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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Blog Graphiste, Sculptures, Photos, Ver et Vie

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Remus and Romulus revisited by artist Liu Qiang's -

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Remus and Romulus revisited by artist Liu Qiang's. (China). Like a modern-day homage to the famous symbol of Rome, the statue of Remus and Romulus, artist Liu Qiang's powerful sculpture entitled "29h59'59″ commands a powerful presence at China's 798 Art District in Beijing.

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Installation view of "Harmony Hammond: Material Witness: Five Decades of Art," 2019, showing six examples from her "Presence" series, 1971-1972, at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut.JASON MANDELLA/©2018 HARMONY HAMMOND, LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COURTESY THE ARTIST AND ALEXANDER GRAY ASSOCIATES, NEW YORK

Six fabric sculptures appearing slightly larger than life size hang from the ceiling and graze the floor, inviting viewers to join them. Paint applied by artist Harmony Hammond imparts earthy tones to these layered scraps of cloth. Spots of bright color and pattern peek out here and there-plaids, polka dots, florals.

Hammond created these works in the early 1970s when as a young artist she was active in the burgeoning feminist and gay and lesbian rights movements. She calls them "Presences" because, as she said, "they speak to the history and power of creative women, as well as feminist collectivity. They are about occupying space."

They evoke a community of wild women: elders, mothers, crones, outlaws even.

These weighted ceremonial garments feel at once ghostly and corporeal. Hammond constructed them from scraps of cloth ripped from worn-out clothing, curtains, and bed linens donated by friends-fellow lesbians, feminists, artists. She dipped the fabric in thinned acrylic paint to saturate it, weathering and toughening its surface, then tied and stitched the pieces together. Walking among the pendant sculptures, I think of prior generations of lesbian, feminist, trans, and gender-nonconforming artists, paving the way to the future.

Harmony Hammond, 2019. CLAYTON PORTER

"Lesbian erasure is not acceptable," Hammond told me recently. "We have no choice but to be vigilant."

Hammond speaks with the conviction of someone who has been fighting for visibility in the art world-and beyond-for a very long time. She is now seeing that activist labor bear fruit on an ever-widening scale, with a survey of her career at the Aldrich Museum of Contemporary Art in Ridgefield, Connecticut, pieces in four queer-themed shows across the country this year, and a solo show of recent work at White Cube in London this fall.

"Hammond's practice has always shown a profound commitment to bending boundaries and showing their radical energy," said Amy Smith-Stewart, curator of the Aldrich show, entitled "Material Witness, Five Decades of Art," on view through September 15. "Now that we are seeing historically conditioned binaries imploding and labels around gender becoming increasingly fluid, it's more evident than ever how prophetic her vision has been from its very onset and how it has evolved and carried through in these last five decades. She pioneered a visual language that confronted gender, class, and sexual orientation within the higher realms of a painterly abstraction, bridging a sentient and materially rich abstraction with an active social awareness."

Harmony Hammond, Sieve, 1999, oil on metal and canvas.CHRISTOPHER E. MANNING/©2018 HARMONY HAMMOND, LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COLLECTION OF BARBARA JOHNSON AND RUTH GRESSER

Like many feminist artists in the early '70s, Hammond rejected traditional painting because of its associations with (often toxic) masculinity. Choosing materials that related to women's creative-frequently domestic-practices such as weaving, she intentionally challenged traditional distinctions between painting and sculpture, as well as art and craft, in what she called "expanded painting," duking it out with the prominent male artists of the postwar era.

"I hate digital seamlessness," said Hammond, who is now 75. She typically wears her sleek white hair pulled back, and is partial to cowboy hats. "My work has a survivor aesthetic, which has to do with piecing things together and making something out of nothing. It's about rupture, suture, and endurance."

Hammond, who was born and raised in Chicago, married a fellow art student from Millikin University in Decatur, Illinois. They moved to Minneapolis where she studied painting at the University of Minnesota in the early 1960s. In fall 1969, she and her husband moved to New York. It was months after the Stonewall Uprising in June, and downtown Manhattan had become a hotbed of experimental art making, liberation movements, and political activism. Within a year, Hammond separated from her husband, and became involved with the women's movement.

"The women's movement changed my life-and my art," she said.

[Read a roundtable discussion about the 50th anniversary of Stonewall and its lasting impact on the art world.]

In 1970 she gave birth to their daughter, whom she raised as a single mother, while working part-time at the Brooklyn Public Library, attending weekly meetings with members of her feminist consciousness-raising art group, and making art.

Harmony Hammond, Dogon, 1978/2015, cloth, wood, and acrylic.ERIC SWANSON/©2018 HARMONY HAMMOND, LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COURTESY THE ARTIST AND ALEXANDER GRAY ASSOCIATES, NEW YORK

During that formative decade, Hammond established herself, along with a cohort of like-minded women including Miriam Schapiro, Faith Wilding, and Joan Semmel, as a pioneering feminist artist, activist, curator, and writer. In 1972 she was one of 20 artists-including Barbara Zucker, Nancy Spero, and Howardena Pindell-who founded A.I.R. Gallery, the first women's cooperative gallery in the United States. In 1976 she co-founded the quarterly Heresies: A Feminist Publication of Art and Politics, with a collective including May Stevens, Joan Snyder, Pat Steir, Michelle Stuart, Joyce Kozloff, Mary Miss, and others. examined the social, critical, and financial structures of the art world through a feminist lens and created a discourse around women's historical and contemporary artistic expressions. One edition, titled the "Lesbian Issue," was devoted to lesbian art, artists, and culture, which until then had been invisible in mainstream media and arts circles.

In 1978 Hammond curated the groundbreaking "A Lesbian Show" at 112 Greene St. Workshop, the alternative space in SoHo that later became White Columns. The first exhibition of work by lesbian artists in the United States, it included pieces by Louise Fishman, Dona Nelson, Amy Sillman, and Kate Millett. The show was an energizing political statement about lesbian visibility, creating a community of artists who publicly identified as lesbian-and risked professional discrimination by doing so.

In the years that followed, Hammond, who left New York for New Mexico in 1984, sensed that despite the work she had continued to do since the '70s there was still a void in terms of the visibility of lesbian artists. She began work on Lesbian Art in America: A Contemporary History, which took a decade to write and was published in 2000. It is the only art-historical text of its kind to date.

Like many artists from marginalized groups, Hammond produced scholarship out of necessity, providing a structure to examine not only her work but that of other queer feminist artists.

In Lesbian Art in America, she wrote, "We cannot afford to be silent or to let others decide what kind of art we may or may not make, nor let our creative work be ignored, 'straightened,' dehistoricized, decontextualized, or erased."

Have things changed in the 19 years since the book's publication? I told Hammond that I still see queer feminist artists fighting to have their work be recognized and remembered.

"That's why I wrote Lesbian Art in America," she replied, without missing a beat.

Installation view of "Harmony Hammond: Material Witness: Five Decades of Art," 2019, showing five examples from her "Floorpieces" series, 1973, at the Aldrich Contemporary Art Museum, Ridgefield, Connecticut. JASON MANDELLA/©2018 HARMONY HAMMOND, LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COURTESY THE ARTIST AND ALEXANDER GRAY ASSOCIATES, NEW YORK

'Material Witness," the Aldrich show, is Hammond's first institutional survey. Spread across two floors and a number of galleries, each housing a discrete body of work, it addresses the key aspects of a 50-year career that merges the formal experimentation of post-Minimalism with feminist and queer content.

Hammond has worked with a compelling diversity of materials, ranging from metal and wood to blood and burlap to rope and latex. Painted in deep blacks, creamy whites, sensual reds, and resplendent golds, the surfaces are often stained, incised, punctured, and scarred.

"Hammond has always shown a commitment to challenging the history of abstraction-and queering it," said Alexander Gray, whose gallery represents her. "She does that with her materials, with imagery of scarring, sutures, wounds, orifices, seepage, leakage. She pushes against abstraction in the Malevich mold as a pure space, a spiritual, otherworldly device."

In one room, next to a wall of windows, sit Hammond's 1973 "Floorpieces," colorful paintings on fabric coiled to resemble circular braided rugs. The installation here, conceived by Hammond and Smith-Stewart, presents the works alone; the walls nearby are blank. The artworks seem like paintings taken off the walls, or even very flat sculptures.

Some of Hammond's most iconic works are her "Wrapped Sculptures" of the late '70s and early '80s. Wooden armatures swathed in fabric and covered with paint or latex, they are often anthropomorphic and slightly humorous. Some, like Kong (1981), reach out toward the viewer with thick, curved fingers; others hang flat on the wall, like the gold-painted Dogon (1978/2015), and still others, resembling short, plump ladders, lean against the wall and each other, as in Hug (1978).

"These works claim spatial dimensions reminiscent of her earlier series the 'Presences,' where abstract bodies that could be read as stand-ins for the women of Hammond's consciousness-raising group at the time," Smith-Stewart said. "These works celebrate women's relationships as symbols of power."

Though known for her use of the formal techniques of pure abstraction, Hammond's survey highlights the way that text recurs throughout her practice. In her "Ledger" drawings (2015), which line a long hallway on the first floor, the gently leaning cursive is disquieting. One reads "Down girl, down girl, down girl"; another laments "Obsolete, obsolete, obsolete."

Harmony Hammond, Inappropriate Longings, 1992, oil, acrylic, canvas, linoleum, latex rubber, metal gutter and water trough, dry leaves, triptych.JEFFREY STURGES/©2018 HARMONY HAMMOND, LICENSED BY VAGA AT ARTISTS RIGHTS SOCIETY (ARS), NY/COURTESY THE ARTIST AND ALEXANDER GRAY ASSOCIATES, NEW YORK

In one of the panels of the large mixed-media triptych Inappropriate Longings (1996), the words "GODDAMN DYKE" are incised in gold latex next to fragments of floral-patterned linoleum. A casket-size metal trough full of dead leaves sits in front of the painting, suggesting violence. Taken together, these elements insert a lesbian presence into regions of rural America and the modernist painting field.

"The idea of what is usually buried and hidden beneath the surface, but is now revealed through materials, speaks to the painting I'm doing now," Hammond said of Inappropriate Longings.

Since 2010, when she published a concise proclamation, titled A Manifesto (Personal) of Monochrome (Sort of), Hammond has focused mostly on iterations of near-monochromatic paintings. She describes her work of the last decade as "more condensed, with fewer materials in any given piece, and therefore, less narrative."

The new works, though simple seeming, still chafe against the conventions of painting. They flaunt sutures, cracks, fissures, holes, scars, flaps, trailing ropes, and straps that emerge from the surface and dangle like entrails. Hammond has described her work as "performing queerly," referring in part to the color shifts in the paint and the "fugitive" surfaces they create.

"Hammond is not one who rests; she changes elements," Gray said. "Often things that look like found objects are not. The materials are transformed. Not just found, but repositioned, or collaged."

These days, Hammond focuses less on writing, and more on her art. She attends environmental protests, women's marches, and pride parades when she can, but she thinks of exhibiting as one of her primary forms of activism around visibility, erasure, and censorship.

"Exhibitions allow us to physically occupy space, so we are visible to queer and non-queer folks alike," Hammond said. "I've always been engaged with voices and forces that have been buried, or covered up, and assert themselves from underneath the surface of things."

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Going Beneath the Surface: For 50 Years, Harmony Hammond's Art and Activism Has Championed Queer Women

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Over the past 50 years, the artist has duked it out with the prominent male painters of the postwar era in her "expanded painting."

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A Turkish artist, Vahit Tuna, exhibited an open-air art installation in which he hung 440 black heels to symbolize the deaths of women in Turkey in 2018 due to domestic violence. The exhibition was a part of Yankose, a not-for-profit arts platform started in 2017 by Kahve Dunyasi, a Turkish coffee chain. The shoes have been hung on two installation walls of the building that hosts the Kahve Dunyasi branch, in Istanbul's Kabatas neighbourhood in Beyoglu district. The exhibit covers an area of 260 square meters on the outer wall and the intersection wall. It was installed earlier this month and will remain until six months to highlight the national problem of domestic violence.
Key Takeaways:

Vahit Tuna, a Turkish artist, exhibited an open-air art installation in which he hung 440 black heels commemorating the murders of 440 women in Turkey due to domestic violence.

The exhibition is a strong message against domestic violence, a national and a global issue.

The art installation is a part of Yankose- a not-for-profit arts platform started in 2017 by Kahve Dunyasi, a Turkish coffee chain. It has been put up on the outer and the intersection walls of the building hosting the Kahve Dunyasi branch in Istanbul's Kabatas neighbourhood in Beyoglu district.

It was installed earlier this month and will remain until six months to highlight the national problem of domestic violence.

The idea behind the exhibition:

Many women around the world are the victims of domestic violence and are consequently killed by their partners. Domestic violence is a global issue but it is mostly silenced or ignored as "personal problems". The exhibition of the Turkish artist aims at breaking this long drawn silence around domestic violence and give women voice and agency.

According to Kadın Cinayetlerini Durduracağız Platformu (We will stop Femicide Platform), an organization in Turkey that records the deaths of women due to domestic violence in the country, 440 women lost their lives in 2018 due to domestic violence. Whereas, in 2017, the number of deaths was 409. Vahit Tuna's exhibition has 440 shoes which are equal to the number of women died in 2018. This not only makes the exhibition horrific but also a powerful message on domestic violence as a national and global issue. The black heels, as Vahit Tuna said, is a sign of independence and defiance that marks feminine power and agency. He also said that the project both raises awareness about the women murders and also materializes the issue of domestic violence like a sculpture or monument.

The hanging of shoes on walls is a customary practice in Turkey in which the shoes of women who are dead are hung on the walls of their homes. Tuna borrowed this idea of commemorating the dead to raise awareness about domestic violence and give voice to the women who have died as victims.

The location and the social critique of the exhibition

Besides, the location of the exhibition (on the outer wall of the building) is also significant for the message it tries to convey. Tuna deliberately chose to put up the exhibition on the outer walls of the building rather than doing it inside so that the art and its message is visible to not only the art-seekers but also the common people of Turkey who pass the building on daily basis. The building is located in a busy area where it can be visible to everyone in the city. Yankose itself is a famous public artwork display, known for its impact due to its location in the city.

The exhibition that carries a strong social critique is meant to be seen and comprehended by the whole society, and not only the chunks of it. The global popularity of the exhibition itself proves the point. The project and the haunting criticism of domestic violence, which is not an alien idea in any part of the world, is visible and affecting people in Turkey and around the world.

Why is the exhibition garnering attention globally?

The message sent out by the Turkey shoe installation is not restricted to the said country and goads every nation in the world to take measures to ensure safety of women.

Even though the Turkish art exhibition focuses on the records of domestic violence deaths in Turkey, it is influencing people globally. The haunting aspect of the exhibition is the number of shoes equal to the number of women murdered, which marks the absence of the women who should have been alive today. Last month in Turkey, the murder of Emine Bulut by her husband in front of her daughter sparked a public outcry against domestic violence. However, the global figures on domestic violence against women show how the issue is alarmingly widespread and commonplace. According to 2017 report by WHO, as many as 38 percent of murders of women are committed by a male intimate partner, globally. It further added that 1 in 3 (35 percent) of women worldwide have experienced either physical and/or sexual intimate partner violence or non-partner sexual violence in their lifetime.

Therefore, the message sent out by the Turkey shoe installation is not restricted to the said country and goads every nation in the world to take measures to ensure safety of women.

Picture Credit: Metro
Also Read: Behind Closed Doors: Growing up with domestic violence in India Rudrani Kumari is an intern with SheThePeople.TV.

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A Wall of Shoes to Raise Awareness about Domestic Violence in Turkey

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A Turkish artist, Vahit Tuna, exhibited an open-air art installation in which he hung 440 black heels to symbolize the deaths of women in Turkey in 2018 due to domestic violence. The exhibition was a part of Yankose- a not-for-profit arts platform started in 2017 by Kahve Dunyasi, a Turkish coffee chain.

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I work with pictures and words because they have the ability to determine who we are and who we aren't. -Barbara Kruger
Conceptual art carries within it an idea or concept that takes priority over aesthetic and art techniques. Conceptual artists challenge the definition of art and are not afraid to push their boundaries. Such are the examples of Stelarc - the outlandish performance artist and proponent of the bioart movement - and Maurizio Cattelan's controversial work " Comedian."

