Visual Arts Extended Essay IB/ Political Art

8/19/2019 Visual Arts Extended Essay IB/ Political Art

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Nicholas Cheng Gin FoonCandidate Number

IB Visual Arts Extended Essay

What are the qualities that make

political art effective?

Investigating the works of Peter Kennard and Robbie Conal

IBDP Visual Arts extended essay

Candidate Name: Cheng Nicholas Gin Foon

Candidate Number: 000638-0110

School: Li Po Chun United World College

Supervisor: Wendy Tai

Examination Session: May 2016

Word Count: 3740


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Abstract

The purpose of this essay is to explore the qualities of e"ective political art throughsocial and political contexts. The main focus of the essay is an investigation of twoprominent contemporary political artists—Peter Kennard and Robbie Conal who address

and depict political events by incorporating their individual interpretations and beliefs intheir artwork. The two artists have evident political influences within their work, which willbe explored by looking at the context the artworks are created and the messages beingportrayed.

The research conducted throughout this essay is all secondary-sourced; personallyobtaining first hand information on the art pieces and the artists proved very di$cult as Icould not contact the artists through e-mail. Thus my research is based heavily on reliableand well-trusted online research and books.

In this essay I will look at the works of Peter Kennard and Robbie Conal and

explore the qualities of their work through their intention for general public consumption,use of controversial imagery, and use of irony.

Word count: 170


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contents

i. Introduction

ii. intention for general public

consumptionA. crushed missile

b. MittBUBBLE

iii. use of controversial imageryA. Decoration 06 & Decoration 08

b. A Bombin’ nation

iv. use of ironyA. Photo op

b. Wealth care

v. Conclusion

vi. List of figures

vii. Bibliography


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Introduction

My interest in political art has had an tremendous influence on my political views,and the ways I interpret politics today. Only last year, during my own participationin Hong Kong’s Umbrella Revolution, I saw the symbolic yellow umbrella, thecanisters of tear gas raining down upon protestors; I realised the ability and

significance of art to influence and reflect political views. I believe that art is ane"ective medium in illustrating the tribulations and complexities of politics becauseit can be viewed in its entirety but simultaneously of the individual elements it iscomposed of; allowing the viewer to see both the big picture but also the minutedetails of politics in parallel. Art should therefore be acknowledged as a crucialelement that shapes today’s world of politics and how we perceive and understandit. This is the significance of political art and the stem of my interest that has ledme to write this Extended Essay.

The purpose of this essay is to explore the elements of e"ective political art pieces.

The question posed by this paper is hence:%

What are the qualities that make political art e!ective? Investigating the

works of Peter Kennard and Robbie Conal

To aid in this exploration, a distinction between conventional art and political artmust be made. The renowned artist-cum-sociopolitical commentator, Ai Weiweiasserts that “if somebody questions reality, truth, facts; [it] always becomespolitical art.” (Ai Weiwei, The European Magazine) Yet, it is in my belief that theindicative quality of political art is in its intent: in this essay political art will bedefined purposefully engages the audience in sociopolitical commentary to invokea critical response in its viewers. Political art possesses a clear political agenda

that art, in its broadest terms, does not.

For the purpose of this paper, I will reference and compare three art pieces fromboth Peter Kennard and Robbie Conal to outline three qualities of e"ective politicalart. For the first quality, Peter Kennard’s Broken Missile and Robbie Conal’sMITTBUBBLE were selected because they both had intention for generalconsumption. For the second quality, I selected Peter Kennard’s Decoration 06 &Decoration 08 and Robbie Conal’s A Bombin’ Nation because they both impact aviewer’s emotions by utilising grotesque and iconic images- masterfully distorted.For the third and final quality, Peter Kennard & Cat Phillip’s Photo Op and Robbie

Conal’s Wealth Care were selected because they both utilised satire to inducecritical responses in the viewer.

