Conference Proceedings 2010 [pdf] - Art & Design Symposium ...

Recommendations

Info

Levin, S., Van Laar, C., and Sidanius, J. (2003). The effects of ingroup and outgroup friendships on ethnic attitudes in college: A longitudinal study. Group Processes & Intergroup Relations, 6 (1), 76-92. Plant, E.A., Devine, P. G. (2003). The antecedents and implications of interracial anxiety. Personality and Social Psychology Bulletin, 29(6), 709-8. Rodenborg, N. & Huynh, N. (2006). On overcoming segregation: Social work and intergroup dialogue. Social Work With Groups, 29(1), 27-44. Shin, R. (in press), “Promotion of ethnic and cultural identity through the arts and material culture among immigrant Koreans.” In A. Arnold, E. Delacruz, A. Kuo, & M. Parsons (Eds.), Globalization, Art and Education. Reston, VA: National Art Education Association. Stephan, W. G., & Stephan, C. W. (1985). Intergroup anxiety. Journal of Social Issues, 41, 157-175. Tatum, B. D. (2000). Defining racism: ‘Can we talk?’ In M. Adams, W. J. Blumenfeld, C. Castañeda, H. W. Hackman, M. L. Peters, & X. Zúñiga (Eds.), Readings for diversity and social justice: An anthology on racism, anti-Semitism, sexism, heterosexism, ableism, and classism (pp. 79-82). New York: Routledge. Memory and Erasure: Applying Visual Narrative Power Analysis to the Image War Between Dow Chemical and the Women of the International Campaign for Justice in Bhopal Carolyn Erler, Texas Tech University This research presentation analyzes a successful branding campaign by Dow Chemical and a select group of counter ads and visual tactics deployed by the International Campaign for Justice in Bhopal. The focus is not on the artwork, but on the soft power of images, stories, and actions in the battle for control of the story. Visual narrative power analysis, a method developed by the activist group smartMeme, shows how dominant stories are shaped by money and influence, although challengers occasionally can and do break through. One such challenger began as a small group of mothers, daughters, sisters, aunts and grandmothers who survived the deadly gas leak from the Union Carbide plant in Bhopal on the night of December 3 rd , 1984. In 2000, the Dow Chemical Corporation purchased Union Carbide. The small group of survivors from Bhopal became the International Campaign for Justice in Bhopal, a broad coalition of groups and organizations whose intelligent campaign of direct actions and visual tactics threatened Dow Chemical’s constructed identity as an ethically responsible company. Such tactics have included hunger strikes in photogenic spots such as Wall Street, large-scale performances such as the Jhadoo Maro Dow Ko, or Hit Dow with a Broom campaign, in which women in all parts of the world symbolically hit Dow by presenting its executives with jhadoos (brooms) from Bhopal, and speaking tours of women survivors around the U.S. and Canada. Through the jhadoo protests, women demonstrated as mothers admonishing an undisciplined child, affirmed their humanity as mothers, sisters, and daughters, and in at least one way, restored order to a world turned upside-down by mass death and indifference to justice. Notably, the story gives women the upper hand as authors of their own story and guardians of a more just humanity. Students for Bhopal (SfB), a network of students who advocate for the disaster survivors, have waged image warfare on Dow since 2001. Their specialty is hijacking and subverting corporate imagery to spark social critique and critical dialogue. In its subversion of the Human Element magazine ad, for example, the SfB changed the text over Pablo Bartholomew’s iconic news photograph of a dead child half buried in the ashes of the chemical accident from “Hu” to “Inhuman.” The ad’s layout and design perfectly mimics Dow’s. Evidence that the ICJB may be winning the battle of the story came with the Indian government’s August 8, 2008, announcement that it would meet many of the demands of the survivors of the 1984 pesticide plant explosion in Bhopal. The government vowed to take legal action on the civil and criminal liabilities of Union 42
Carbide and its owner, Dow Chemical, and that it would establish a commission on Bhopal to address the health and welfare needs of the survivors and their environmental, social, economic and medical rehabilitation. The victory came after a 172-day-long demonstration in which survivors walked 500 miles from Bhopal to New Delhi, camped at the historic Jantar Mantar observatory in Delhi, suffered arrests and police beatings, and finally launched a 60-day hunger fast that was joined by more than 800 people around the world (“Bhopal victory,” 2008; “VICTORY,” 2008). By analyzing examples of ads and counter-ads and asking what constitutes justice when a multinational corporation poisons 20,000 people to death and maims countless others without being held accountable, the