Undoubtedly one of the most renowned conceptual artists of today, Barbara Kruger has never shied away from creating artwork that is not only unconventional - focused on text more than figures or forms - but that also offers societal critique and poignant social commentary on current events. Covering topics like consumerism, feminism, and political issues, Kruger has established herself as a bold figure in contemporary art who isn't afraid of loudly broadcasting her ideas and challenging the concept of mass media.

Barbara Kruger and her artwork "I shop therefore I am." Photo: Getty Images | Image source: thecut.com

The Beginnings Of Barbara Kruger

Kruger was born in 1945 in New Jersey, and in her early twenties, she first pursued graphic design and picture editing. She attended the Parsons School of Design in New York and worked as a designer at Condé Nast Publications. During this time, she discovered her love of poetry and how words can be powerful tools in the hands of those who know how to wield them for their advantage.

In the late 1960s, she started turning towards art. Her first wall paintings included unconventional materials such as sequins, feathers, beads, and ribbons. She painted subjects that were vibrant, bright, and sexually suggestive. Despite some success in the form of her work being included in the Whitney Biennial exhibition, Kruger became dissatisfied with her art form. It wasn't until 1977 that she returned to it with a new perspective and aesthetic, slowly transitioning to her collage works in the early 1980s.

At the very start of her art career, Kruger felt intimidated by the New York art scene. She was quoted as saying that it wasn't welcoming to "particularly independent, non-masochistic women." However, support from organizations such as the Public Art Fund enabled her to continue creating art, which she later admitted was crucial to her career.

Barbara Kruger's Art Style

Kruger's style is unique in the sense that it primarily focuses on words. Her graphic design background is evident as she pairs photographs with text that encourage the viewer to think outside the box. Some of her impactful slogans include " I shop, therefore I am," a screenprint on vinyl from 1987 with framed text held by a hand, " Your body is a battleground" from 1989, with a model's face divided down the middle, and " You are not yourself " from 1981, depicting a woman seen in a mirror that appears to have been shattered by a bullet.

Kruger puts together her ideas on a computer and then transfers them into print images of various sizes- not uncommonly billboard scale and sizes. She uses a striking contrast between the words and their backgrounds, forcing the viewer to pause and take notice. Like the mass media headlines that Kruger opposes, she utilize sensationalism to deliver her messages to society. Some of her most memorable public artworks belong to a series from the 1980s called " Messages for the Public " from the Public Art Fund. These artworks included messages displayed on digital billboards in New York Times Square, such as, "I'm not trying to sell you anything," and, "I just want you to think about what you see when you watch the news on T.V."

Barbara Kruger has no qualms about pointing fingers both at the mass media and its consumer culture.

Barbara Kruger. Untitled (Blind idealism is...), 2016-2017. Installation view: The High Line, New York City. Courtesy of Mary Boone Gallery, New York. Photo: Timothy Schenck. | Image source: art21.org

Societal And Cultural Criticism

Even though her art has been labeled as political and feminist, Kruger herself disagrees with the terms. "I never say I do political art," she declared in 2013, "Nor do I do feminist art. I'm a woman who's a feminist, who makes art."

Nevertheless, her artwork stands in defense of women and their inequitable position in society. Her "You are not yourself" work suggests that a woman's view of herself is shattered, much like the mirror in the artwork is. Among the world's expectations and assumptions about her, in a quiet moment of reflection, a woman realizes that she is never herself.

Kruger's "Your body is a battleground" was created to support legal abortion, with Kruger clearly stating that she was pro-choice. Her dramatic question, " How come only the unborn have the right to life? " posed in 1982 in one of her early 'paste-up' works asks why the authorities are keen on celebrating the fetus but starving the child.

Beyond feminism, Barbara Kruger reflects on the culture of consumerism and on the political changes her country has gone through. In the New York Times in 2012, readers could ponder over a large font that said, " You want it. You buy it. You forget it." Another more recent artwork from 2016 labels Donald Trump as a Loser on the cover of the New York Magazine, unreservedly taking a jab at the then-new President-elect.

Barbara Kruger's Message

Creating art as a means to provide commentary on the current social, cultural, and political climate is nothing new. However, Barbara Kruger's grit and confidence in expressing her views is nothing short of admirable. She uses the same language of the mass media to turn the viewer's attention and thoughts against the media, to wake up the public from their consumerist apathy, and make them engage and participate in their surroundings and the world they're living in.

Just as she challenges those in authority, Kruger encourages the public to use their heads and not to be seduced by the messages of mass media. She calls out their behavior and makes them rethink their actions and question why they are doing the things they are doing. Who are they following? The government? Their television?

Pandemic permitting, a landmark exhibition of Barbara Kruger's work is set to open at the Art Institute of Chicago, after which it will travel to the Museum of Modern Art and MoMA PS1 in New York and the Los Angeles County Museum of Art. In times of uncertainty and turmoil, where critical thinking and standing up against corruption and discrimination are imperative, we cannot think of a more appropriate moment for Kruger's iconic art and its powerful words to inspire and influence the masses.

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I work with pictures and words because they have the ability to determine who we are and who we aren't. -Barbara Kruger Conceptual art carries within it an idea or concept that takes priority over aesthetic and art techniques. Conceptual artists challenge the definition of art and are not afraid to push their boundaries.

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This life size glass sleeping figure was made as part of an Arts Council funded residency at the Glass Hub in UK. The artwork was made to highlight the growing number of hidden and invisible homeless people there now are. Shrouded in a blanket made of glass, the ghost-like figure, which has no gender, is a vulnerable and fragile form.

As well as seeing an increase in the number of people sleeping on the streets in the UK, there are now thousands of hidden homeless, staying in a hostels, squats and other forms of unsatisfactory and insecure accommodation.

With street homelessness on the rise again across the country, having fallen for a number of years, people are invited to support the Early Doors Campaign from 1625 Independent People. This initiative raises funds to help young people earlier through mediation and advice services, helping them to avoid the homelessness route altogether.

Artist Luke Jerram explains;
"For every person you see sleeping on the streets, there are many others sleeping in hostels, squats and other forms of unsatisfactory and insecure accommodation. I was interested to see whether the sculpture would be ignored and treated like street furniture as homeless people often are in a city. I hope the artwork will raise awareness of the problem and that the public will feel moved to support the charity, to make a difference."
About 1625 Independent People
1625 Independent People are leaders in the field of supporting young homeless people in Bristol and the South West. They work across Bristol City Council Youth Services offering peer support (young person to young person) and advice about homelessness. They help find Bristol based emergency, temporary, live-in housing for 16-25 year olds.

"When you are homeless you are invisible - you have no home, nothing to do, no money, no one asks your name or how you got there. People stop seeing you as a human being - you're just a thing slumped on the floor" Quote from a 1625ip ex-service user, aged 24

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This life size glass sleeping figure was made as part of an Arts Council funded residency at the Glass Hub in UK. The artwork was made to highlight the growing number of hidden and invisible homeless people there now are. Shrouded in a blanket made of glass, the ghost-like figure, which has no gender, is a vulnerable and fragile form.

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by Agape Charmani

We've featured Alex Gross ' work in the past and we're familiar with the artist's powerful images, criticism and irony.

The Los Angeles-based artist is famous for his themes and his criticizing language. Gross creates surreal worlds that communicate with each other through strong metaphors and allegories. These worlds incorporate an honest social commentary, which even though is extremely harsh on our society and the people living in it, is presented in a cool, fun way.

Discussing issues such as globalization, technology obsession and consumerism, Gross asks us an important question through his work. If we were to stop having all those superficial needs, with what would we be left with?

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Art-Sheep Features: Alex Gross Comments on Society's Obsession with A Consumerist Lifestyle - Art-Sheep

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by Agape Charmani We've featured Alex Gross' work in the past and we're familiar with the artist's powerful images, criticism and irony. The Los Angeles-based artist is famous for his themes and his criticizing language. Gross creates surreal worlds that communicate with each other through strong metaphors and allegories.

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Racism. It Stops With Me. TV spot.  Feat. Adam Goodes

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Recently I was google-alerted to an ARTNews article about the Baltimore Museum of Art's recent round of contemporary acquisitions, which, during its "year of the woman," are all by women, mostly of color. Most of the artists are likely unfamiliar to you-they were to me. Let me be clear: I applaud the effort; it's all good. But it made me think back to all the acquisitions meetings during which I proposed works of art only to be turned down because the artists were unknown to my colleagues. That reason to say no, "I've never heard of them," made me mentally design a pie chart. There is a narrow slice of pie that represents contemporary artists my colleagues were interested in, and then there is the rest of the pie filled with artists making meaningful work. They just aren't represented by Hauser & Wirth, Gagosian, or David Zwirner. I once was told: "There is a difference between contemporary art and art made today." I always felt this was seriously shortsighted.

