|The End of Hope, George Grosz|
|Make Art Now War, Shepard Fairey|
|Woman with Dead Child, 1903, Kathe Kollwitz.|
She lost a son fighting in the war.
|Never Again War, 1924, |
|Guernica, 1937, Pablo Picasso|
|John Heartfield, 1930s, though German-born, his anti-Nazi|
photo montages forced him to flee Germany for London,
decades before there was Photoshop.
During WW II, the ugly evils of the Third Reich were so morally abhorrent that artists and their art, though doggedly anti-war, also found it imperative to choose sides. Anti-war became anti-German, as exemplified in the photomontages of John Heartfield (above). That was not the case some twenty years later when anti-war art had matured to the point of having a real political impact. Anti-war art could reasonably be credited with actually ending a war. This time there was no choosing sides. Anti-war meant just that. Anti-war art fought in the streets of San Francisco, Washington, D.C., Chicago, L.A., and on the college greens of nearly every university in the United States. In combating the inherent patriotic fervor--my country, right or wrong--it was labeled anti-American, left-wing, communist, socialist, and any number of political epithets unfit for mention in an art forum such as this.
|The Art Workers Coalition poster And Babies, utilizes a photo|
taken in the aftermath of the My Lai massacre. it was by far the most
effective anti-war poster from the era.
|The most iconic of all the |
Vietnam anti-war posters.
|Catch-22, 1970, Mike Nichols|
|King and Country, 1964, Joseph Losey|
--the version of an anti-war film.
Some of the films mentioned above and some others: