemselvesfromcontractingtheHIVAIDSvirus,andtocareforthosewhoareill?

P a g e |143.PROTECT:“SmileyCondomFace,”UnitedStates?

AK:Condomsaretheweaponinaseriouscampaign,butonpostersthey'reoftenalaughingmatter;wordplayandvisualgagsabound.Theacceptabilityofthecondomimageandofexplicitreferencestosexordrugparaphernaliavarybyculture.LW:ThisAIDSposterisavariationofSmileyFacecondoms,apopularconsumerproductthatcomespackagedaslollipops,availableinassortedcolorsandflavors,andstampedwithpersonalinformation.Thisposterstripstheimageofitscutereferencestoconveythegravityofitsmessage.Despitethesmileandthewhitebackground,the

faceispaleanddrawn.Viewersengagewiththemessagebecausetheimagerequiresscrutinyandanalysistodiscernthatthecondomistheletter“I,”andtheeyesaretheletters“a”and“d”tospell“aids.”4.INDICT:“KissingDoesn’t’Kill:GreedandIndifferenceDo”,GranFury/ActUp.UnitedStates

AK:TheunusualdimensionsoftheposterarebecauseitwasdesignedforNewYorkCitysubwaycarswhereitappearedamidstconventionaladvertisingplacards.LW:Thisposterconveysatwopartcommunication.Thefirstsentencestatesacause.Thesecondstatesanaccusation.Theyarebothpresentedinbold,matter-of-factstyle.Theartistconveyedthatthesestatementsarerelatedandofequalimportancebypresentingonewithbluelettersonawhiteground,andtheotherwithwhitelettersonablueground.Althoughthedarkbluebandplacedonthebottomofthecompositionisheavyanddark,theartistmaintainedbalancebyusingenlargedlettersabove.Thethreecouplesarearrangedhorizontallytoencourageviewerstoreadthetext.5.INFORM:“HowTransmitted,”Bahrain,19”x26.75”.Translation:Iamresponsibleformyactions.1991..

AK:HIVtransmissionoccursthroughsexwithaninfectedpartner,theexchangeofcontaminatedblood,orthebirthandnursingofbabiesbyinfectedmothers.Thisposterisoneamongmany,acrossallcultures,thatdirectlyconveythisinformation.

LW:Thisimagedepictsaposterwithinaposter.AmanholdsascrollwithtextandimagesrelatingtothetransmissionofHIV/AIDS.Thispositivemessageishopeful

aestheticallytoobecausethelargest,brightestareanotonlyoccupiesthetophalfofthecomposition,itactuallytouchesthetopframewhichmakesitappeartoberising.Furthermore,theabsenceofagroundgivestheimpressionthatthefigureisweightlessandfloating.

6.WARN:AIDS–Casual(sexual)Encounters”,Russia,Translation:AIDS–casual(sexual)encounters.

LW:Theparkbenchbecomesahospitalgurneycontainingtwofigures.Theirlove-makingonaparkbenchappearswiththepossibleconsequenceofthisspontaneousact–italsoservesasagurneycontainingtheircorpses.Themotionsuggestedbythewheelsisreinforcedbythediagonalofthiscentralform.Thehandlescontributemomentum.Theseaestheticcomponentsmakesitappearthatthedeathofthefiguresisinevitable.Thesolidblackoftheirbodiesalsosuggests

thisbleakfate.7.WARN:“YouDon’tHavetobeaQueenietoGetAIDS”,DepartmentofHealth,Housing,LocalGovernmentandCommunityservices.AboriginalHealthWorkersofAustralia(Queensland).

AK:Thecomicbookstyledesignallowsanentirenarrativetounfold,tellingastorywherechoiceshaveconsequences.LW:Asthefourgravesattheendofthisstoryindicate,thereislittlethatis“comic”inthisposter,despitetheuseofacomicbookstyle.Thisstyleisusedbecauseofitsappealtoyoungpeople,encouragingthemtolearnacrucialfact-“youcan'tcureAIDS.”Thecomplexityofthecolorsandformsprovideacompellingfoilforthesimplicityofthetwomostimportant

statementsthatappearalongthetopandbottomoftheimagery.Thesharpcontrastbetweentheblackbackgroundandyellowletters,andthesimpleconstructionofuninteruptedhorizontalsattractstheeye.Visuallyandthematically,allthematerialinbetweenthesestatementsplaysupportingrolesinthecomposition.8.INFORM:”HIVCellularStructures”.InstitutMerieux,Lyons,France

AK:ThisgraphicrepresentationofabisectedsinglehelixwithinanHIVcellisanexampleofaestheticizinganimagefromscience.TheHIVcellisrenderedasabeautifulobjectagainstablackbackground,lookingquitelikeasettingofjewels.Withoutknowingforcertain,Iassumetheillustrationwasintendedforaknowledgeable,perhapsmedicallytrainedaudiencewhowouldrecognizetheshapeofanHIVcell.Thatsaid,thebasicshape--acirclesurroundedbyknobs

–appearsonpostersintendedtobeviewedbyageneralaudience,perhapswiththethoughtthattheshapecouldbearecognizedsymbolforAIDS.Seeimages14and17.LW:Theelementarygeometryofacirclepositionedinthecenterofacompositionisapowerfulattractorofattention.Theradiatingcircleisevenmorepowerful.TheblackbackgroundassociatesthispowerwiththegravityoftheAIDShealthcrisis.

P a g e |169.PROTECT:Translation:YourBloodBankIsServingYourRelatives,YourFriends,YourNeighbors.AIIMSBloodTransfusionService.All-IndiaInstituteofMedicalSciences.CentreforCommunityMedicine.NGOAIDSCell,NewDelhi,India.

AK:ThisposteraddressestheconcernthatunsterilizedneedlescantransmitHIVbutassuresthepublicthattheirbloodbankcanbetrustedbecauseitadherestosafepractices.LW:Thisposteroffersanupliftingmessagetransmittedthroughtheuseofthecircleplacedhighonthepage,thezoneofpositiveenergies;itappearsvibrantbecauseofthecolorred.Furthermore,theinvigoratingenergycontainedinthisfloatingred

circleisemboldenedbecauseitradiatesinfrontofabrightyellowbackground.Theseaestheticstrategiesconverttheassociationofbloodwithinjury,danger,anddeathintoalife-affirmingsubstance.10.WARN:“UnlessYou’reBuiltLikeThis,YouShouldBeUsingCondoms.MinnesotaAidsProject.USA.

AK:Humorisamongthetoolsdesignersusetoselltheirmessage,whetherthemessageistrivialorserious.LW:Embellishmentwoulddistractfromtheblatantmessageconveyedinthisposter.Itspowerisafunctionoftheelementsthedesignerchosetoexclude.Thereisnobackground,noexpressivecolor,notexture,nopatterning,nointerplayofforms.Thesingleaestheticelementisthesimpleblackborderthatcontainstheundifferentiated

fieldofpurewhite,concentratingenergywhereitwouldotherwisebediffused.Thevisualelementsaresoforthright,thereisnoopportunitytomissormisunderstandthemessage.11.WARN::“Skull,”Iceland.Translation:AIDSandemployment.Informationmeetinghere.

LW:Theconsequencesofnotattendingthemeetingthisposterannouncesareblatant.Itnotonlydepictsadeformedskullwearingafrightenedexpression,thehorrorofdeathisconveyedbytheaestheticqualitiesoftheskull:itispaintedbloodred;shapedtoformadescendingmound;andpositionedinthelowerhalfofthecompositionwhichisthezoneofsomberinevitability.UpsidedownletterintegratedintotheskullaugmenttheominousconsequencesofcontractingtheAIDSvirus.