This points to the beauty of prints and other works on paper since they are considerably more affordable than paintings, sculpture, installations, video art, and such. The price point of paintings, etc., is often a stretch for all but the best endowed museums, and the ability to acquire these kind of objects is limited. Whereas the curators in these areas must choose VERY carefully, curators of works on paper have it easier in collecting outside the sliver of pie that the contemporary curators are held to. The print curator is always thinking about the content and usefulness of a particular object rather than whether it's by a superstar artist (at least I am).

Over the years, there have been quite a few works I failed to get into the collection. I have never forgotten them.

One of the ones that got away was close enough that we brought it into the museum for consideration. (Usually if it was a no, the no came long before we brought works in.) It was a portfolio of prints by Damon Davis called All Hands on Deck , 2015. Here's the backstory. Davis is a native of East St. Louis. Following the death of Michael Brown in Ferguson, Missouri, on August 9, 2014, and events that followed-peaceful protests that turned ugly-Davis took photographs of the hands of a variety of protesters up, in a turnabout of gesture. Rather than hands up as surrender, they are hands up in protest. The photographs were printed out on large sheets and wheat pasted onto the boarded-up storefronts along West Florissant Avenue (with the permission of the store owners), which had become ground zero of the protests.

Subsequently, Davis worked with Wildwood Press' Maryanne Simmons to create a fine art edition of seven pairs of hands. The moment I saw the announcement of its publication, I fired off an inquiry about the portfolio. It seemed like a no-brainer for the Baltimore Museum given the city's unrest following the death of Freddie Gray in April 2015, less than a year after Michael Brown's death. Talk about parallels. (Susan Tallman wrote an excellent article on Davis' portfolio in Art in Print, which you can find here.)

When the prints arrived, my colleagues took issue with the quality of the images. Davis had retained the pixilation and choppiness of the edges from the wheat paste posters. I explained that Davis had photoshopped the images quickly in an effort to get them up on storefronts and had decided to retain that same look in the fine art edition. I had absolutely no doubt that they would look fantastic on the wall-in curator parlance we would say they have wall power. Even better, they are both specific to Ferguson and universal. They stand as a monument to protests against police brutality across the country and they are as powerful today as they were in 2015.

I regret my failure for the collection. And even worse: we had full funding for the portfolio from a donor.

Damon Davis (American, born 1985)
Published by Wildwood Press
All Hands on Deck , 2015
Portfolio of seven lithographs
Sheet (each): 813 x 1232 (32 x 48 ½ in.)

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Damon Davis' powerful portfolio All Hands on Deck, straight from the streets of Ferguson

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Recently I was google-alerted to an ARTNews article about the Baltimore Museum of Art's recent round of contemporary acquisitions, which, during its "year of the woman," are all by women, mostly of color. Most of the artists are likely unfamiliar to you-they were to me.

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rt may have the ability to cheer us up, to entertain us, but it also has the power to effect real change in the world.

Pablo Picasso once even went so far as to declare, "Painting is not made to decorate apartments; it is an offensive and defensive instrument of war against the enemy."

Some artworks throughout history have revolutionised the way we think about politics, social issues and even art itself.

From cave paintings to soup cans, princesses to soviet leaders, these are the paintings that have had an undeniable, impact on the art world and beyond.

Lascaux caves, 17,000 Before Present

The oldest painting made quite the global kerfuffle - but not until 17,000 years after it was painted. In 1940, a group of young men came across a cave in the French countryside, inside of which they discovered some one of the world's most extraordinary examples of prehistoric art. Whilst not the oldest example of human painting, the caves are one of the earliest examples of sophisticated painting, demonstrating a key moment in the human drive to make art.

Studies of the foetus in the womb, c.1510, Leonardo da Vinci

Leonardo counts more than a few household names among his artworks - but this might not be one of them. This study of a foetus curled up in a womb, however, arguably made more impact on the world than the Mona Lisa or The Last Supper. In making his anatomical drawings - taken from real life dissections, an illegal practice for non-physicians - Leonardo challenged moral and artistic convention. Leonardo's discoveries and methods went on to change the way that both artists and scientists studied the human body.

Las Meninas, 1656, Diego Velazquez

This is no standard courtly painting. In this portrait of the Princess Margarita and her "meninas". or ladies in waiting, Spanish artist Diego Velazquez raised complex questions of viewpoint and viewer involvement in painting. Is the pictured Velazquez painting us? Are we the king and queen reflected in the mirror on the back wall? Its impact on art history has been profound: these are the kinds of questions raised by cubism 250 years later, and Picasso was so fascinated with Las Meninas, he painted 58 versions of it.

The Death of Marat, 1793, Jacques-Louis David

(Royal Museums of Fine Arts of Belgium, Brussels / photo: J. Geleyns - Ro scan - or RMFAB, Brussels / photo: J. Geleyns ) /

This painting by French artist Jacques Louis David, could be considered the first truly political artwork. It depicts the aftermath of revolutionary leader Jean-Paul Marat's murder, who was stabbed in his bathtub. David took a poignant political moment and painted it with near-photographic simplicity; his painting of his dead friend went on to become a pertinent piece of political propaganda, seeing it turned into an engraving which was widely circulated among the public.

Olympia, 1863, Edouard Manet

This radical nude is frequently hailed as a rejection of the patriarchal gaze in art. When Edouard Manet sat down to paint Olympia on her bed, artists had been painting reclining nudes for hundreds of years - but Olympia was going to be different. The pose is directly based on Venus of Urbino by Renaissance painter Titian, a painting famed for its shocking sexuality. But rather than a come hither look in the eyes of the subject, Olympia is confrontational, her stare hard. Her hand is a barrier to her genitals, not a gesture of invitation.

Black Square, 1915, Kazimir Malevich

This painting may just look like a black square - but that's because it is. The work by Kazimir Malevich is considered the first painting to not actually be of anything. Malevich wanted to completely reject the idea that art should depict reality, or even try to. This painting and Malevich's ideas went on to inspire countless artists in the twentieth century, and was the basis on which abstract and conceptual art movements were widely built - not necessarily changing the world, but changing art forever.

Campbell's Soup Cans, 1962, Andy Warhol

In contrast, this work by Andy Warhol definitely is of something - but it's not exactly something you would expect. Andy Warhol took a piece of design that the American people saw every day, and turned it into gallery-worthy art. In doing so, he questioned ideas of value attached to art - is this Campbell's soup tin really less worthy of attention than a Leonardo? To emphasise his point, Warhol first displayed the works lined up on shelves in a gallery space, mimicking how they would be stacked in a grocery store.

Guernica, 1937, Pablo Picasso

No artwork has become as important a symbol of anti-war movements as this heartbreaking painting by Pablo Picasso. The work depicts the overnight bombing of the Spanish city of Guernica in 1937, during the Spanish Civil War. Picasso had been commissioned by the Spanish Republican government to create an artwork, and was so disgusted by the atrocity that he chose it as his subject. The painting was made into a full size replica tapestry which hangs in the United Nations headquarters in New York.

The Problem We All Live With, 1964, Norman Rockwell

Illustrator Norman Rockwell made his career depicting the normalities of American mid-century life - both the good and the bad. Painted in 1964, the work shows a young black girl named Ruby Bridges walking down the road, on her way to attend an all-white school. She is flanked by security due to the racial hatred this incited - she walks past racial slurs written on the walls. It became an iconic image of the Civil Rights Movement, and Barack Obama had it put on display when he invited Bridges to meet him at The White House in 2011.

Guerilla Girls, 1989, Do women have to be naked to get into the Met Museum?

The Guerilla Girls are an anonymous group of artists with an important message. This art collective meets activism group has spent the last thirty years vocally fighting racism and sexism in the art world. They do this by simply stating the facts - in this case that "less than 5% of the artists in the Modern art section [of the Metropolitan Museum in New York] are women, but 85% of the nudes are female". This poster has become a symbol of furthering female respresentation in art institutions.