Peter Kennard’s work involves photomontage coupled with oil painting. His workhas been described as “angry, wordless montages” (Douglas) and is “synonymouswith the modern protest movement” (Kennard). Similarly, Robbie Conal’s work alsostems tackling societal issues, such as the counterculture of the 1960s: theumbrella term of a large array of movements in topics ranging from civil rights tofeminist rights.

This paper will now explore in the context of political art, its intention for general

consumption, its use of controversial imagery, and its use of irony.


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intention for general consumption

Broken missile Peter Kennard’s photomontage Broken Missile manifested in 1979 when Kennard choseto create a photomontage on the Campaign For Nuclear Disarmament (CND). The piece was later passed on to the Labour Party of the United Kingdom for the Anti-Nuclear

Movement of the 1980s. (Kennard) Broken Missile is a personal critique on a politicalevent— specifically the Cold War and the nuclear arms race at the time. %

I believe the underlying theme of the photomontage is the anti-war and anti-nuclearsentiments of Kennard. Through this piece, Kennard attempts to spark reaction from thepublic for the missile disarmament cause. Kennard explains his work on his website: %

“The point of my work is to use easily recognisable iconic images, but to render themunacceptable. To break down the image of the all-powerful missile, in order to representthe power of the millions of people who are actually trying to break them. After breakingthem, to show new possibilities emerging in the cracks and splintered fragments of theold reality.” (Kennard, Peter and Ken Livingstone)

In terms of composition, the peace sign is featured in the centre of the image, with themissile split in two on either sides of the sign. In terms of colour, shades of grey are

utilised, which is accompanied by a black background which occupies the negative spaceof the piece. It is the straightforwardness of Broken Missile and its intention for publicconsumption which renders it such a captivating and effective political piece.

Figure 1:Kennard, Peter. Broken Missile,1980. Photomontage. (Kennard, Peter and Ken Livingstone)


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MITTBUBBLE

MITT BUBBLE is an “adversarial portrait” (Heller) of American politician andbusinessman, Mitt Romney. The inception of the piece began during Mitt Romney’spresidential campaign in 2012. Robbie Conal thought Romney to be tactless and of ‘nosubstantive thoughts’, inspiring Conal to create the imagery of the blank thought bubble

as a reflection of Romney. (Conal) %%

The depiction of Romney in terms of texture, in his furrowed eyebrows, dark eye circlesand frustrated outlook all represent Conal’s opinions on the presidential nominee. Additionally, Conal depicts Romney as cross-eyed, which creates connotations ofignorance and idiocy. Above the Romney parody, is a blank thought bubble, primed forthe inevitable opinion of the public. In decisive fashion, Conal left the text to the minds’ ofthe audience, inviting the public to input their thoughts about Romney in the space. Thislies the genius of Robbie Conal’s MITTBUBBLE.

The aspect of MITTBUBBLE which clearly distincts its intention for public consumption, isthe thought bubble. The poster gained momentum in the United States throughout thesummer of 2012. The art piece, initially in the form of a poster, took many forms during

the 2012 Presidential campaigns - from singular posters pasted on the walls of buildingsto the placards of diverse opinion during political rallies. (Eisinger)

Figure 2: Conal, Robbie, MITTBUBBLE, 2012. Etching poster. (Heller, Steven)


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Broken Missile was intended for public consumptionbecause the piece was created for the Labour Party,more specifically the Greenham Common Women’sPeace Camp, who used the image in posters,badgers, flyers, and placards. It featured on thefront page of The Sunday Times on 25 October

1981.(The Sunday Times) Broken Missile became anicon for the CND in the United Kingdom and wasconsequently featured in many demonstrationsthroughout the 1980s.

The image soon reached other parts of the world too;spreading as an icon for the global Campaign forNuclear Disarmament. Kennard states on his website“ I saw pictures of a mural in Australia, a photographin a Soviet newspaper and a poster on a wall in Japanthat had all used the photomontages.”(Kennard, Peterand Ken Livingstone) It is clear that the iconic imageof Broken Missile was intended for publicconsumption.