12.FRIGHTEN:“AghastFace,”Trinidad,FundedbythePanAmericanHealthOrganizationNationalAIDSProgrammeofTrinidadandTobago

LW:Thisfigure’sextremeagitationisapparentbecausehisshouldersareraised,hishairstandsonend,andhismouthandeyesareopenedwide.Hisagitationisalsoconveyedaestheticallybecausethecompositionpullsinopposingdirections:upanddown.Theupwardmovementiscreatedbytheeyebrowsandhair,andbytheeliminationoftheblackoutlineonthetopofhishead.Thedownwardmovementiscreatedbythenose,mouthandtongue.Thiscontradictioniscontainedintheshoulderswhichareraiseuptothefigure’sears,butcontinuedownwardbeyondthe

frameoftheposter.Theeyesrepeatthiseffectbecausetheyrepeattheovalshapeandorientation,andthewhiteoftheshoulders.13.COMFORT:“MyFriendwithAIDSisStillMyFriend,”MarcoSimonTibasima,KuleanaCentre

forSexualHealth,Mwanza,Tanzania.LW:Thefriendshipofthetwomenisaffirmedbytheirvisualunification.Forexample,thearmsandlegsoftheeachmanformperfectlyparalleldiagonals.Furthermore,theirupperbodiesmergeintoacompositeshapethatisechoedbytheboulderonwhichtheyareperched.Visuallyandthematically,twobecomeone.

14.INSTRUCT:“AidsandYouth,”I.SmithandC.Terare,Creators/Group:BrisbaneNorthRegionalHealthAuthority,AboriginalandTorresStraitIslanderAIDSUnit,1993,Australia.

AK:ThedesignandtextaddressanAboriginalaudience.

LW:Thetextprintedonthisposterexplainsitsaestheticsofpersuasion:“Threecirclesaredepictedatthebottomofthepainting.Thelargercirclerepresentsthegeneralcommunity,thetwosmalleronesrepresenttheyounggirlsandboyspreparingtobeinitiatedintoadulthood.Initiationceremonieswereclassroomswhereadolescentswereinstructedintheresponsibilitiesofadulthoodandtriballaw.Sexeducationwasan

importantpartoftheirinstruction.Thevirus,representedbyalargeorangedisk,isboththevisualfocusofthepaintingandthethematicfocusoftheteaching.Educationisthepowerfultoolofpersuasionthatleadstoresponsiblebehavior.Otherwise,weloseourfooting,likethefiguresthatfloatinspaceinthisposter.

P a g e |1815.TEMPTATION::DavidLanceGoines“Apple/Snake,”Creators/Group:UniversityofCalifornia,Berkeley,StudentHealthService,1985,UnitedStates

AK:DavidLanceGoinesisarenownedillustrator,typographerandpoliticalactivistwithastylethatrecallstheBritishArtsandCraftsmovementofthemid-19thcentury.Thisisamongtheearliestpostersinthecollection.LW:Thisposterfeaturestheroleoftheserpent.Thematically,thesnakeencirclestheappleoftemptation.Graphically,itsheadfunctionslikeanarrowtodirecttheviewer’sattentiontothewords,“AIDSPrevention”.Goinesreinforcestheimportanceofthesnakebypositioningitintheexactcenterofthecomposition;itis

surroundedbyathetriangulararrangementofthreewhiteflowers;anditstexturedgreenbodycontrastswiththesolidbrownapple.16.SYMPATHY:“GivepeoplewithAIDSloveandcare.""DesignedbytheHealthEducationDivisionMinistryofHealthandissuedbytheGhanaAIDSControlProgramme/Unicef.PrintedbyActsCommercialsLtd,NationalAIDS/STDControlProgramme(Ghana)

LW:ThewomanintraditionaldressandthebedriddenpatientformanX-shapedpattern.Becausecare-givingisthetheme,thecaregiverisfeaturedbythecomposition.Thewomanoccupiesthedominantpositionwhereimpliedlinesintersecttocreatean“X.”OnelineoftheXiscreatedbythebedandthearmsofthefigures.Theyarelinkedvisuallybythecolorbrown.Theaxisthatcrossesfromtheoppositedirectioniscreatedbythepatternoftheblanket,thewoman’sthighs,andtheangleofthelittletable.Theyarelinkedvisuallybythecolorswhiteandorange.

17.FEAR::Translation:AIDS:AThreatToOurHealth,AliouneDiouf,Senegal.1989.MinistèredelaSantéPublique.Servicedel’educationpourlasanté.Senegal.

AK:AIDSiscalled"slimdisease"inWestAfricabecausethere,unlikeinindustrializednations,thediseasesthatkillHIV-positivepeoplearetypicallygastrointestinal.TheabbreviationAIDSisSIDAincountrieswithLatinatelanguages(thelanguagehereisFrench).LW:Thisposterisintendedtobeviewedbypeoplewhoareculturallytunedtoreadingfromlefttoright.Thisorientationallowstheviewertoperceivethe

dismalprogressionfromhealth,topatient,todeath.However,theeyeisthenledbacktothebeginningbythehandonthebottomrightthatissurroundedbythebrowncolorofthepatient,andappearsinthesamebluecolorasthehealthyspecimen.Theword“stop”onthishandisclearlyintendedforsomeonewhohasnotbeeninfectedbythevirus.

18.PREVENT:FeatherofHopeAboriginalAIDSPreventionSociety(FirstNationpeople),Edmonton,Alberta,Canada.“Intheolddaysitwasmeasles,TBandsmallpox.NowitsAIDS.Protect

thepeople.GetInvolved”AK:ThemessageofthisbeautifulposterreferstodiseasesthatwerearguablyintentionallytransmittedtoNativeAmericansinthepast.ThepostermakesthesameclaimsforHIV.LW:Besidesbeingconfrontedwiththedirectappealfromacommunityelderholdingafeatherheaddress,thevieweralsoconfrontsagreatquantityofvisual

elements:colors(white/black,primaries,andpastels),geometries(rectangles,curves,andtriangles),words(typesizesandfonts),andstylesofdepiction(solidshapesanddrawnlines).Despitethisvisualcomplexity,thereisanunderlyingstructurethatallowsthemessagetobediscernedinthemidstofvisualcomplexity.Forexample,thereisaverticalwhiteandyellowlinethatconnectstheeldertohismessage;andthesolidcoloredareasthatenumeratethediseasesonhisright,andthemessageofhopeonhisleft.Notealsohowthegreen,red,andbluelinespointdirectlytothewords,“nowit’sAIDS”and“protectthepeople.”19.INFORM:“HIVAIDSDoesNotSpreadThisWay,”India,StateAIDSCell,GovernmentofTamilNadu;UNICEFMadras,India.

AK:Aswithanotherposterinthisexhibition,fromTurkey,thispostercorrectswidely-heldmisinformationonhowHIVistransmitted.LW:Theformatofthisposterreliesupontherectangulargridthatiscenteredinthepictorialspace.Eachunitisaccompaniedbyexplanatorytext.Becausethisformissimple,regular,andpredictable,thecontentiseasilyaccessed.Thereisonlyoneareathatviolatesthisgeometricuniformity.Itislocatedinthebottomrightofthecomposition.Itisinthiscornerthattheposter’sprimarymessageisdelivered.

Despitethepresenceofeightfullyillustratedandcaptionedimages,threestrategiesdrawtheeyetothiscorner.First,itbreakstheperpendicularityoftherightanglewhichprevailseverywhereelsebyappearingasadiagonaltriangletoppedbyacurve.Second,thiscorneristhedarkestandmostcontrastingareaintheentirecomposition.Third,theblacktriangletransgressesthewhiteframe,makingitappeartoentertheviewer’sspace.20.INFORM:“HowNotTransmitted,”Turkey.19.5”x27.5”.Translation:AIDSisnottransmitted

(through)akiss,animals,eating,handshaking,apool,atoilet.LW:ThedesignerofthisposterutillizesfourtechniquestocommunicatesixcommonmistakesregardingAIDStransmissionbymakingthewordsareeasytoread:theyappearoncontrastingbandsofblack;lotsofspaceseparatesthem;theyarearrangedhorizontally;theexplanatoryimagesappearinpasteltonespositionedbehindthewords.