My God, Help Me to Survive This Deadly Love , 1990, Dmitri Vrubel

In 1979, a famous photo of Soviet Union leader Leonid Brezhnev and German Democratic Republic leader Erich Honecker was taken. The two were depicted in a socialist fraternal kiss - a kiss which is made on the mouth if two leaders consider themselves particularly close. Artist Dmitri Vrubel chose to paint this image onto the Berlin Wall, accompanied by the controversial epithet. As the most famous part of the East Side Gallery, where murals are displayed on the remaining parts of the Berlin Wall, the painting is a symbol of how art can be an expression of people power - a power that can change the direction of politics.

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rt may have the ability to cheer us up, to entertain us, but it also has the power to effect real change in the world. Pablo Picasso once even went so far as to declare, "Painting is not made to decorate apartments; it is an offensive and defensive instrument of war against the enemy."

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This Is What’s Missing in Fashion’s Inclusivity Movement

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Despite the industry’s push for greater diversity and inclusivity, Fashion Week is still leaving out the disabled community. Will spring 2022 be the season we start seeing adaptive fashion and disabled models on the runway?

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The most powerful and political public art in the world

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The most powerful and political public art in the world

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Politically charged masterpieces by Banksy, Ai Weiwei, and others round out this definitive list

Sometimes a simple gesture sparks a massive conversation. Look no further than the small bronze statue of a little girl gazing at the iconic Wall Street bull installed for International Women's Day in New York 's financial district this March. We now know the story behind it-investment manager State Street Global Advisors was pushing for the companies in which it invests to make sure they have gender diversity on their boards-but everywhere from Facebook to the middle of Manhattan, she's ignited a debate about pay equity, feminism, and the state of women's rights in the U.S. Even if your politics aren't in line with the work's message, it would be hard to deny its effectiveness at bringing the conversation to the forefront.

The history of powerful public iconography is long-and fraught. Here are eight works across the world that startled audiences and began other important political discussions.

Banksy's Flying Balloons Girl

Roll your eyes if you will at the still-anonymous artist's provocations-they do grab attention. An early, powerful work of Banksy's, Flying Balloons Girl, uses the trope of the innocuous young girl, much as the bronze Wall Street sculpture does. The stenciled work of a young girl such as you might see in an old time-y children's book appeared in 2005. She's holding tight to a bunch of balloons as they begin to carry her afloat. But in Flying Balloons she's spray-painted onto the wall in the West Bank that separates the Palestinian Territories and Israel. The message of the work is pretty straightforward: What if she could just float between the two? Britain-based Banksy made nine other public works in the Middle East around this time, including a small boy kneeling in front of a rope ladder leading up the same fence.

Nadezhda Tolokonnikova, Maria Alyokhina, and Yekaterina Samutsevich-better known as Pussy Riot-were arrested in 2012 after disrupting a church service in Moscow. The impromptu performance of the band's song "Punk Prayer," in which they shout "Mother Mary, please drive Putin away," protests the Russian Orthodox Church's support for Russia's president, whom the trio see as an imperialist autocrat. The feminist band was sentenced to two years in prison on the charge of "hooliganism" because they offended churchgoers and "had intended to insult the Russian Orthodox Church and undermine public order." The trial attracted broad attention to the state of freedom of speech in Russia and Amnesty International protested the court's decision. Sting, Madonna, and Yoko Ono all spoke out against the trio's treatment (Samutsevich was freed after five months of detention while the other two members remained imprisoned, although they were eventually released early due to a newly enacted Russian law).

Olafur Eliasson's Ice Watch

Sometimes a simple demonstration works best. Icelandic artist Olafur Eliasson teamed up with a geologist named Minick Rosing in 2015 to import from southern Greenland 12 icebergs, which he arranged like the 12 digits on a clock. During the Paris Climate Conference he installed them in Paris's Place du Pantheon, so onlookers could watch them melt, in his site-specific work Ice Watch. The 12 blocks took 12 days to disintegrate-the length of the conference. The ten-ton pieces of ice traveled via shipping container to Denmark and then ten hours by truck to reach the City of Light, according to a report in The New Yorker at the time.

In 2013, artist-activist Steve Lambert erected a billboard-cum-quiz about capitalism in what arguably symbolizes the epitome of American capitalism: Times Square. The interactive billboard, in the style of those ubiquitous in that glitzy sector of Manhattan, read "Capitalism works for me!" and had two large buttons labeled "true" and "false" placed in front of it. Viewers were invited to choose, and Lambert reportedly hung out and chatted with people about their choices.

The Guerrilla Girls, an anonymous art collective that began appearing at art-world events in 1985 donning gorilla suits, has long skewered the underrepresentation of women in the art world, among other issues relevant to the feminist artists, through their appearances, performances, posters, and writing. They've organized protests at major art institutions that have excluded women or engaged in tokenism, with some of those eventually commissioning art from the collective. The group is reported to consist of seven women who are presumably working artists, though no one knows for sure. The collective's wheat-paste posters-with slogans such as "Do women have to be naked to get into the Met Museum?"-have attracted attention over the years, and they appear in the 2010 documentary Women Art Revolution. In a recent interactive work, they created an erasable graffiti wall and welcomed women to complete the following sentence: "I'm not a feminist, but if I were, this is what I'd complain about..." Submissions reportedly included "Being told it was my fault I was raped" and "Why do I earn 79 cents for every dollar a man earns for the SAME work!"

Ai Weiwei's Berlin project

Early last year dissident artist Ai Weiwei made waves in an unnamed follow-up installation drawing attention to the refugee crisis in Europe. (It may have been damage control after his previous work on the subject, a photograph where he substituted himself for the image of the drowned Syrian three-year-old without much embellishment, fell very flat.) Last month, Wei, whose family was taken to a Chinese labor camp when he was only a year old, strung up about 14,000 bright orange life jackets used by refugees fleeing violence in the Middle East and seeking refuge in Europe along the columns of a well-trafficked Berlin concert hall. While it might seem like a misplaced effort-Germany takes in more refugees than any other country in Europe-the piece was mounted to coincide with the Berlinale, a massive film festival that attracts Hollywood power brokers, celebrities, and the press.

The rooftop of the Metropolitan Museum of Art in New York is generally a place of respite, where simple sculptures are installed in the summer and visitors can gaze out at the city after a long day wandering through the institution's massive collections. But in the summer of 2013, artist Imran Qureshi, who hails from Lahore, Pakistan, transformed that space into an explicit war zone in his installation work And How Many Rains Must Fall Before the Stains Are Washed Clean. Painted all in blood red, flowers and intricate patterns emerge from what looks on its face like the scene after a bombing. Qureshi explained that the grand metaphor in the piece is that violence can obscure but not extinguish life.

In the U.S. we may not imprison artists whose work has overt political themes, but issues of censorship do regularly come up. For instance Aaron Bell, an African American artist who had been selected to make a site-specific piece for Riverside Park in Manhattan, last year delivered a work called Stand Tall, Stand Loud. The sculpture featured a noose above a human figure with geometric blade-like pieces in its center over a quote from Martin Luther King Jr. But the New York City Parks Department was apparently not pleased at the inclusion of the noose-a symbol of African American oppression in the U.S.-and told Bell to change it. "The proposed site for this work is adjacent to an area regularly programmed with passive recreational activities such as yoga, Pilates, and senior movement programming," a spokesperson for the Parks department said in a statement. Bell changed the sculpture because he felt it was worth it to have such a prestigious commission, but in the end the city backed down and let the original design be re-installed later in the month. The artist said he hoped the work would remind people to be tolerant every day.

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The 8 Most Powerful Works of Public Art in the World

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Politically charged masterpieces by Banksy, Ai Weiwei, and others round out this definitive list

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https://www.deviantart.com/scottyrobotty/art/Drug-Addiction-29842853

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Yarra Trams is proud to join the Melbourne Festival and Arts Victoria to reintroduce 'Art Trams' to Melbourne's world famous tram network.

The first tram was revealed on Monday 30 September, and seven more will be launched over the next two weeks. Keep checking this page for updated images as the tram designs are completed and begin running around the network.

One tram will operate from each Yarra Trams depot, allowing Melburnians to see these moving masterpieces on most tram routes.

The best way to find an individual tram is to use the onboard/myTRAM feature on iPhone or Android tramTRACKER. Simply input the number of the tram and if it's on the network making a scheduled trip tramTRACKER will tell you where it is. The onboard/myTRAM is not available for City Circle trams.

tramTRACKER is available as a free download from the App Store and the Google Play store.