The MITTBUBBLE posters that were spread across the United States, though theyfollowed the same template created by the artist, allowed a large variety of public opinionto proliferate. The self-invitation to the public to express their political beliefs combinedwith the public’s intrigue to the concept of the empty thought bubble creates significantimpact on the mass media.

Figure 3: The Sunday Times, 1981. Newspaper Article.(The Sunday Times)

Figure 4: Kennard, Peter,Broken Missile taped to the fence of Greenham

Common, 1982. Photograph. (Kennard,Peter and Ken Livingstone)

Figure 6: Conal, Robbie. MITTBUBBLE, 2012. Posters. (Conal, Robbie)


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From the analysis above of both Broken Missile and MITTBUBBLE , the intention of thetwo pieces to be used for public consumption is obvious. The appearance of the twopieces on mainstream media represents and their usage in public rallies and protestsrepresents this. Broken Missile became the symbol of the Campaign for NuclearDisarmament in the United Kingdom, and a motif which became headline news in theSunday Times. MITTBUBBLE gained momentum in social media, reaching out to all three

million of Bill Maher’s Twitter followers and many more. (Maher)

In the realm of political art, success is judged by a piece’s ability to integrate itself intomainstream culture; to reach out to the largest audience possible; to create the biggestimpact in the politics portrayed by the media and more importantly, to impact the politicalbeliefs of the public. The comparability of the two pieces lie in their ability to reach out inthe media and the public. This intention for public consumption is a quality that e"ectivepolitical art should possess.


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use of controversial imagery

Decoration 06 & Decoration 08

Decoration 06 & 08 is part of Peter Kennard’s Decoration series. The two pieces combinetwo of Kennard’s oil paintings, which he reworked digitally. The inception of the twopieces was in response to the American invasion of Iraq. (Kerley) The two pieces take theimage of a US Military Ribbon and combines negative connotations of war using darkcolours and rough textures. %%

The frayed American flag takes the place of the expected military ribbon and twodistressing images take the place of the expected position of the medal. In terms oftexture, the striped patterns and the frayed and worn textures of the elements of thepiece are clearly seen, creating a dark and tense tone to a piece which tackles thesensitive topic of death. %

In Decoration 06, the medal has been substitutedby the helmet of an American Soldier, with thenumber of kills, in tallies of five, etched onto thehelmet. In my opinion, Kennard creates themessage that war is merely a plaything, a sourceof pride for the American soldiers. This creates analienating e"ect in the viewer as war isdesensitised purposely and killing becomessomething honourable. The purpose being toexpress Kennard’s opinion of the state of USmilitary a"airs in Iraq. The juxtaposition ofunquestioned patriotism and the mutilation ofhumanity at the expense of nationalism can be wellseen in the piece, causing an array of emotions to befelt by the viewer.

Figure 7: Kennard, Peter,Decoration 06 (Left) & 08 (Right), 2003-2004. Oil Painting, Photomontage. (Kennard Peter)

Figure 8: Kennard, Peter,Decoration 06 (detail),

2003-2004. Oil Painting,Photomontage. (Kennard Peter)


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In Decoration 08, a naked and tattered man who’s face has been hooded is shown. Theshades of brown, grey and yellow contour his body to look grazed and scraped. Kennardaims to prompt people into remembering the prisoner abuse inflicted by US troops at AbuGhraib jail.(Kerley)

Through this portrayal of the savageness of US troops in Iraq, Kennard aims to utilisecontroversial imagery to cause viewers to reflect on current events. Kennard utilises theUS War Ribbon and renders it disturbing yet equally genuine. The images touch uponevents and use controversial imagery to unnerve the viewer.%%

The use of controversial imagery is a necessary component of e"ective political artbecause it allows the artist to draw the attention of the viewer and creates a state-of-mindwhere the viewer can become critical of the politics at hand. Since the artist is in controlof the medium and of the message being portrayed, by selectively portraying select parts

of political events through controversial imagery, it directly causes the viewer to see theevent through the artist’s lens.

