This was one of several posters created during the 1980s, encouraging civilians to boycott goods that were produced by non-white South Africans under the existing apartheid state. Protest art in South Africa during this time period often came in the form of posters, calling people to action to join in marches, boycotts, or anti-apartheid organizations.

The Apartheid was a set of policies in South Africa instated by prime minister Hendrik Verwoerd, which segregated white and non-white (Black and Indian) people. Non-whites were forced to live in different areas, received less education, were restricted from voting, were banned from interracial marriage, and were exploited for labor. Corporations like Del Monte profited off of the slavery-like conditions that non-white South Africans were forced to work under. This particular piece depicts a very gestural image many Black South Africans working in cramped quarters at a Del Monte food processing plant. They lack defined facial features, showing how corporations simply saw these workers as a means of production rather than individuals deserving of rights. They didn’t want consumers to view workers as human. The women in the center of the image is drawn with detail and a concerned expression to remind the viewer of the people behind the production of the goods they consume.

My piece of protest art expressed opposition to the brutal violence of the far-right death squads in El Salvador, which were part of extremist paramilitary groups that terrorized their own people and which were secretly funded by American aid. This work was critical more broadly of all of the far-right death squads in Latin America which were supported by the US in order to suppress far-left revolutionaries. These extremist militant groups killed many innocent people in order to stamp out communist political movements, yet many of their victims were not even communists, but centrists or people uninvolved in politics altogether. This piece of art was important because there was American support-as part of the Cold War-for brutal regimes and groups which devastated the lives of innocent people for political purposes. America sought to support these anti-communist forces even though they carried out tremendous violence. There was a lack of awareness among the American public of the kinds of atrocities which were being perpetrated by those with US support. Additionally, there was also a lack of concern-likely due to racism-for the lives of Latin American people, who were viewed as pawns in the greater geopolitical struggle against the Soviet Union. Golub used this protest art to awaken American hearts to the injustices being enabled by the American government. He portrayed the victims and perpetrators with white skin in order that his American audience could connect to the violence. The portrayal of a policeman who is wearing a uniform which looks American also taps into the American understanding of police violence and seeks to apply that experience to the terror occurring in Latin America. Today this painting resonates very differently because it just appears to be an American policeman to a contemporary eye rather than a foreign militant force. Modern onlookers are familiar with images of policemen wielding their guns and forcing innocent people to the ground and this image evokes an objection to unrestrained police violence. Additionally, the kind of power which is exerted over the civilian depicted and the villainous resentment displayed by the officer’s facial expression provides the American viewer with a sense of cruelty. The officer displays total callousness, which is an appalling indictment of what the justice system does when contrasted with how it ought to act. Those who are more geopolitically acquainted may see in this work an allusion to the kinds of US military aid which is still given to ruthless forces-like Saudi Arabia in prosecuting their horrific war in Yemen. However, the average American viewer of this piece today feels the brutishness of the American police above anything else.

This piece of political art stands for the conflict that is still ongoing in Ukraine. It depicts Vladimir Putin in an interesting point of view where he appears baby-like who is attempting to eat a dish that is just Ukraine. It is important to analyze this piece because it illustrates the strength and resilience of Ukraine. In the piece, there is the depiction of broken forks that show the amount of attempts that Putin had to divide Ukraine that have been unsuccessful. It is also important to note that this piece creates a distinction between a war between two countries and a war between a man and a country. This speaks volumes as it shows the unity in Ukraine as a country and a man with a dream of colonialism and destruction. It definitely still resonates now because although this piece was created in 2022, its message is still very much intact. Even two years later, Ukraine has very much stayed united and resisted every attempt illustrated in the artwork. The frustration on his face is very telling of his perspective on the war, as he is not reaching his goal. Even the subtle smear of red on his “bib” obviously demonstrates the bloodshed that has transpired. This piece does a great job of presenting its message without using any language. Overall, this piece is crucial in understanding the war and what is going on in both of the perspectives.