Congratulations to the Joining Forces collective for winning the Melbourne Festival Art Trams People's Choice Award!
News
" Melbourne Festival: Trams become moving pictures" - The Weekly Review, 17 October 2013.

" Art collective on roll as commuters give tram creatures thumbs up" - The Age, 1 November 2013.

Tram 182 - 'Going Somewhere' by Freya Pitt

"A loose, personal mapping of Melbourne, Going Somewhere combines sketches drawn while on trams with streetscapes from around the city. The time in between things - on the way to somewhere and from something - has become an important space in my life where I can just think and sketch.

Sitting on a tram, with streetscapes rumbling past and a constant flux as people get on and off, one glimpses a multitude of narratives being lived around you. In Going Somewhere I set out to explore the sense of possibilities and unknown eventualities held within this communal space" - Freya Pitt

Art tram launched: 11 October 2013

Routes: 3/3a, 64, 67, 78/79

Tram 3509 by Brook Andrew

"The inspiration for this artwork is driven by a contemporary rendering of a Wiradjuri design found traditionally on tree dendroglyphs and shield design - though similar designs are used across Australia from the western Desert to Victoria. These designs are an important marker for public and private ceremony, and to mark place. To place a pattern on a tram for Melbourne is an exciting proposal that continues to recognise not only an engagement with tradition but as a camouflage and trompe l'oeil effect of the tram disappearing in and out of the city scape; creating an optical illusion." - Brook Andrew

Art tram launched: 9 October 2013

Routes: 5, 6, 8, 16 and 72

Tram 151 by Rose Nolan

"It's Ok to Be Alright - as a message - is fundamental, constant and gently motivational. The sense of circularity and rhythm from the space of being 'okay' to the space of being 'alright' and back again replicates, in som eway, the movement and rhythm of this tram as it winds its way across the city.

Encountered in a new location and at different times - the It's Okay to Be Alright tram allows for a mobility and extension of readings and possibility of a new consideration of one's own personal context" - Rose Nolan (photo by Eddie Morton)

Art tram launched: 8 October 2013

Routes: 1, 8 and 19

Tram 2002 by David Wadelton
"I have a great interest in the social history and the appearance of our suburbs. This has manifested itself in many ways, beginning in the 1970s, when I began prolifically photographing my local area of Northcote, as well as other inner suburbs.
I continue this practice to this day, and take special delight in the apparently mundane aspects of our everyday world. It's all interesting to me. One manifestation of this has been a commitment to photograph every house in Northcote, which has an eclectic mixture of houses, built on all budgets and in all era. I've used my photo archive of over 700 images to create wallpaper with which to wrap a tram. The tram will thus become a mechanical embodiment of suburban Melbourne!" - David Wadelton

Art tram launched: 5 October 2013

Routes: 86 and 112

Tram 209 by Luke Cornish (E.L.K)
"Thanks to the imagination of the creative marketing team from Yarra Trams, the iconic Melbourne tram has become synonymouse with a rhinocerous on a skateboard. So coming up with a concept for this fantastic project was a total no brainer. It's a far stretch from my usual arts practice of stencilled soldiers and scantily clad women, but an amazing opportunity to create a community-friendly and engaging artwork, something that will hopefully make people, young and old, turn their heads and smile.
I'd like to thank the staff at Werribee Zoo for allowing me to photography Umgana, the Rhino in the picture." - Luke Cornish

Art tram launched: 4 October 2013

Routes: 55, 57, 59 and 82

Tram 3008 by Bindi Cole
"Lakorra is the Wathaurung word for sky. Once upon a time, Melbourne city would have been an open expanse with a generous view of the sky, offering a reminder that it's not all about self. Today' the city is densely populated with skyscrapers and billboards dominating the landscape, full of consumerism with a constant focus on the self.
Lakorra brings a bit of that sky and open expanse back into the streetscape. It reminds everyone of a time before the city stood in its place and of a people who walked those streets long before they were streets." - Bindi Cole

Art tram launched: 3 October 2013

Routes: 31, 48, and 109

Tram 259 by Joining Forces
"You are now sitting inside a giant orange transportation device, covered in floating moon babies, space weasels and crusty old slug men. How did it come to this? Joining Forces is a collective of six Melbourne-based artists who combine wildly diverse styles to make imaginative art.
The members of the collective are Zahra Zainal, Jeffrey Phillips, Gemma Flack, Rhiannon Thomas, Brendan Ninness and Sebastian Berto. The tram artwork is based on a 5 metre long hand-painted canvas, which was created through a process of drawing over and around each other's work. The collective's work focuses on collaboration, experimentation and community" - Joining Forces

Art tram launched: 1 October 2013

Routes: 70 and 75

Tram 925 - 'Backyard' by Jon Campbell
"The backyard design for my tram is based on the backyard that I grew up in, in Altona. It's a stylised pop version of that backyard. The backyard was a site of influential activity in my upbringing, cricket matches with my brothers and our mates and neighbours, family BBQs and 18th and 21st birthdays to name a few.
The backyard seems to have an important place in our psyche but hasn't beeen articulated much in art. I've always liked the social aspect backyards bring to our lives" - Jon Campbell

Art tram launched: 30 September 2013

Route: City Circle

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Yarra Trams is proud to join the Melbourne Festival and Arts Victoria to reintroduce 'Art Trams' to Melbourne's world famous tram network. The first tram was revealed on Monday 30 September, and seven more will be launched over the next two weeks.

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Raise awareness on environment - newyork

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Raise awareness on environment - newyork

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https://www.thezoereport.com/fashion/designer-hillary-taymour-collina-strada

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Though it may not have been obvious at the time, the temper tantrums designer Hillary Taymour threw as a child were very telling of where life would eventually lead her. "I've always been clothes obsessed," she says. "I used to throw tantrums when I was little because my dolls didn't have the right clothes to go where I was going. I always wanted clothes to be different."

It's that same resolve and perfectionism that has led the L.A. native to where she is today-at the helm of NYC-based ready-to-wear brand Collina Strada, which doubles as a platform for social issues, sustainability efforts, and transparency with it's community of fansand customers. Via Google Meet from her Chinatown studio, Taymour is sitting at a work table and dressed in a Collina Strada patchwork jacket as she recounts her path from college dropout to fashion school student, to founder and designer of one of today's most interesting and talked about labels.

"In my family [pursuing fashion] wasn't something that was an option," she says, adding that though her interest in fashion had been solidified in elementary school, her parents wanted her to pursue something more traditional, like finance. That familial stance, which isn't uncommon, prompted Taymour to enroll at Loyola Marymount - an experience that only confirmed the traditional school route wasn't for her.

"I paid for a Harvard student to write an English paper for me - I paid this kid like $200 - and then my professor gave me a C," she says. "I got really upset and [the professor] was like, 'Do you want to go talk to the dean about it?' and I was like, 'No, I'm just going to drop out, this is stupid." With the alternative being no school at all, her family budged and Taymour transferred to FIDM where, she says flatly"it was the time when they were filming The Hills. " Though she still wasn't a fan of the confines of academia - even in a fashion school setting - it was there that she started concepting Collina Strada in 2008 and making plans to move to NYC. Collina, which is Italian for "hill," has long been a nickname that some of Taymour's friends call her, and she liked the way it sounded with Strada, the Italian word for "road."

"I wanted to do ready-to-wear and at the time, in 2010, you couldn't really have a successful ready-to-wear label in L.A.," she says. "And I hate L.A. I don't fit in there. I don't know how to not work constantly and I think L.A. is where you go to chill. People work hard there, but I really like to work. So I came here, where everyone works all the time."

For Taymour, That work has resulted in a label now lauded for a fun, inclusive, and distinctly off-kilter approach to fashion. Taymour and her longtime collaborator, photographer Charlie Engmanhave produced collections marked by oversized silhouettes, cutouts, spandex, and bold, out-of-the box prints. Ranging from florals to tie-dyes to scribbles, the patterns are a mix of '90s deadstock and designs that Taymour and Engmancome up with themselves, often derived from photographs.

"The best part about Collina is the freedom," Taymour says. "We aren't locked into a certain idea of how anything has to be; I don't have a CEO telling me no. I can say, 'I'm going to make this orange,' and if it doesn't sell it doesn't offend me at all. [But] usually the things that you put more creativity into are the things that sell more. The more you go off the deep end the better." It's rare for designers at larger houses to have this level of autonomy, where the pressure to reach revenue goals and maintain a decades-old aesthetic identity often override creativity. For a woman who has always shuddered at the thought of conformity and sought to do her own thing, it's fitting that building Collina Strada has been her only job as an adult.