Figure 9: Peter Kennard,Decoration 08 (detail), 2003-2004. Oil Painting, Photomontage. (Kennard Peter)


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A Bombin’ Nation

Robbie Conal’s A Bombin’ Nation is a satirical piece whichfeatures American politician Dick Cheney primarily to target thegrowing nuclear warfare in the United States and on the globalscale.

There are many elements to look into in Robbie Conal’s ABombin’ Nation. The most discernible element of the piece isthe person portrayed in the piece- Dick Cheney. A signature ofRobbie Conal’s work, the portrayal of Dick Cheney in the pieceis unflattering. In terms of texture, his facial features arewrinkled, his head is balding and his facial expressions showworry, frustration with his hands raised in fists pressing againsthis temples to further signify Cheney’s frustration. The contextof this piece, is that of the Iraq War. Dick Cheney was probingto find any reason at all for the US to invade Iraq, phantomWMD’s for instance. (Standard)

A second element of note in the piece are the two rabbits thatthe portrayed Cheney is staring at. Similar to the portrayal of

Cheney, the rabbits are designed to look distorted and ominous. In particular, the designof the eyes of the rabbits are distorted by size and position to create a chilling and afiendish tone. In the backdrop there is a red and orange spiral which adds further toCheney’s confusion. The portrayal of the rabbits combined with the spiral creates a darkovertone to the piece, conveying and reflecting the events of the Iraq War at the time.

The third element and the underlying theme of the entire piece is the rabbit faeces. Therabbit faeces in this piece is designed intentionally to resemble nuclear warheads, acontentious issue at the time. Through the use of the controversial imagery of the nuclearwarheads, Cheney in the piece achieves his dream for America, to become ‘A bombin’Nation’. According to Conal, the act was ‘a form of karmic payback’. (Conal) Lastly, thetext featured in the piece ‘A bombin’ Nation’ phonetically sounds similar to ‘abomination’which is the aesthetic and message Conal wishes to express through this piece.

Robbie Conal’s A Bombin’ Nation uses the highly contentious imagery of nuclearwarheads to attack the US’ invasion of Iraq. The strength of this piece lies in its ability to

draw in the viewer through the use of unusual motifs of rabbits and faeces disguised asnuclear warheads. The message being conveyed in the piece is pronounced bycombining with its ability to draw in the viewer allows the piece to reflect and gauge theactions of Dick Cheney leading up to the Iraq War with finesse and precision.

From my analysis, the reason why the use of controversial imagery is a quality of greatpolitical art is because it urges the viewer to reflect. In Peter Kennard’s Decoration 06 &Decoration 08, the artist utilises disturbing images of war to evoke emotions of disgust inthe viewer, allowing the viewer to reflect on the Iraq War, allowing it to become e"ective.

The use of controversial imagery can be vital in connecting with the viewer of an artpiece. By connecting with the viewer, the messages and questions posed by a politicalartist can be better grasped and a viewer can be swayed by the political beliefs of theartist, achieving the aim of political art. There is great importance of emotional impact in

Figure 10: Conal, Robbie, ABombin’ Nation, 2003. VisualIllustration. (Conal, Robbie)


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political art, allowing a viewer to think critically and reflect on the messages andquestions posed by the artist. Through my analysis, I firmly believe that the use ofcontroversial imagery is a critical element all e"ective political art pieces must possess.


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Use of irony

photo-op

Peter Kennard and Cat Phillip’s photomontage Photo Op is another addition to PeterKennard’s line of satirical political pieces.

In the piece, Tony Blair is described as “grinning maniacally” (Jones). In the backdrop,hellish inferno, soot and chaos unfolds. In my opinion, this piece demonstrates theimportance of context in understanding ironic elements of an art piece. To Peter Kennardand Cat Phillip’s, the message being portrayed is clear - only Tony Blair would deem thisan opportune photo taking opportunity, such is the reputation of the former British PrimeMinister who led Britain to the Iraq War in 2003.