presentation attempts to provide an example of how art education, political engagement, and visual studies can facilitate interdisciplinary learning. The Art of Conflict and Peace in Northern Ireland Bernard L. Conlon, Ireland, InforStructure/Belfast Kids Guernica (l-r) Bernard Conlon, Takuya Kaneda, Rosa Naparstek, Toshifumi Abe, and Tom Anderson in front of the Belfast Peace Mural, FSU Museum of Fine Arts The peace process, aimed to resolve the Northern Ireland conflict, has come to be regarded as something of a template, providing crucial lessons for conflict elsewhere. The conflict was fought by many and any means. Cultural identity was a cornerstone with cultural expression playing a potent part. A particularly potent cultural expression was the wall mural tradition. Therefore, the evolution of this tradition and its interaction with the highly publicized and documented peace process deserves attention. Similarly the use of art as an active tool for peace building and reconciliation is worth serious consideration. A cursory glance and brief explanation of Northern Ireland’s wall mural tradition is provided here. The Belfast Kids’ Guernica peace mural project, part of the Kids’ Guernica International portable peace mural movement is also described 5 . The Belfast “Portable Peace Mural” is a grassroots example of art being used in the process 5 Kids Guernica is a peace movement which started in 1995 in Japan, fifty years after World War II. It calls on young people to express themselves and promote peace through painting. The original Guernica painting was produced by Picasso in protest against the bombardment of the Spainish/Basque-Country town, Guernica. “Children participating in the making of the murals, unravel their imagination and creativity in dealing with the notions of war and peace. At the same time, adults who share these experiences, can rediscover the enthusiasm that is hidden inside them: children’s art can show us things beyond rational thought.” 43
Page 2 and 3: 2010 ART&DESIGN for Social Justice
Page 4 and 5: 5:30-6:00 Buffet Dinner 6:00-6:45 O
Page 6 and 7: Symposium Activities, January 18 Su
Page 8 and 9: (2 sessions combined- 1 hour 10 min
Page 10 and 11: Art, Education and the Internet: A
Page 12 and 13: There are basically four steps to j
Page 14 and 15: noisy doors, and dark classroom env
Page 16 and 17: highlighting slavery’s historic r
Page 18 and 19: Identity and Voice: Constructivist
Page 20 and 21: esources and venues we hope to secu
Page 22 and 23: Keller, G. D., Erickson, M., & Vill
Page 24 and 25: Our class partnered with a high sch
Page 26 and 27: Background: Eastern Woodland Indian
Page 28 and 29: design very much throughout the pro
Page 30 and 31: Work in Progress- Kids’ Guernica
Page 32 and 33: Examples of the Gap Between Art and
Page 34 and 35: Varbanova, L. (2009). Social entrep
Page 36 and 37: field for community building. This
Page 38 and 39: Gurin, Dey, Hurtado, and Gurin (200
Page 40 and 41: times from presenters that discrimi
Page 44 and 45: of building and sustaining peace. L
Page 46 and 47: There is therefore clearly an inter
Page 48 and 49: Service Learning as a Strategy in t
Page 50 and 51: Enos, S.L., & Troppe, M. L. (1996).
Page 52 and 53: the artist was brought for a week o
Page 54 and 55: Fazey, I., Fazey, J. A., & Fazey, D
Page 56 and 57: The Affordable House: Making Design
Page 58 and 59: No doubt, it was not a miracle that
Page 60 and 61: Figure 2. Second Kids’ Guernica p
Page 62 and 63: Figure 6. Hamza, a visually impair
Page 64 and 65: health and safety issues for occupa
Page 66 and 67: Exemplary Teaching in Urban Schools
Page 68 and 69: Anderson, R. (1990). Calliope’s s
Page 70 and 71: initiatives are not specific to ado
Page 72 and 73: Growing Home: Creating Living, Sust
Page 74 and 75: housing method for refugees. The pr
Page 76 and 77: Filtering Access through Social Eng
Page 78 and 79: artists, engineers, community worke
Page 80 and 81: References Art 21 (2007a). Mel Chin
Page 82 and 83: and possibilities of job. Therefore
Page 84 and 85: Poster Images Poster Image # 1 84
Page 86 and 87: Artmaking as a Process for Explorin
Page 88 and 89: disposition is nurtured not only by
Page 90 and 91: constructs. Just as written respons
Page 92 and 93:
Art and Life With Children Boris Ti
Page 94 and 95:
Children with Guernica, Children wi
Page 96 and 97:
lacked anywhere else to put these i
Page 98 and 99:
References Baldassare, M. (1979). R
Page 100 and 101:
Table 1. Environmental features add
Page 102 and 103:
Figure 7. A view of the room’s en
Page 104 and 105:
Radstone, S. (Ed.), (2000). Memory
Page 106 and 107:
For centuries we have drawn on the
Page 108 and 109:
Figure 2. Spiral Shell with Transpa
Page 110:
Photographs Ansley Simmons Allys Pa
show all

Conference Proceedings 2010 [pdf] - Art & Design Symposium ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?