Taymour's approach to business and design is rooted in her vision for "a sustainable brand that's not super plain and granola." Collina Strada, which is carried byForty Five Ten and Assembly in the U.S. and Browns and Ssense internationally, among numerous other boutiques, is the antithesis of plain. In terms of sustainability, it's something the brand has been working towards since inception. Past collections have included deadstock sourced from Accra - where secondhand clothing from around the world is routinely discarded as waste - as well as sustainable fabrics such as wood pulp-derived TENCEL and "sylk" made from roses. Once fabrics are sourced, every piece is made locally in NYC, and no more than 500 units of a given style are produced. All of the garment workers that brand commissions are compensated at rates commensurate with a living wage.

"Usually the things that you put more creativity into are the things that sell more. The more you go off the deep end the better."

"When you wear one of my pieces," Taymour says, "hopefully you feel good about yourself in that you're supporting a small brand and you're supporting someone who pays fair wages to their factories and workers. It's important to wear clothes that you know the ethics behind [and] I think most of [our] customers are people who have strong ethics about what they want to see happen in the world."

When she's not designing upcoming collections or fitting models, Taymour has what she calls "number days," dedicated to business obligations. "I can do business," she says. "I can make deals and have talks, but I'm really bad at selling myself. You either get it or you don't [and] I don't like to sell stuff to people that don't want it." She adds that like many young female entrepreneurs, she's been met with condescension and dismissiveness from men, some which have gone as far - or as low, rather - as to call her "sweetie" in meetings. "People never take women seriously unless you're of a certain age, and that's always how it's been," she says. "That's still the way it is, if they take you seriously at all." None of this hasn't derailed her though, and Taymour has grown increasingly empowered to build Collina Strada on her own terms.

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"Over the years I've become more comfortable in my own skin... more comfortable with the idea that I don't have to be like everyone else," she says. "That's something you learn as you mature." One of the most obvious and refreshing reflections of that nonconformist attitude is in Collina Strada's casting and shows. Transgender and nonbinary models regualry appear on the label's runways and in its campaigns, alongside a diverse group of Taymour's friends. Kids, people with disabilities, and pregnant models are often casted as well. Collina Strada's Spring 2019 show started with a sound bath courtesy of young children playing chimes; the soundtrack to Fall 2019 was a live talk on the importance of protecting the earth from environmental activist Xiuhtezcatl Martinez; and Fall 2020 was both a concert and a show, with a performance by Hayley Williams. The shows are fun and nontraditional, just like Taymour's designs.

For all the positive attention Collina has gotten, though, there's been negative attention, too. "I've gotten a lot of bad reviews," Taymour says, noting that while she doesn't harp on all of them, glaring factual errors about her and the brand are upsetting. "[People] will call me Strada and I'm like, 'you wrote a review about me but you don't even know my name.' But you can't believe everything you read on the internet, because it's not all real.

If ever there was a time to tune all negative attention out, it's been the past year as Taymour like all of us, has been navigating the COVID-19 pandemic, both personally and professionally. "It was scary at first," she says of the early days of the pandemic. In the mornings, she'd walk from her apartment in Williamsburg to her Chinatown studio, where she'd been making masks since March, weeks before they were recommended by the CDC. When demand grew for the masks, which gained popularity for both their function and the stylish touch Taymour gave them with tie-dye and the mixing and matching printed deadstock fabrics, she shared a tutorial so people could make them at home. After making as many masks as she could in the morning, Charlie would join her later in the afternoon, and the two worked on a quarantine collection for charity. "It's been a time to think and reflect for sure, but I've been so busy."

In addition to designing the quarantine collection, over the last year Taymour and Engman were tapped by Gucci's Alessandro Michele to create a fashion film for the virtual GucciFest. Their contribution was a video game dubbed "Collinaland" that highlighted the brand's pre-fall collection-a cache of pieces in bright pinks, blues, and psychedelic prints, with intricate ruffled and pleated details.

"I like the fact that we can be really weird and people still gravitate towards it," Taymour says, noting that the embrace of her recent collections could be indicative of the industry's openness to change. Her hope is for that openness to expand beyond an appreciation of unconventional design, towards a willingness to right many of the industry's wrongs - a lack of fair pay, sustainability, and inclusivity, among them.

"I think fashion is trying to accept the challenges it's been facing this past summer," she says, "but there's always more room to improve as an industry and as a community and as a world. I'm not one of those people who pats people on the back for doing one thing right. We all need to always work harder to do better, period."
We only include products that have been independently selected by The Zoe Report's editorial team. However, we may receive a portion of sales if you purchase a product through a link in this article.

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Hillary Taymour Cares About Sustainability, But Don't Call Her "Granola"

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Though it may not have been obvious at the time, the temper tantrums designer Hillary Taymour threw as a child were very telling of where life would eventually lead her. "I've always been clothes obsessed," she says. "I used to throw tantrums when I was little because my dolls didn't have the right clothes to go where I was going.

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Samuel Masters for Art-Sheep

As every day we are bombarded by advertisements and targeted by a variety of marketing strategies, we can appreciate the overwhelming power and impact a clever and to-the-point ad can have on our lives. It is, therefore, natural that this kind of power should and would be employed in making a statement and raising awareness on important social issues and causes. So, here come some of the best and most striking public service campaigns, that have in a very clear and unique way succeeded in getting their messages through and making people look up.

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25 Of The Most Clever And Powerful Social Awareness Campaigns - Art-Sheep

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Samuel Masters for Art-Sheep As every day we are bombarded by advertisements and targeted by a variety of marketing strategies, we can appreciate the overwhelming power and impact a clever and to-the-point ad can have on our lives. It is, therefore, natural that this kind of power should and would be employed in making a [...]

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Knitting flowers to protest for women's rights: Fashion in it's most meaningful form.

Forget about your grandmother's knit. Turkish designer Cansu Aytac takes knitting to a whole new level, experimental, and most of all, political. Cansu is a witch from the most delightful sort, not because of her dark hair and flowy dressed but because of a weird attraction she has on people. Inspirational women are always welcome at Fräulein and Cansu Aytac agreed on having a talk with us about the message behind her first collection. With experiences as a design assistant at GmbH, Berlin's most trailblazing fashion label, and recently graduated with a fashion design degree in knitwear at Central Saint Martins, she decided to use her platform to raise awareness against feminicide in Turkey. Powerful.

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How Cansu Aytac is fighting against feminicide in Turkey as a fashion designer - Fräulein Magazin

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Knitting flowers to protest for women's rights: Fashion in it's most meaningful form. Forget about your grandmother's knit. Turkish designer Cansu Aytac takes knitting to a whole new level, experimental, and most of all, political. Cansu is a witch from the most delightful sort, not because of her dark hair and flowy dressed but because of a weird attraction she has on people.

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Will be focusing on the location of Bangladesh

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https://wwd.com/business-news/business-features/fashion-social-justice-payup-coronavirus-1203556561/

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Long before coronavirus, labor rights organizations, environmentalists and consumer groups were airing the dirty laundry of fashion brands to varying results.

This time, pressure tactics are gaining greater urgency as the pandemic gives new insights into the intricacies of global supply chains and consumers are increasingly glued to their phones amid stay-at-home orders.

Seven years ago, the Rana Plaza disaster was a catalyst for founding organizations like Fashion Revolution or San Francisco-based social justice nonprofit Remake, which formed a few years later.

And in the fallout of the pandemic, which could threaten upward of 25 million jobs and has already crippled the apparel supply chain, not to mention retailers worldwide, these organizations and others like it - such as the Worker Rights Consortium, Asia Floor Wage Alliance and the Garment Worker Center - are fighting an ongoing battle on behalf of frontline garment workers.

Remake started the #PayUp campaign last week, surpassing its original goal of 1,500 signatures, to urge brands like C&A, Primark, Gap, H&M and others to pay garment factories for contractually owed canceled or delayed orders. Much of the petition's focus is on Bangladesh, as the country has ample data to convey the impact to its economy of the crisis, with 80 percent of its exports attributable to garment manufacturing.