P a g e |2021.WARN:“JointEffort,”Canada/Africa,“Weputournation‘shealthfirst.Wewashorheatourinstruments.”FundedbytheSouthernAfricaEducationTrustFund.SisonkeProject

AK:AjointCanadian/SouthernAfricanprojecttargetsinfectionthroughritualscarringceremonieswithunsterilizedbladesorporcupinequills.LW:Thiscomplexcompositiondepictsamedicalprofessionalholdingastethoscope;amanintraditionalgarbholdingabasketwithinstrumentsthatshouldbesterilized(includingaporcupinequillusedforritualscarring);abordershowingtheseinstruments;andillustrationsofatraditionalAfricandoctorusingarazorbladetodrawbloodcontrastedwithamedically-trainedAfricandoctor

givinganinjection.Thisnarrativeisexplainedinthebrownboxthatispositionedoff-center,providingavisualandthematicadvantagetothetraineddoctorwhousessterilizingtechniques.22.INFORM:“Don’tbeFooled.AIDsisnotWitchcraft.AIDsisreal.”KenyaAIDsNGOsConsortiumwithPath.USAID/FHE/AIDSCAP.MinistryofHealth,"KenyaNationalAIDS/STDsControlProgramme,Nairobi,

LW:ThecoexistenceofindigenousandWesternculturesconveyedbythetextisexpressedinthisposterbythenativestylesofarchitecturethatcontrastwiththeWesternstylesofdress.Reconcilingthesediscrepanciescomprisesthethemeoftheposteranditsdominantvisualelement.Thisaestheticunificationisperformedbyanimpliedcirclethatsurroundsthefigures.Thiscircleisestablishedbythetrunkoftheforegroundtree,thenproceedstothelegsoftheforegroundwoman.Circularity

iscontinuedbytheangleofthechair,andthentravelsalongthelineofhuts,whereitmeetsthearchingbranchesofthetreetocompleteit.

23.CONFRONT:KeithHaring,“Ignorance=Fear.Silence=Death.FightAIDS.ActUp.”AIDSactivistgroupAIDSCoalitiontoUnleashPower(ACTUP).USA.

AK:ThephrasesHearnoEvil,SeenoEvilandSpeaknoEvil,conveyedinartistKeithHaring’swell-knowncartoon-likestyle,includesthepinktriangularrecallingtheclothbadgethatidentifiedhomosexualsinNaziconcentrationcamps.Gayactivistsreclaimedthepinktriangleinanactofempowerment,andinverteditfromdownwardtoupwardpointing.the

pinktriangularclothbadgethatidentifiedhomosexualsinNaziconcentrationcamps.Gayactivistsreclaimedthepinktriangleinanactofempowermentbyinvertingitfromdownwardtoupwardpointing.LW:IllnessanddeathwereinevitableconsequencesofcontractingAIDSinthe1980s.Thediseasewassohorrificmanypeopleblockeditfromconsciousness.KeithHaringdidnotdepictthephysicalsymptomsofAIDs.Heportrayedthepsychologicalsymptoms–thefearthatgrippedthevulnerablecommunity.Hevisualizesthisemotionalstateofthethreefiguresbydepictingthemwithabstractedshapesthatareoffbalance,andthereforeunstable.Theseshapesarecompletelysurroundedbyshort,blacklinesthatradiateincontradictorydirections,asiftheyarequiveringandshaking.Theprecariousbalanceofthecentralfigureisconveyedbyteeteringonhistoes.Thefigurestohisleftandrightmaybeplantedfirmlytotheground,buttheirbalanceisextremelyprecarious.Thetensioninthissectionofthecompositionisintensifiedbecauseofthecontrasttothestablehorizontalsthatsurroundthem. 24.WELCOME:ChurchWelcomeMat,“OnlythingthatcomesbetweenourchurchandpeoplewithAIDS.Welcome.”Photography:RickWhittey,Typesetting:ArrowComp,AIDSMinistriesProgramofConnecticut.

LW:Twospatialsystemscoexistinthisposter:thetextliesflatagainsttheposter’stwo-dimensionalsurface,whilethree-dimensionalperspectiveisutilizedtodepictthewelcomemat.Thisinvitesviewerstopenetratethesurfaceoftheposterandenterthepictorialspace.Thepottedflowersplacedalongthemostdistantaxisserveasavisuallureintothepictorialspace.Thusthecompositionisaswelcomingasthemessage.

25. ADVISE:“Barber,”Togo,Translation:Hairdresser,yourrazorcantransmitAIDS.Changefromoneclienttoanother.MinisteredelaSantepubliquedesaffairessocialesetdelacondition

feminine,ServiceNationaldel”EducationpourlaSante,B.P.8075,Lome,Togo.

AK:Wedon'tusuallyassociatesuchaprosaicactivityasshavingwithaserioushealthrisk.

LW:Becausethisimageoffersadviceinsteadofinvokingfearsandwarnings,theimageisnotthreatening.Whilethebarberandhisclientarethelargestimagesinthiscomposition,thewastereceptacleforusedrazorsisassignedacentralpositionwithinthevisualscheme.Itisevenmoreprominentthanthetext.

P a g e |22

TimGaudreau’scustomizedLost&Foundpostersutilizeafamiliar,grass-rootswaytoaskyourneighborstoreturnamissingobject,ortoannounceafoundobject.Thereversaloftheirtypicalassociationsservesasanamusingmeanstoconsidertheenvironmentalimpactofsmall,individualactions.GaudreauproducedanewseriesofpostersspecificallyabouttheWoodstockenvirons,directingtheirprovocationatthelocalcommunity.Gaudreauexplainshistacticsofpersuasion:

- “Thetrickofthesepiecesistofindawaytobreakdowncomplacency.Howdoartistsgetpeopletoconsideranewideafromanewperspective?Therealityisthatweareextremelybusy–wearebombardedwithvisualimagesconstantly.My“Found”posterstakeaubiquitouspartoftheenvironmentaroundsmalltownsandcities.Iflipitaround.It’sbothexpectedandunexpectedatthesametime.Ican’tforcepeopletoreadthem,butthepostersthemselvesasktoberead.

- Myaestheticistocontradicttheclutterandcacophonyofthevisualenvironment.Iget

viewer’sattentionbecausemyimageissimple,pure,blackandwhite,carefullycomposed,andsubtle,withalotofwhitespaceasawaytodrawtheeyeintoseeit.Ifitishandwrittenandmessythenitwillbeoffputtingandpeoplewon’tbeabletodigestit.Iwanttomakeiteasyforpeopletoseeandread.Thatiswhyitistypedandclear.

- IleavetheobjectinthephotographasIfoundit.ButI…composeandframewhatIfind.I’m

treatingalloftheitemsclose-up,straight-on,butatanoddangleorupsidedownbecausethepremiseofthefoundpostersisthatIdon’tunderstandwhattheobjectisorwhatitdoes.Iattemptwitheachimagetorevealasmuchinformationaboutthephysicalcharacteristicoftheobjectsasaphotographcanreveal.

SERIESD:HowdoTIMGAUDREAU‘sLOSTandFOUNDPOSTERS(2018)persuadeviewerstobecomeresponsiblestewardsoftheenvironmentandpreservetheirregion’snaturalassets?

Theimagesonallthefoundpostersareskewedatanangle.Ihavetwomotivations.One–I’mtryingtocountertherigidnessofthetypefaceandtherectangleofthepapertodeliberatelygivetheposterlife–todrawtheviewer’seyetoit.I’minfluencedbyRolandBartheswhobelievedthatsomethingthatisnotquiteperfectisatoolthatcreatestensionthatgivesanimageenergy.

- Lostandfoundposterscomeoutofourgoodnature.Mostpeoplewanttobepartof

communityandwanttobegoodneighbors.Sotheideaofthelostandfoundposterstapsintothatideaofhelpinganeighborinneed.Asanenvironmentalist,Iseesomanythingscomeacrossasconfrontational.Thatmakesitdifficultforpeopletohearwhatyouaresaying.Icircumventthatbaggageofenvironmentalmessaging.

- Iputmyrealnameandtelephonenumberontheposters.Itisessentialtobeclearwhereone

stands.Iamnotmakingananonymousstatement.IammakingastatementaboutsomethingIbelieveisimportanttobeheard.Itakeownershipwithmynameonit.Itgivesthisworkmorepower.Itisaboutholdingmeaccountableregardingthestatement.Byincludingmynameandcontact,Iaminvitingpeopletocontactme.Iwanttointeractwithpeople.