This particular piece of protest art very bigotedly and ignorantly portrayed a blatantly Jewish caricature covetously clinging on to the globe with the title, “Their Homeland”. This was the front page image of a French newspaper in 1893. This image portrays how Jews at this time were believed to be a parasite claiming possession of any and every land they come to simply declaring their right to it, as it is their homeland. When in fact the truth is that Jews were forced out of every land they escaped to due to global religious persecution and expulsion since the beginning of their existence, whether it be from the Holy Roman Empire, Spain, Yemen, or England. This influenced the vast hatred for Jewish individuals and the idea that there was a necessity for eradication of the Jewish population. In fact, during the French Revolution in the late 18th century, France was the first country in Europe to emancipate its Jewish population. This idea in France had a profoundly sickening impact on the entire continent, most notably in Germany in WW2 which resulted in one of the most horrific and evil genocides that claimed the lives of over 6 million Jews, some of which were my passed family members, French Jews. Today, we look at this protest art as a window into that disappointing time in history when hatred was unconcealed and proud. We stare at this piece in disbelief and shock how something like this was ever so overt. Nevertheless, we fail to notice or perhaps desire to be blind to the fact that antisemitism is still alive and stronger than ever in different forms such as in modern memes, which is especially hurtful as we know the history and effects of our hatred. Yet, we are willing to relive and sacrifice replicating it. To add, France today has the third largest Jewish population in the world, behind those of Israel and the United States. Notwithstanding, antisemitism is growing and more Jews experience antisemitism, online, in person, through both physical and verbal violence.

The political art that I have chosen is of Rosie the Riveter saying “We Can Do It!”. The context behind the art is that it encouraged women to work in factories and shipyards during World War II while men were serving. It was uncommon to see a woman working a job and being outside the house not doing housework such as cleaning, cooking, etc. This poster stood as a source of inspiration to women who believed societal standards and listened to the ingrained beliefs in their head telling them they cannot do anything more. Seeing a woman with a serious face and muscles while also wearing makeup and being put together proved to the public that women can balance their lifestyles. They can be both feminine and masculine in proportion and there is nothing wrong with that. This poster was important because it highlighted that there is no cookie cutter or perfect mold of how a woman should be or act. It was a pivotal piece of artwork that pushed women outside of their comfort zones. Today, this picture of Rosie the Riveter still resonates with people, especially with women who want to work in a predominantly male industry. There will always be a disparity between men’s abilities and women’s abilities, but having artwork like this reminds society that women are just as capable, if not more, of doing the same thing as men. The next time a company wants to hire a man for a leadership role, maybe they should consider the woman instead of eliminating her from the running immediately.

This piece of artwork painted in 1865, during the American civil war, depicts a rather emotional scene of a Confederate soldier accompanying a Union soldier during his death. The history of the piece, also indicted by part of the title “recognition”, is that upon the death of the opposing Union soldier, the Confederate soldier recognizes that he had killed his own brother. Thus, this deeper story serves to advocate that the Civil War was truly immoral, and no national problem is so important to bring people’s lives against each other. Nonetheless, even though the art was a protest account of a war many years ago, the theme of war being against humanity still resonates with many to speak against disputes happening today.

       The “Tank Man” photograph is a piece of protest art that was taken in the 1990s that I find to be a historical piece of protest art. This photograph stood for the significance of what a singular person can accomplish in a protest, especially as someone who stood for his rights against the Chinese military’s orders by simply blocking their way in killing more civilians. This is proven in the photograph, as shown with the man having no weapons or any political status standing in front a huge row of tanks, even knowing the legal consequences he could face with the tank’s potential in eliminating him. This photograph captures the tension of that scenery when Deng Xiaoping initially carried out his execution orders through the numerous civil opposition that was against the Chinese Community Party’s political philosophy at that time. 

       It’s such a historical piece of art because there are very few pieces of art that have been captured of the Tiananmen Square Massacre, as a result of the Chinese government censoring and even removing any records that people have kept of this tragic event. It’s been heavily talked about in class about how historical art is a very important treasure in highlighting an artist’s mood and message, when he/she captures a particular historical event in his/her own perspective. The Deng Xiaoping administration wanted to destroy any evidence of the Tiananmen Square Massacre event occurring by targeting an enemy that was so large at that time: The media. Even with many of the photographs wiped from the reporters’ devices, many photographs and other forms of art (Eyewitness testimonies) still exist to shine light to the rest of the world of this tragic Chinese event in history. Although dictatorship had a profound effect on the Chinese citizens who’ve been forced to be silent after the event, I find it fascinating that there are still artists present that find ways to protect their form of art in an effort to get their voices heard.

This political protest art was created in response to the fatal shooting of Walter Scott by a police officer. A banner with the same style from 1920 to 1938 read “A Man was Lynched Yesterday” and was placed in order to confront nearby residents with the regularity of murders. Dread placed it up again because he believed that the banner was still necessary in present day, as he thought the police were playing the role of lynching. They were killing suspects without confirming their guilt and didn’t take necessary actions that resulted in some of them dying when it could’ve been easily prevented. Today, this piece of art resonates with the corrupt officers that abuse their powers and only look at their own benefit.