The piece manifests itself as a reflection on the Iraq policy of former British Prime MinisterTony Blair. In Photo Op, former British Prime Minister Tony Blair is seen posing for a‘selfie’. Photo Op has become one of the most well-known works of art on the Iraq War,mentioned as “the definitive work of art about the Iraq War.” by the Guardian. (TheGuardian) The piece’s ability to embody and express what many believe to be the causeof the chaos and conflict which unfolded in Iraq. In its simplicity, it expresses thesentiments of the demonstrators against the Iraq War and what in hindsight, has becomethe legacy of the Iraq War — of the former British Prime Minister rushed into a war withneither purpose nor plan, a direct cause of the large scale chaos which ensued. %%

The strength of the photomontage Photo Op lies in its use of irony in the context of apolitical event, in particular the Iraq War beginning in 2003. Through simple and decidedelements of the piece- Tony Blair and the large-scale chaos in the background, Photo Op critically breaks down and reflects the happenings of a complex and multi-layeredpolitical battle. The ability to convey and critique a complex political event through theuse of irony in a simple and succinct form allows the piece to be an e"ective political artpiece.%

Fi ure 11: Kennard, Peter and Cat Philli s ,Photo O ,

2003. Photomonta e. Kennard, Peter


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Wealth care

Robbie Conal’s Wealth Care is another addition to his signature ironic political portraits.

%

In this piece, American Congress Speaker of the House, John Boehner is illustrated inConal’s iconic grotesque form. The piece utilises his vintage textural style, whichemphasises the wrinkles, eye bags, and age of the Congressman. The words ‘Wealth’and ‘Care’ are split between the depiction. To shed light on the ironic elements of thework, the viewer must have an understanding of the context of the piece’s origin.

Boehner detests Obamacare, an Act which would improve quality, accessibility, anda"ordability of health insurance for all across the United States (Obamacarefacts). In myopinion, Conal is trying to say that the speaker only cares for the privileged, and is onlytrying to look out for his own wealth. The irony of the piece is rooted in the wordplay. Thewordplay on healthcare to ‘wealth care’ indicates the disparity between Boehner andObama. The piece is e"ective in its ability to incite critical thought on the state ofhealthcare, and in the greater scheme of things, socio-economic divisions in the UnitedStates.

Figure 12: Conal, Robbie, Wealth Care, 2011. Poster. (Conal, Robbie)


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Peter Kennard and Cat Phillip’s Photo Op and Robbie Conal’s Wealthcare both utilisesatire and irony to a high degree to gauge and reflect the political proceedings of the IraqWar and healthcare in the United Kingdom and the United States respectively. Photo Opwas e"ective in reflecting the political proceedings of the Iraq War by expressing theopinions of the artists through its simplicity, allowing the piece to be easily broken downby the typical viewer. Likewise, Robbie Conal’s Wealthcare was e"ective in reflecting

political tensions, specifically of John Boehner’s stance on Obamacare. It was e"ectivethrough its use of satire and its ability draw a viewer in to look more deeply into a piecewhich comments on much more than just Obamacare. By manipulating and utilising theinfamy of a political figure, the artists were able to shed light on the chaotic proceedingsof the politics of war and health insurance, allowing the public to become more aware ofthe calamities present in society.


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Conclusion

Art is inextricably tied to politics. The icons and motifs of politics reigns high in theworld of politics today. From logos and placards of campaigns and rallies, to theartwork of art activists like Peter Kennard and Robbie Conal, the evidence isabundant and undeniable.

The two artists Robbie Conal and Peter Kennard were influenced by radicallydi"erent backgrounds and the messages and questions posed by their artwork areall unique and individual, they both ultimately bring to fruition the same ideal, toadvocate their political beliefs and to shed light on the political proceedings of theworld. The two artists are able through their work to bring the role of art further intothe fray of politics.