- Isthisprojectaworkofart?Ispecificallyintendtousethetoolsavailabletometo

createprovocationsthatmayencourageaviewertoreconsider,ifonlyforamoment,theirsurroundings.However,myaudienceisnotthemuseumgoernortheeducatedaristocracy,buttheaverageconsumerofgoodsandresourceswithineachofus.Thus,thedemandsoftheworkaredifferent.But,isitart?Suddenlyitnolongermatters.What*does*matteristhatthereisanideapresentedandaviewersees.Myagendaistocreateinquisitionandinsightinadvanceofenvironmentalprogress.Whetheroneviewstheworkasartisnolongerrelevant.

GaudreaucompletedhisMasterofFineArtsdegreeininterdisciplinarystudioartandcriticaltheoryattheMaineCollegeofArtin2002.Hisphotography,video,new-media,graphics,andsculpturearedistinguishedbyhumor,wit,andironydesignedtoincreaseawarenessofeco-issues.

P a g e |24

1.GeorgeRivera,OjalaInshaallah(Hopefully,ifGodwills).Digitalprint,2004.

“ThisartpiecewascreatedforthefirstexhibitionthattheARTNAUTShadinPalestine,whichwasentitledCommonWounds.TheSpanishword“ojala”derivesfromtheArabicword“InshaAllah”(“ifAllahorGodwillsit”).ThisSpanishwordenteredtheSpanishlexiconwhentheArabslivedinSpainandwerelaterexpelledoutofthecountry.AsapersonwhoisofMexicanheritage/descent,IhavelanguageincommonwiththePalestinianswhospeakArabic.Myworkalsocontainsasubtextthatpleadsforustobuildabetterworldwithout

war.MyaestheticderivesfromArt&Language.Iusetexttoconveythatallofushavesomethingincommon.Theartworkitselfistwo-dimensional,butIalsoincludedabowlwithfreebuttonswiththeentiretextoneachbutton,asanefforttomakevisibleourcommonwilltoresistinhumanity.”GeorgeRivera2.SamCoronado,Gaza,print,2009.

“IcreatedthisartpieceforanexhibitioninPalestineduringthe2008-2009GazaWar,alsoknownastheGazaMassacre.ItdepictsaPalestinianwomancrying.Thecolor“red”isusedtosignifythecolorofblood.ItseekstopersuadeustoceasethebloodshedsufferedbythepeopleofGaza.”SamCoronado

SERIESE:HowdotherepresentativesoftheARTNAUTS,a300-memberartistcollective,persuadepeopleintroubledsitesaroundtheglobethatUScitizensareawareoftheirplight,andoffertheirheartfeltsympathy?Over150suchexhibitionshavebeenmountedinnineteencountries.ThefollowingworkswereexhibitedinBethlehem,Palestine,andSarajevoin2014and2016.

3.RichardArmendariz,BoyscoutsofAmerica,Burneddrawing,2013.“TheimageisofaBoyScoutwhoisdressedinparamilitarygear.Hisgunispointeddown.Thatistheposturethatistaughttoemphasizegunsafety.Theperspectiveisfrombelowwhichgivesamoreominousfeeling.Thebackgroundisblanktoemphasizethefigure.Thisispartofaseriesofburneddrawingsthatstemmedfrommyresearchin“narco”culture.OriginallyfromElPasoit’shardtoshakehowpervasive“narco”cultureisontheBorder.Burningtheimageintothearchivalpaperunderscoresthevolatilityofborderissues.AwoodburningtoolcommonlyusedbyBoyScoutsisusedtomakethe

marks.Thereisasenseofscarringandpermanencetothemarkmakingthatemphasizestheconceptualidea.ThecolorandtexturearederivedfromtheamountoftimeIholdthewoodburningtoolinanyonearea.ThelongerIholdthetoolthedarkerthemark.ThisishowIcreatethevariationinvalue.“RichardArmendariz4.RebeccaDiDomenico,AMappingPractice.Photo.2015.

“Mapsareflatrenderingsofthreedimensionallandscapes.Theydelineatecountries,continents,statesandbodiesofwater.Theyseparateandunitesimultaneously.Weliveintimeswherewarsarefoughtbetweencountries,overborders,overlandandwaterrights,andyetweareallinterconnectedthroughtheland,riversandoceansthatexistonoursingularplanetspinninginspace.Iremovethelandfromthemapsbycuttingitout,therebyisolatingtherivers,waterwaysandroads.Theideaistoemphasize

thepathwaysbypresentingtheearthlikeaneurologicalorganismofcomplexnetworking.Iattachthemtothewallwithmappinsinundulatingforms.Theyarerepresentationsof3Dlandscapesthatarefirst2Dandthenbackto3Dastheyareassembledandinstalledonthewall.Theshadowscreatedpresentyetanotherdimensionphysically,addinglayersandpsychologicallyasareminderoftheshadowineachofourindividualandcollectivepathsthroughlife.Maps,ingeneralarerenditionsofeverythingfromsmallplotsoflandtoentirecountriesorcontinents.Honinginonthemisawaytoplaceoneselfinalocation.Idon’tnecessarilythinkofthemasfragments,becausewhenIinstallthem,Ijointheriversandwaterwaysasawaytoremindtheviewerthatweareallconnectedthroughtheaweinspiringlandscapeoftheplanetweliveon.Ilikehowthehighwaysandwaterwaysoftheoutsideworldmimicavastsystemofnervesandarterieshiddeninsidethehumanbody:theexteriorresemblestheinterior.”RebeccaDiDomenico

P a g e |265.SandraC.Fernandez,SupporttheDreamAct.Etchingwithhandcoloring,2011.

“Thisworkutilizespredominantlyamonochromaticcolorschemewithacentraldiagonalelementcoloredinredthatdividesthepictureplaneverticallyintwoareas.Thiscompositionalelementsetsupthestagethatdrivesthecontentofthepiece.Byvisuallydividingtheprintintwosections,theviewer’seyesettlesoneachareatocomebackandconnectbothforacompleteinterpretationofthework.Uponacloserlook,you’llfindthewordNevermorewhichplayswithEdgarAllan’spoem“TheRaven”.Underneaththiswordiswritten…deniedaccesstoeducation,thecentralthemeofthework.Theuppersectionisoccupiedbyanoversizedraven(symbolizingbringinglighttodarkness,fromthePacificNorthwestcoastindigenouspeople’sbelieves),andthelowersectionbyamotherandtwochildrenstandingoverthemapoftheUnitedStates.

TheDREAMAct(shortforDevelopment,ReliefandEducationforAlienMinorsAct)wasabillinCongressthatwouldhavegrantedlegalstatustocertainundocumentedimmigrantswhowerebroughttotheUnitedStatesaschildrenandwenttoschoolinthiscountry.”SandraFernandez6.MichelleFisher,ItaiDoshin(Buddhistunity).Gesso,paraffinwaxonblackcanvas,2017.InternationalFestivalSarajevo“SarajevoWinter,”Sarajevo.BosniaandHerzegovina.

“ItaidoshinisaBuddhistphrasemeaning“Manyinbody.Oneinmind”.Itisaunitythathasatitsheartrespectforthediverseanduniquequalitiesofeachindividual.Icompletedthispieceafterwalkingwiththe250,000peoplewhomarchedforinclusivity,toleranceand“lovetrumpshate”on21January2017,inDenverColorado.Ifrequentlyusegessoaspaintinmywork.Ilovetheplasterlikequalitythatcanbethinnedtoshowparticleslikeaveil,aghosttrail,somethingtransientbutprecious.Inthispiecethebrushstrokesareheighted.Mypresence

andauthorshipareprominent.Thecirclesignifiesunity,community,connection.Theblackpaperallowsustoseetheetherealmaterialqualityofthegessoandparaffinwax,likeanx-rayorthepowergeneratedbytheintentionalassemblyof250,000people.”MichelleFisher7.ClaireJackel,MakeMeNew.Photo,2013.

“Thenarrowtoneservesasapullfortheviewer.Myintentionistophysicallydrawtheviewerclosertotheworktoexamineitupclose.Thechaoticstackortumbleofhousescombinedwiththeflimsypaperwithwhichtheyareconstructedcontrastswithnotionsofhomeassafeandsecure.Thehousesextendbeyondtheframetosuggestthatmanymorelieoutofview.Ititledtheworkafterapoementitled“House”byCKWilliamsabouttheprocessofrenovatingaruinedhousethatincludesthelines“Downunderalltotheancienterrors,indolence,envy,pretension,thefrailties…”ClaireJackel

8.SandyLane,Homeland.Digitalprints,vellum,ambershellac,etchingpaper,quiltingthread,2015.

“Aseriesofindividualprairiedoghomesformagridrepresentingdiasporaoftheprairiedog.LineandshapeappearasdominantartelementswithinHomeland.SchematiclineillustratesU.S.westernstates(whereprairiedogsinhabit)onamap,whichliesbeneaththegridofimagesdetailingtheirhomes.Repeatedroundvoidsformpointsofemphasisaswellasthethresholdstotheirdomicilesineachframe,whilehand-stitchedbrokenlinesframeeachimagereinforcingbordersandimplyingdomesticity,whichprovidesasymbolicreferencetothehumanhome.Homelanddepictselevenabandonedprairiedoghomes.Myhomebordersfive-milesofopenspacedesignatedasanoffleashdogpark.WhenIfirstmovedinprairiedogsownedthisland.Theylived

inclearlyestablishedtownsandcommunitiesacrossthisfive-mileterritory.TwoyearsafterImovedinsignswentupthroughouttheparkalertingeveryonetothebubonicplaquethatwasravagingtheirvillages.Withinsix-monthstherewasn’taprairiedoginsight.Theirpresencehadbeenerased.Eachindividualhomefilledwithdirtandleveled.Imissmyneighbors.”SandyLane9.TonyOrtega,Passport,Identity,Place&History.Mixedmedia,2014.

“Passport,Identity,Place&Historyiscomposedwithdigitaltechnology.Imergeabstraction,simplification,andrealism.Myworkcombines,flatspacewithcubicalspacetoformanewambiguousspace.Icombineverticalandhorizontalelementsthatproduceasolid,confident,andorderlysenseofstructure.Thisallowsmetojuxtaposeandsuperimposeunlikelyimages,symbolsandwordstoencourageopportunitiesforthebendingofmeaningandthewarpingoftimeandplace.AsaChicanoartist,myidentity,cultural,traditionsandgeographicbackgroundareintegralinmyart.Fornumerousartistsandmyself,culturalhybriditybecomesafoundationinourartworkbyaddressingthedistinctionsbetweentheworldsweexperienceorwaysthattheycombine.”TonyOrtega

10.AnneHallam,QuietResistance.Digitalprint,2016.

“Thiscompositioncombinestwodimensions(thebackgroundandthewhitediskareflat)andthreedimensions(thecribisrenderedinperspective).Theforegroundwasconstructedfromaphotographofathree-dimensionalcribandcircularborder,whichIcreatedusingthemediumofcutpaper.Thecribappearsfrontandcenter,soastovisuallydominateandemotionallypersevereoverthemedicalimageryandcontent.Thecolorwhite,chosenforthecrib,embodiesaquietness,relatingtothedeep,personallongingassociated

withinfertility.Thebackgroundcolorsreappearwithinthewhitedisksoastoimplytheillusionofdepth.Thewhitediskandinternalcribfloatoverthemedicalimagery.Thecribisborderedbyacircularwreathofflowers,representingafeelingofeternityandongoingpersonalgrowth;andconveyingmydesireforwholenessorcompleteness,perceivedtohappenwiththearrivalofachild.”AnneHallam

P a g e |2811.ArdyZirakzadeh,Yurrita.IntaglioPrintwithtornpaper,2016

“Iemphasizethehumanityoftheartistinmyworkthroughpersonalimageryandcombiningprintmakingtechniques.In2015myuncle,aunt,wifeandIwenttoasmallchurchinGuatemalaCity,Guatemala,whereImadesomepreliminarydrawingsasthebasisformyprint.ThechurchwasbuiltwhenacoffeeplantationownerhadavisionfromGodtocreateachurchthatwasdesignedandbuiltbyhimusinglocalandrecycledmaterials.ThechurchisknownlocallyastheYurritachurch,afterthebuilder’sfamily’sname.Thepictureisbasedonthebuilder’simageofGolgotha,theplacewhereChristwasburiedandresurrected.Thebottomoftheimageshowsthephysicalaspectsofman’shomeonEarth.Theaxiscreatedbythecrossandpeak,whichcontainsanimageoftheVirginMary,leadstheeyeand

soulupwardtowardstheheavens.DiagonallinescrossingthearchwayrepresentthepathwaysleadingtoHim.Tornpapercreatesareasofvaluewhichinteractwithetchedlines.Thechromachangesofthetornpaperalsocreateemotionsbasedonwarmthandcold,whileblurringtheimage’ssharplines.Inthisprintthewarmbrownsoftornpaperandthecoldblackandbluecolorsoftheinkprovidethecontrastneededtobringouttheconflictingroleofreligioninourlives;thelightshiningthroughthedarkness.”AndyZirakzadeh

12.MarthaRusso,cometothetable.Fortheexhibition“Peace”inBosnia,2015.Photograph,transparencies.2015

“Peace,tome,isbasedintrust.Sittingatatablewithsomeone,facetoface,andhavingcoffeeorteaisanactoftrust.Whencatastrophestrikes,rebuildingtrustcanbeinfinitelyover-whelminganddifficult.Myworkisaboutbreakingdownthisdauntingtaskbyhavingoneconversationattime,betweentwopeople,sharingacupofsomething,andcomingtothetable.Icarefullyrestrainedthepaletteinthework.Themonochromaticatmosphereintonatesagesture,asketch,somethingpreliminary,almosttentative,asiftestingthewatersofthisveryintimateevent.Theimageryisshroudedinaseaofscribblesthatareakinto

wordsfloatingthroughinaconversation,makingaverysubtleandsoothingpattern.Alloftheformalcharacteristicsofthepiecepointtoaquiethope.”MarthaRusso

Inthemid-1840s,Honoré-VictorinDaumiercreatedcaricatureddepictionsofmembersofthelegal

professionthatresultedintherenownedlithographicseries,“LesGensdeJustice.”.Daumierbasedhis

mockeryofcorruptjudgesandgreedylawyersonhisownexperienceasanemployeeinabailiff'soffice

duringhisyouth.Nonetheless,hisportrayalsarenevercruelorbitter.Daumier’sapproachissatire,not

accusation.Theresultishumor,notcondemnation.Ultimately,hedirectshisartistic“persuasion”inthe

directionofsympathyfortheplightofsociety'spooranddefenseless.

TheseriesoflithographswaspublishedintheLeCharivari,afour-pagemagazineprinteddaily.Daumier’s

caricaturesoccupiedanentirepageofmanyissues.Theunflatteringportrayalswerereviewedeachdayby

acensor.

HowdidDaumiermanagetobecritical,sympathetic,andamusing,allatthesametime?Essentiallyherelied

uponexaggeratedgesturesbecausetheyappearabsurd,inthemannerofaclown.Thiswasaccomplishedby

elongatinglimbstorevealtheshamefulactsofjudgesandlawyersthroughpostureorgesture,andthe

humiliationofthedowntrodden.Thesequalitiesareamplifiedbystrippingawayextraneousdetailthata

photographmighthavecaptured.Thus,Daumierutilizeshumortodisclosecorruption,folly,pretense,and

duplicity,anditsconsequences.

ThecommentsaccompanyingthefollowingimagesfocusontwoformsofDaumier’svisualwittiness.They

constructpsychologicaltensionsthroughimpliedaestheticimagerythatarenotactuallyvisualized.Oneis

producedbyadepictedcharacters’gaze.Theotherisproducedbythedirectionoftheirspeaking.

SERIESF:HowdidHonoré-VictorinDaumier(French:1808–1879)persuadepeopletorecognizethefoiblesofcorruptjudges,pitiabledefendants,deceitfulattorneys,andgreedylawyersthathedepictedinhisrenownedseriesoflithographs,'LesGensdeJustice’(ThePeopleofJustice)?