Peter Kennard’s Broken Missile was a logo for a highly influential campaign fornuclear disarmament, making its way onto the Sunday Times allowing his work and

his beliefs to impact the media and the public. Robbie Conal’s MITTBUBBLE reached its peak when voiced by a highly influential sociopolitical-commentatorand comedian, Bill Maher, on a Twitter post which lead Conal’s piece to escalatethrough social media. The intention for general public consumption is an essentialaspect of political art because it allows the largest number of people to be directlyinfluenced by the work, indirectly a"ecting the political beliefs relayed in the mediaand the political beliefs of the public.

Similarly, the use of controversial imagery is an essential aspect of political artbecause it allows the viewer to think critically and reflect on the political eventswhich the art works are in response to. Robbie Conal’s A Bombin’ Nation raised

issues on nuclear warfare and whether it has been achieved through the use oficonic figures who fought for the ideal. Peter Kennard’s Decoration 06 & Decoration08 utilised grotesque alterations to cause emotional change in the viewer, raisingquestions on the cruelty and unnecessary damage caused by the US in the IraqWar.

In Peter Kennard and Cat Phillip’s Photo Op, the viewer is easily able to grasp thatTony Blair was a stakeholder to blame for the chaos which unfolded in the IraqWar. In Robbie Conal’s A Bombin’ Nation, the viewer can easily grasp the irony andsatire of the piece indicating the invalidity of Dick Cheney’s reasons for wanting toinvade Iraq. This ability to gauge and reflect political events is an importantelement of political art because it allows the viewer to grasp both the larger pictureof a political event and simultaneously the minute details of importance in theproceedings.

The ties between art and politics is indisputable. Its ability to impact the media,emotions, and its ability to reflect complex political happenings are summarised inthe essay. The ability to portray political nuances which would require thousands ofwords to explain as singular images, the strength of the arts in politics is oftenoverlooked. This essay showed the strength and necessity of art in politics and thequalities e"ective political art should possess.


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List of Figures Description and Source

Broken Missile Peter Kennard< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>

Figure 1

Mitt Bubble Robbie Conal

Figure 2

More than 150,000 Join CND Campaign(1982)

The Sunday Times< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>

Figure 3

Broken Missile taped to the fence ofGreenham Common (1982)Peter Kennard

< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>

Figure 4

Twitter post on Robbie Conal’s MITTBUBBLE (2012)

Bill Maher < https://twitter.com/billmaher/status/258385717632327681>

Figure 5

Figure 6 MITTBUBBLE Posters (2012)Robbie Conal< http://illustrationage.com/2012/10/24/robbie-conals-mitt-bubble-hits-the-streets/ >

Decoration 06 (Left) & 08 (Right) (2003-2004) Peter Kennard

< http://www.telegraph.co.uk/culture/ photography/11583917/Peter-Kennard-

Figure 7

Figure 8

Decoration 08 (detail) ( 2003-2004)Peter Kennard

< http://www.telegraph.co.uk/culture/ photography/11583917/Peter-Kennard-

Unofficial-War-Artist.html?frame=3292274>

Figure 9

Decoration 06 (Left) & 08 (Right) (2003-2004) Peter Kennard< http://www.telegraph.co.uk/culture/

photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274>

http://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274http://www.peterkennard.com/main/my_art/photomontage/CND.htmhttp://www.theatlantic.com/entertainment/archive/2011/09/smearing-power-with-wheat-paste-robbie-conals-portraits/244803/http://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274http://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274http://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274http://www.peterkennard.com/main/my_art/photomontage/CND.htmhttp://www.peterkennard.com/main/my_art/photomontage/CND.htmhttp://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274http://www.theatlantic.com/entertainment/archive/2011/09/smearing-power-with-wheat-paste-robbie-conals-portraits/244803/http://www.peterkennard.com/main/my_art/photomontage/CND.htmhttp://www.peterkennard.com/main/my_art/photomontage/CND.htmhttp://www.peterkennard.com/main/my_art/photomontage/CND.htmhttp://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274https://twitter.com/billmaher/status/258385717632327681https://twitter.com/billmaher/status/258385717632327681