P a g e |301. Translation:True,youhavelostyourcase....butyousurelymusthaveenjoyedtheeloquenceofmypleading!LW:Theattorney’seyesareclosed.Heisonlypayingattentiontohimself,whichvisualizesthetheme.

2. Translation:Hereisthepublicministerwhowillsaysomeveryunpleasantthingstoyou....sotrytocryalittlefromoneeyeatleast....itusuallydoessomegood!...LW:The implied linebetweenthe lawyer’smouthandhisclient’sear isveryshort,whichvisualizesthatasecretcommunicationisbeingwhispered.3. Translation:Youaresopretty,dear,itwillbeeasytoblameeverythingonyourhusband.LW:Thisimpliedlineisextremelystrongbecauseitiscreatedbythelawyer’sspeakingandlooking.Thesedistancesareshort.Heisinvadingherspace,indicatingthathiswordsaremeantexclusivelyforher.

4.Translation:-Ireallygaveyouagooddressingdown...-AndIdidn‘tmincemattersinmyreply....-Wewerebothexcellent...-Weweresuperb.It‘sreallyonlyinthePalaceofJusticethatpeopleknowhowtoargueandcalleachotherallkindsofnameswithoutreallygettingangry.LW:Atrioofimpliedlinesconveytheintensityoftheconversationbetweenthetwojudges.Onelineistheexchangeofgaze.Thesecondconnectstheverbalcommunication.Thethirdisthetouchingofhands.

5.Translation:Takenpossessionof,item....Onewaterjug,containingnowater....LW:Thethematicfocusofthisworkisthepieceofpaperthatcontainsthestatement.Itbecomesthefocusoftheaestheticcompositionbecausethegazeofallthreemenisdirectedtoit.6.Translation:Aratherunsatisfiedlitigant. LW:Thedramaofthisdialogueisembodiedintheimpliedlineconnectingtheaccusatorygestureofthepoorclient,andthedisdainfulsneerofthelawyer.Thebackgrounddiagonalsreinforcethedirectionofthisdramaticcommunication.

7.Translation:Yes,theywouldplunderthisorphan,whomIcannotnecessarilydescribeasbeingyoung,sinceheisfifty-sevenyearsold,butitisnolessanorphan...yet.....Iam,reassuredknowingthatjusticealwayskeepsanopeneyeonallguiltymaneuvers....LW:Thecomicallackofinterestonthepartofthethreejuristsisconveyedaestheticallybecauseoftheirlackofconnectionwithall

threeimpliedforcelinesspewingfromthefigureontheleft:verbaldeclarations,imploringlooks,andanoutstretchedarm.

8.Translation:Hegraciouslydefendstheorphanandthewidow,thatisunlessheattacksthewidowandtheorphan.LW:Thelawyerspronouncements,outstretchedarms,andgazeallcreateanimpliedfocusthatliesoutsidethelimitsofthisartwork,andinvadesthespaceoccupiedbytheviewer.

P a g e |32

ThesecontemporaryTantricdrawingsfromRajasthan,Indiaperpetuateatraditionthatoriginatedintheseventeenthcentury.TheyareutilizedformeditationwithintheTantricHindutradition,notTantricBuddhism.InSanskrittantrameans“loom”or“weave.”Theconnectivetissuethiswordsuggestsexistsbetweentheotherworldlyzoneofsoulanddeities,andtheearthyzoneofmatterandhumanity.Thesepaintingsembodytheformerthroughminimalist,idealforms.Theyevokethelatterintheirregularitiesthatresultfromhand-drawnimagesrenderedonfoundpiecesofpaper.Tantricpaintingsareassociatedwithtemplesandritualsandvisions.Theyembodytheessenceofreligiousexperience,asiftheyweredrawninecstasy.Becausethetraditionexcludesindividualcreativeimagination,theTantricartistisalwaysanonymous.Eachshape,color,andarrangementemergesfromadistinctvisuallexiconthatevolvedoverthecenturiestoawakenheightenedstatesofconsciousness.LentcourtesyLauraBattle.

1. AnonymousTantricdrawingLW:CreatingTantraartisconsideredthehighestformofworship.Likeayogadiscipline,thisartdisciplinedisclosestruthsthatarefundamental,universal,andeternal.Simplegeometriesexpresstheseconceptsaesthetically.Thetriangle,forexample,isthearchetypalsymbolofasacredenclosurebecausespacecannotbeboundedbyfewerthanthreelines.Thus,thetriangleinvokesthefirstfiguretoemergefromchaos.Becauseitistheessenceofcreation,itembodiesfemininepower,knownasShakti.Inthisimage,theinvertedtriangle,surroundedbyared

glow,appearstovibrate.ItsexplicitsexualitysuggestsShakti’screativedesires.Thedotthatsheenclosesisthesymbolofthepurevoidofthesupremedeity.Itrepresentstheentirecosmos.

2. AnonymousTantricdrawing.LW:Theelementsinthispaintingformanessentiallysymmetricalcomposition.Becausenothingappearstobemissing,thisbalancecreatesasenseofwholeness.However,theimageisenlivenedbydeviationsfromstrictgeometry.WithintheTantriciconography,thesquarevisualizesthemundane,physicalworldbecauseitindicatesthefourcardinaldirectionsthatbindtheearthinorder.Thispatternalsofulfillsthiswork’sintentionbyrepresentingthefourgatesthemeditatorcrossesduringpassagefromtheearthlyrealmintosacredspace.

SERIESG:HowdoTantricpaintingspersuadeviewerstoreleasetheirconnectiontoearthlymattersandentertherealmofdivinity?CollectionofLauraBattle

3.AnonymousTantricdrawing

LW:AkeyscriptureinHinduism,theBrhadaranyakaUpanishad,describesaspidersittingatthecenterofitsweb,issuingandreabsorbingitsthreadsinconcentriccirclearoundapoint.Thespider'sthreadssymmetricallyexpand,buttheycanallbetracedbacktothecentralpointoftheweb.Althoughpointshavezerodimensions,withintheTantriclexicontheyrepresenttheall-powerfulsourceoutofwhichtheentireuniverseexpands.Becauseapointcannotbecontractedor

condensed,itvisualizesthedivineessenceoutofwhichallformsemerge.Thebinduistheprimalpower-point,aninfinitereservoirofenergy,thesupremecreativenucleus.

4. AnonymousTantricdrawingLW:ColorfactorsintotheTrantricalchemyofwisdombecausethelightofenlightenmentcontainsallpossiblecolors.RED:connoteslifeforce,bothasathreattolifeandasthecolorofpassion.BLACKrepresentsprimordialdarknessandhate.BLUEevokeseternity,purity,chastity,andpeacebecauseitisthecoolestandleast‘material’ofallhues.ItisthecoloroftheprincipalMedicineBuddha.Thistrantrapaintingoffersameanstoovercomered(passion)andblack(hatred)andtransformthemintoblue(calmness).

5. AnonymousTantricdrawing.LW:Theovalshape,knownasthe‘lingam’,hasnobeginningorendonitsroundedsurface.Itembodiesrisingaboveconflictsandcontradictions,andenshrinesunityandequilibrium.ThelingamisthesacreddiagramofGod’stranscendentTruth.BecausethisTruthiseternalandformless,itisinaccessibletothemindthatisconditionedtotime,space,andcausation.Tomeditateuponalingamistoexitthephysicalworldandentertheall-pervasive,eternaldomainofpurelight.Thisarchetypalsymbolhasbeeninexistencesincearchaictimes.Itsenduringpresencesignifiesitsstatusinthepsychologyofhumanperception.

P a g e |34

WPANationalParksPosters:1935-1943.

LW:Whilethestockmarketcrashof1929,andtheensuingDepression,greatlyreducedvisitationtotheNationalParks,theseterritoriesreceivedextraattentionaspartoftheNewDeal.TheeconomiccrisisresultedinaboominconstructionofvisitorfacilitiesandaNationalParksposterproject.Between1935and1943,theWorksProgressAdministration(WPA)hiredartiststohonorthesespectacularlandscapesandtheirdiversewildlife.Thenamesofthecreatorsoftheninesurvivingpostersarenotknow,butadistinctaestheticsofpersuasionisevidentineach.Noneprovideafactualaccountingofthesegrandiosesettings.Insteadofdocumentingeachparkfromanactualpointofview,ataparticulartimeofday,aspecificseasonoftheyear,andpreciseweatherconditions,theartistsextractedtheenduringindicatorsofeachlandscape.Theseposters

donotpresumetoinformviewers.Theyofferhighlystylizeddepictionsbecauseabstractingtheiressencesiseffectivetostimulatetheviewers’imaginationsandtheirdesirestovisit.

SERIESH:HowdotheseWPAsilkscreenposters,createdbetween1935-1943aspartoftheNewDeal,persuadethepublictohonor,andtovisit,theNationalParks?

LW:Footballteamsaredifferentiatedbythemascotstheyselecttoepitomizetheattributestheywishtoembody:

Panthers(CarolinaPanthers)arecunningwhentheystalktheirprey,andferociouswhentheyattack.Patriots(NewEnglandPatriots)arevehementaboutwinningfortheircause.Vikings(MinnesotaVikings)areknownforraidingandconqueringtheirfoes.Lions(DetroitLions)epitomizestrength,powerandfierceness.Horses(DenverBroncos)areswiftandwild.Buffalos(BuffaloBills)arerenownedfortheirstaminaandviolence.

SERIESI:Howdofootballlogosignitethefans’loyaltyandfervor?

P a g e |36Dolphins(MiamiDolphins)areremarkablefortheiragilityandintelligence.

LW:Althoughtheteamaredifferentiatedbymascot,theyarenotdifferentiatedwithregardtotheaestheticstrategiestheyemploytorousetheirfans.Alltheteams’logosconformtothefollowingaestheticrules:

- Mascotsarepositionedintheright-facingdirection.Thisorientationproducestheimpressionofswiftmovementandunimpededprogress.

- Eachright-facingmascotistiltedslightlyinanupwarddirection.Thisorientationacceleratesthesenseofswiftmovement.Itnowappearstobedashing.

- Thelogosareallwiderthantheyaretall.Thisorientationfurtherexpandsthethrustandvelocityimpliedbytheimage.

- Mascotsappearassingularimagesisolatedagainstanundifferentiatedfieldofsolidcolor.Thisoccupationoftheforegroundagainstthebackgroundisthevisualequivalentofasuccessfultackle.

- Brightcolors,sharpcontrast,flatsurfaces,andsimplifiedformsstripthemascotsofresemblancestotheirphysicalselves.Theseaestheticattributeselevatethemtosymbolsofthequalitieseachteamhopestoembody.

- Themascotsvaryincolor,butitissignificantthatfewutilizethecolorgreen.Greenisrarewithinthecontextoffootballbecauseittypicallyrepresentnature,springtime,rebirth,andfreshness,whereasmascotsexonerateforce,brutality,combatandconquest.

LW:TherichreservoirofvisualstrategiesusedonpropagandapostersexplainwhypostersremainanenduringaspectoftheculturallegacyoftheWorldWars.Theposterwastheall-powerfulmeanstoinspire,inform,andpersuadebeforetelevisionandtheinternetbecamedominantmeansofcommunication.PostersplayedaparticularlyvitalroleinthemilitarystrategyintheearlyyearsoftheWorldWarIbcausetherewasnoconscriptionuntil1916,armieslargelyrelieduponvolunteers.Whilesomepostersclungnostalgicallytopastvalues,manyadoptedthevisualqualitiesofavant-gardemovements.Thatemergedduringthewaryears,suchasDada,Futurism,Constructivism,andSurrealism.Bydivergingfromartconventions,thesemovementsreflectedthemilitarydisruptionsandupheavalthatwereoccurringatthetime.Despitethedisparatenationalidentitiesapparentintheseposters,aninternationalconsensusemergedregardingthestrategiesforpersuadingmentoenlist.Thefollowingexamplesprovidetwocategoriesofappealfordutyandpatriotismonthefrontlineandonthehomefront.Thefirstgroupexploitsfear.Thesecondgroupinspiresconfidence.Thiscross-culturalconformityofpsychologicalapproachesextendedtoincludetheaestheticstrategiesutilizedtoevokethesepsychologicalstates.Thefollowingprovidesexamplesofaestheticcompositionsthatcrossednationalborderstoinfluencepublicresponse.FEAR.Fearresultsfromthesenseofbeingattackedbyanaggressiveforce.Thedesignersofthefollowingpostersrepresentavarietyofnationsandculturaltraditions,buttheyallutilizethesameaestheticmeanstomakeviewersfeeltheyarebeingassaulted.Thisisaccomplishedbycreatingtheillusionthattheflatpictureplaneisactuallythree-dimensional.Then,insteadofthe3-Dspaceretreatingawayfromtheviewer,theimpressionisreversedsothatthe3-Dimageappearstoinvadetheviewer’sspace.Whenspacerecedes,itbeckonstheviewertoenter,likeagentleappeal.Butwhenthespatialimpressionprojectsforward,itviolatestheviewers’spaceandevokesthephysicalsensationofbeingfrightened.

1. Russia.Translation:Deathtotheworldimperialism

SERIESJ:HowdidthedesignersofWorldWar1andWorldWar11posterscreatedbyalliesandenemiespersuadeeligiblesoldierstoenlistandthepopulacetomakesacrifices?

P a g e |38

2. USTankcorps.

3. Italy.Translation:BlameLiesWithThem

4. Germany.Translation:Bolshevismbringswarunemploymentandfamine.

5. Japanesepropaganda,WorldWar11

6.Japanesepropaganda,depictionofPresidentRoosevelt

CONFIDENCE:LW:Maintainingmorale,bothonthefrontlineandonthehomefront,iscrucialtosuccessinanywar.DuringtheWorldWars,therewereconstantrallyingcallsaroundpatriotismandnationalism,remindingpeoplethatfightingforthesovereigntyoftheircountryexceededpersonalconsiderations.Posterswereawashwithpatrioticstereotypesandstirringslogans.Thecreatorsofthefollowingpostersutilizedaestheticstoboostmoralebyconstructingasingle,largetriangle,plantedsecurelyonitsbase,thatrisesalongthecentralverticalaxis.Becausethisshapeisstrongandunwavering,itevokesinvincibility.Eachposterconstructedthistriangularconfigurationbypositioninganuprightfigurewithlegsspreadapart.Theshapeembodiesconstancy,honor,uprightness.andresoluteconfidence.Noticethatyellow,orange,andred,longspectrumcolors,dominatethesevisualizationsofconfidences.Redisassociatedwithcourageandstrength.Yellowsuggestsconfidenceandcreativity.Orangecombinesthesepositiveconnotations.

7. GermanyWW1.Translation:Yourmountainsareintrouble.You!Report.CreatedbyLucienZabel.

8. Russia.Translation:FREEDOMLOAN:Wartillvictory.Victoryoverenemy.Don’tlettheenemytakeawayyourhardearnedvictory.Victory.

.

P a g e |40 9. AustraliaCreator:HarryWeston,1915.

10. CanadaGrenadierGuardsforoverseasserviceunderGeneralMeighen.Montreal(1914-1918)

11. UnitedStates:CommemorativeAirForce(CAF).

12. Japan,WorldWarII

13. France.Translation:TheyShallNotPass.TwiceIheldanddefeatedintheCivilWar.Thedeviousoffensiveof‘whitepeace’isassaultingyourfury.Likeme,youmuststandandconquer,bestrongandclever.Bewareofthehypocrisy.

P a g e |42

Aphotographof“dazzlecamouflage”,WorldWarI.

EdwardWadsworth(1889-1949),“Dazzle”,Vorticistwoodcut

SERIESK:HowdoesRIKKELUTHERutilizeVORTICISM,adefunctartstylefromtheearlyyearsofthe20thcentury,topersuadeviewersthatsandscarcitywillabolishthe20thcentury’sembodimentofprogressinaworkentitledTHENEWWORLDORDER:SAND(2018,digitalprintonpaper).