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Figure 10

Photo Op (2003) Peter Kennard and Cat Phillips< http://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum>

Figure 11

Wealth Care (2003) Robbie Conal< http://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum>

Figure 12

A Bombin’ Nation (2003) Robbie Conal< http://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum>

http://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museumhttp://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museumhttp://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museumhttp://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museumhttp://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museumhttp://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum


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Works cited

Conal, Robbie. "A Bombin' Nation." The Huffington Post, 25 Sept. 2005. Web. 21 Aug. 2015,< http://www.huffingtonpost.com/robbie-conal/a-bombin-nation_b_7799.html>.

Conal, Robbie. "Robbie Conal on the ImageBlog." The Huffington Post. TheHuffingtonPost.com, 24 Oct. 2013. Web. 1July 2015,< http://www.huffingtonpost.com/robbie-conal/robbie-conal_b_4159374.html> .

Douglas, Noel. "Eye Magazine." Eye Magazine. 1 July 2011. Web. 21 July 2015..

Eisinger, Dale. "The 50 Most Political Art Pieces of the Past 15 Years." Complex. 3 July 2013. Web. 1 July 2015,< http://www.complex.com/style/2013/07/new-political-art>.

Heller, Steven. "Smearing Power With Wheat Paste: Robbie Conal's Portraits." The Atlantic. Atlantic Media Company,15 Sept. 2011. Web. 21 Aug. 2015..

Jones, Jonathan. "The Tony Blair 'selfie' Photo Op Will Have a Place in History." The Guardian. 15 Oct. 2013. Web. 21Aug. 2015.< http://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum>

Kennard, Peter. Imperial War Museums. Web. 26 June 2015, .

Kennard, Peter: Unofficial War Artist." The Telegraph: . The Telegraph. Web. 24 June 2015,< http://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?frame=3292274>

Kennard, Peter, and Ken Livingstone. Dispatches from an Unofficial War Artist. Aldershot: Lund Humphries ;, 2000.

Web. 30 June 2015,< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>.

Kerley, Paul. "Peter Kennard: A Very Unofficial War Artist - BBC News." BBC News. 14 May 2015. Web. 2 July 2015,< http://www.bbc.com/news/magazine-32706845>.

Maher, Bill. "Thought Bubble over Romney's Head "Say, This Obama Fella Is Starting to Make a Lot of Sense...""Twitter. 17 Oct. 2012. Web. 20 Aug. 2015,< https://twitter.com/billmaher/status/258385717632327681>.

Maher, Bill. Twitter. 2009. Web. 21 Aug. 2015,.

The Sunday Times. "More than 150,000 Join CND Rally against Bomb." The Sunday Times 25 Oct. 1981. Web. 21 Aug2015,< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>.

The Standard. ”Tony Blair's Crazed Selfie Included in Imperial War Museum's New Art." Evening Standard. 9 Oct.2013. Web. 21 Aug. 2015,< http://www.standard.co.uk/news/london/tony-blairs-crazed-selfie-included-in-imperial-war-museums-new-art-and-war-exhibition-8869420.html>.

Zgheib, Yara. “On Art and War.” The European, 26 Mar. 2015. Web. 3rd Sep. 2015.< http://www.theeuropean-magazine.com/yara-zgheib/9957-the-relationship-between-arts-and-politics>.
http://www.theeuropean-magazine.com/yara-zgheib/9957-the-relationship-between-arts-and-politicshttp://www.huffingtonpost.com/robbie-conal/a-bombin-nation_b_7799.html

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Visual Arts Extended Essay IB/ Political Art