LW:VorticismwasaBritishartandpoetrymovementthatwasatitspeakbetween1914-1918.Vorticistartcelebratedtheunprecedentedpoweranddynamismintroducedbythemachineage.Itspractitionerswereintoxicatedbythepossibilityofestablishinganewworldordermadepossiblebyharnessingtheunprecedentedspeedandpowerepitomizedbyautomobiles,battleships,locomotives,andairplanes.Insteadofdepictingthesenewinventions,thepractitionersdepictedtheirspeedandpower.Theycomparedthemtoa“vortex”,thepointofmaximumchange.Thus,Vorticistcompositionsareindustrial,metallic,aggressive,andprecise;shapesarepointedandarrangeddiagonally;coloroftenpitsblackagainstwhite.Thisdynamic,mechanisticaestheticwasrevolutionaryatthetime.

ThehistoricsignificanceofVorticismisnotconfinedtoart.Itsdistinctivepatterningwasadoptedbythe

BritishnavyduringWorldWarIascamouflage.Itsconfusingspatialimpressionsmadeitdifficultfor

enemyshipsandsubmarinestofindanaccuraterange.Thisconvergenceofartandmilitarystrategyis

knownas“dazzlecamouflage”.

InTheNewWorldOrder:Sand,RikkeLutheradoptsVorticists’intersectingpointedforms.Thishistoric

movementprovidestheoverallcomposition.Itreappearsinthedetailsreferencingdazzlecamouflage.

However,shereplacesthestridentcontrastofblackagainstwhitewithplacidpastels.Thischangesaps

Vorticistpatterningofitsenergizingpoweranditsconfidenceinprogress.Thechangesignalsaweakening

ofconfidencethatcharacterizesLuther’s“newworldorder”.Thisworkutilizessandasametaphor(a

markeroftime)andasasubstance(sandproducedtheconcreteandglassthataccountformodernist

architecture).Besideacolorshift,thisworkconveystheerosionof“worldorder”throughspatial

distortions:foregroundandbackgroundintermingle,andtwodimensionscoexistwiththreedimensions.

Thisvisualizationofthelossofcontrolisaugmentedbyextensiveresearchregardingsandasametaphor

(timeisrunningout)andasasubstance(sandisrunningoutglobally).Luthersumsupthesedismal

prospectsbystating,“…sandscarcityeatsatthe20thcentury’sembodimentofprogress.”

P a g e |44

LW:MessagesthatconveyDOandYES,andENCOURAGEshareacommonaestheticdevice.Theyallutilizethediagonalthatextendsfromthelowerlefttotheupperright.Inculturesinwhichreadingproceedsfromlefttoright,thisorientationappearstorising.Itcarriespositiveassociations.MessagesthatconveyDON’tandNO,andthatFORBIDalsoshareacommonaestheticdevice.Theyallutilizethediagonalthatextendsfromtheupperlefttothelowerright.Inculturesinwhichreadingproceedsfromlefttoright,thisorientationappearstothedescending.Itcarriesnegativeassociations.

SERIESL:Howdocommonsignsuseaestheticstoconveythattheyintendtopersuadeviewersinthesecontrastingmanners:DOorDON’T,YESorNO,ENCOURAGEorFORBID?

LW:TheBeehiveCollectiveisanall-volunteerart-activistcollectivededicatedto‘cross-pollinating’by

creatinganti-copyrightimages.In2008thegroupalliedwithAppalachiangrassrootsorganizersfighting

mountaintopremovalcoalmining.Thisahighlydestructivepracticeblastsancientmountainsintotoxic

moonscapesinordertofueltheever-growingglobaldemandforelectricity.Aftermorethantwoyearsof

research,incollaborationwithgrassrootsgroups,theyreleasedtheTrueCostofCoalgraphicscampaignthat

supportsAppalachianpeopleintheirdeterminedeffortstopreservetheAppalachianMountainsagainstBig

Coal.Thegraphicdocumentstheresultinghavoconcoalfieldcommunities,folksdownwindanddownstream

ofcoal-burningpowerplants,andallofusfacedwithcatastrophicclimatechange.

TheBeehiveCollectiverejectscolor,contrastbetweendark-and-light,anddiscernibleshapesasastrategyto

preventtheviewerfromfocusingonanysinglecomponent.Theirintentionistoengagetheaudiencein

multi-facetednarrativesinwhichthereareinnumerablekeyplayersengagedinnumerousdisparateevents

thatoccurinmanylocationsatdifferenttimes.Eachdepictedinstanceiscrucialtounderstandingthe

narrativebeingrevealed.Thiscanonlybeaccomplishedifperceptionroamsacrossthecomposition,pausing

toexploreaparticularscene,andthenresumingitsvisualcourse.Thecollectivedevelopedthefollowing

aestheticstrategiestoensurethattheviewerexperiencesanunfoldingstory:

- Blacklineonawhitegroundisusedtorenderfigures,machines,plants,architecture,andsoforth.

Thescenesaretherebyunified.

- Thedensityofimageryisuniform.Becausethereisnodifferentiationbetweenopenspacesandsolid

form,attentionisdistributedequallythroughout.

- Suchuniformityisnotboring.Itis,infact,visuallycaptivatingbecauseitisvariedbytheentirerange

oftonalitiesthatrangefrompureblacktopurewhite.Thisenablesindividualformstoappear

discretedespitethevisualclutter.Itevokesthedramaofecologicalconflictanddetermination.

SERIESM:HowdoestheBEEHIVECOLLECTIVEpersuadeviewersthatthecoalweallrelyupontofuelourcomfortsandprovideourneedsisthesourceofmassiveenvironmentalabusesandwidespreadsocialinequities,intheirgraphiccampaignentitledTheTrueCostofCoal(2008)?

P a g e |46

CANYOUFINDTHISIMAGE?“Thecoalweusetodayoriginated300millionyearsagowhengiantplantsinancientswampsdecomposed.Theirancestorsexisttodayasferns,horsetails,andclubmosses.”BeehiveCollective(BC)

CANYOUFINDTHISIMAGE?“Walmarts,prisons,andgolfcoursesarethethreemaindevelopmentprojectspromotedbyBigCoalasbeneficialusesof‘reclaimed’minesites.Only3%everreceiveeventhisexcusefordevelopment!”BC

CANYOUFINDTHISIMAGE?“Frog’sgotallsortsofhealthproblems,fromasthmatoseverebackinjuryasaresultofworkingatthemineandbreathingincoaldustallday.Thewholefamilyisgettingverysickfromsludgeinthewell.Blackwatercomesoutofthetap,poisonedwithheavymetals.”BC

CANYOUFINDTHISIMAGE?“Overseenwithgunandpreachersandpaidonlyincompanyscript,miningfamiliescouldonlysecurefoodandhousingfromthecompanystoreatinflatedprices,resultinginalifetimeofdebt.”BC

CANYOUFINDTHISIMAGE?

“Lifeinthecoalcampswassteepedinstruggle,butisalsorememberedasatimeofcommunityresilience.Here,immigrantminerssharestories,songs,andmoonshine.ThesquaredancingJunebug,bee,turkey,andWoodcockcelebrateunionvictoriesandthelong-awaitedarrivalofcoal-poweredelectricity–morethanagenerationafteritappearedinnortherncities.”BC


“Paradingacrossinfiniteconveyorbeltsisabuffetoffancyconsumergoods:hairdryers,Cuisinart,Ipods,Xboxes,plasmascreenTVs,andevenpriceycollegediplomas–allcoal-poweredplaceboswe’reencouragedtobuyassubstitutesforgenuinerelationships,learning,andadventure.”BC

P a g e |48


“Realreclamationmeanshonoringnativelandrights!Nativefolksfrommanynationsarejoinedbysolidaritymarchers,ontheLongestWalk,arealcross-continentaljourneyofhomecomingmadein1997and2007.”BC

Areyouapessimist?Extinctionswillincrease.Areyouanoptimist?SpecieswillthriveVisitorstothegalleryareinvitedtoembellishandmountagraphicrepresentationoftheiropinionsaboutthefutureoflifeonplanetEarth.Thiscommunalartworkwillevolveoverthecourseoftheexhibition,resultinginavisualsurveyoftheecologicaloptimism/pessimismofthecommunity.

SERIESN:CommunalArtwork

.

visitors guide aesthetics of persuasion

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