Already the country had counted nearly $3 billion in damages to the millions working in the apparel industry, many of whom are women. And the situation isn't unlike that in Myanmar or Cambodia.

Since the petition began, H&M, Target, Marks & Spencer, Zara, French retailer Kiabi and PVH Corp. all made public commitments to pay for their in-production orders, but Remake declines to remove any brands from its list until the money changes hands.

A tall order as most retailers and apparel vendors in the West are in survival mode, deciding which bills will be paid first.

WWD spoke with Ayesha Barenblat, the founder and chief executive officer of Remake, as well as some of the brands to sort through any allegations while analyzing pressure tactics in the swift era of accountability and sustainability.

"Without accountability, I've found the private sector quickly walks back as far as labor rights and human rights as soon as it becomes unprofitable," claimed Barenblat, who counts 18 years in her field of expertise, including work at the United Nations and in the aftermath of Rana Plaza. While stern in her mission of vocalizing for "the black and brown women that have supported this industry," she acknowledges that for everyone involved it's, unfortunately, a "liquidity crunch."

As of Monday, H&M, Kiabi and VF Corp. have all begun making payments to suppliers, as updated on Remake's public petition.

"That pressure is working," she added. Typical payment terms may be net 30, 60 or 90 days. And that's not to say the local governments and labor groups have not played an important role.

A few days ago, the Bangladesh Garment Manufacturers and Exporters Association said it would support the millions of ready-made garments workers who lost work because of cancellations and delays of export orders. But the aid and assurance of employment are only expected for the next two months.

This follows a stimulus package from Bangladesh's government worth $590 million to the garment industry, a jump compared to the $40 million received in 2013 after Rana Plaza.

Except this time around, it's not just the immediate safety of garment workers on the line, but what the factories and workers view as the entire ready-made goods industry. Barenblat and her network of activists stress the aid by the government is "not even a month worth of wages for workers."

Although they may be doing something, saying nothing may be worse for brands. In some instances, silence is the route taken by brands and retailers - even if it means a down ranking or public roast by an advocacy group. And as Barenblat said, many manufacturers keep quiet about unpaid orders as they don't want to "bite the hand that feeds you."

Petitions are a tactic for one advocacy group, while scorecards or directed e-mails may be the choice of another.

While in support of efforts seen, Fashion Revolution believes brands may be more inclined to act if e-mails come directly from devoted customers, referencing a recent campaign.

When environmental group Stand.Earth's "filthy fashion scorecard" ranking brand's climate commitments came out in October, brands inevitably placed lower due to a lack of publicly available or given data, which is what most groups rely on in tandem with their own grassroots source networks that include brands, manufacturers and suppliers. Even Patagonia voided participation.

Regarding unpaid orders, Barenblat said the "silence has been deafening" from brands like Gap, C&A and American Eagle, even in spite of what she calls "noise" in making personal protective equipment.

WWD reached out for comment about Remake's allegations but only Gap responded by press time.

With the recent news of canceled orders following the closing of stores across North America and Europe, Gap said it would work "closely with our long-standing suppliers to best assess how we can work together through this crisis," reiterating its decision-making would focus on employees, customers and partners as well as the long-term health of its business.

Industry sources confirmed those brands did cancel a number of orders for spring and summer, but some of the companies - like American Eagle Outfitters - are quietly creating alternatives. By selling finished goods to wholesalers or working alongside factories to pay for future liabilities as per original payment terms, vendors are not hung out to dry.

"We're making people very uncomfortable," claimed Barenblat, not rejecting the hyperbolic tone that can come with advocacy.
For More Sustainability News, See: Even for Sustainable Brands, It's a Matter of Survival Short Takes: Don't Forget the Garment Workers During This Crisis

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Fashion Social Justice Advocacy in the Time of Coronavirus

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Long before coronavirus, labor rights organizations, environmentalists and consumer groups were airing the dirty laundry of fashion brands to varying results. This time, pressure tactics are gaining greater urgency as the pandemic gives new insights into the intricacies of global supply chains and consumers are increasingly glued to their phones amid stay-at-home orders.

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María María Acha-Kutscher Exhibitions Information Press @

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Behnaz Babazadeh is an Afghan-American artist and designer whose work spanning photography, sculpture and film, challenges the western preconceptions of women in burqas with a series of works made from materials found in the candy aisle. With her background in branding, interaction and user experience design, Behnaz creates experiential exhibits that evoke new ways of looking at a traditional garment.
In her series Burqaphilia, Babazadeh opens a dialogue regarding the culture of the burqa. Inspired by an incident that occured when she first came to America as a little girl, the artist uses nets, plastic sheets and candy to create unconventional burqas. Commenting on the people's perception when it comes to people wearing burqas, Babazadeh hopes to discuss the issue on its social -and not religious, level, as the burqa has been a garment to signify women's social status for generations.
Cotton Candy Gummy Bears Fruit by the Foot

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Artist wears unconventional fun burqas to discuss the burqa as a social garment - Art-Sheep

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Behnaz Babazadeh is an Afghan-American artist and designer whose work spanning photography, sculpture and film, challenges the western preconceptions of women in burqas with a series of works made from materials found in the candy aisle. With her background in branding, interaction and user experience design, Behnaz creates experiential exhibits that evoke new ways of [...]

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Agape Charmani for Art-Sheep

Influenced by classic paintings and drawing, Miami-based Axel Void, creates intense images, commenting on important social issues. Whether he is applying thick brushstrokes on canvas or he is painting large-scale murals, Void treats his materials and subjects with a delicacy and attention to detail.

Focusing on dark, mysterious topics like sickness and death, the artist creates his paintings with a desire to explore the bizarre, as it is captured in his memories. For his murals the artist travels the world, making different works, inspired by a city's history, culture and social state. Void opens a dialogue about how art it is interpreted by the passersby who often meet works that remind them of famous incidents, common issues or even their food culture.

We've gathered a collection with some of him most powerful street-art works, often done in collaboration with other artists.

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Art-Sheep Features: Alex Void's Street Art and Its Important Social Messages - Art-Sheep

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Agape Charmani for Art-Sheep Influenced by classic paintings and drawing, Miami-based Axel Void, creates intense images, commenting on important social issues. Whether he is applying thick brushstrokes on canvas or he is painting large-scale murals, Void treats his materials and subjects with a delicacy and attention to detail.

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Fashion Illustration-How to, the basics for beginners

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Fashion Illustration-How to, the basics for beginners

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How to draw  | TUTORIAL | Fashion drawing for beginners #1 | Justine Leconte

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Ai Wei Wei-Life Jacket installation. Promoting the rights and justice for refugess

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Ai Wei Wei-Life Jacket installation. Promoting the rights and justice for refugess

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Ai Weiwei life jacket installation highlights refugee plight

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Visitors to Vienna's Belvedere Palace are confronted with 1,005 refugees' life jackets drifting in the baroque pond -- courtesy of Chinese dissident artist Ai Weiwei.

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What are the different types of public art that you could make?

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What are the different types of public art that you could make?

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This Chinese Jewelry Brand Turned Prosthetics Into Wearable Art

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“The prosthesis is a part of the body: It can be decorated as well.”

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Earlier this summer, the Extinction Rebellion group urged citizens to "boycott fashion" by refraining from buying new clothing for a year, an effort to address the staggering excesses of global production. An estimated 100 billion pieces of clothing are made every year, with a truckload being burned or landfilled each second, according to Stella McCartney.

XR's latest action is even more radical: In July, the group petitioned the British Fashion Council to shut down LFW and plan a people's assembly instead, where members of industry could gather to declare a climate emergency and figure out viable solutions. That didn't happen, and the shows are going on as planned. Now XR is organizing protests throughout the city. On the first day of LFW, protestors covered in fake blood staged a "die in" outside The Strand, symbolizing the lives already lost and that will be lost due to climate change, and on the last, they've planned a "funeral procession" to mark the end of fashion week. Immo Klink is on the ground documenting it for Vogue.

The actions are coming at a time when designers large and small are addressing their environmental impact. Earlier this week, Gucci announced it will have a fully carbon-neutral supply chain by the end of this month, and New York designers including Gabriela Hearst, 3.1 Phillip Lim, Collina Strada, and CDLM made sustainability a big part of their Spring 2020 stories.

If designers are improving the way they make clothes, why does XR still believe fashion week needs to be cancelled? In short, it's fashion week's overarching message of new, new, new. "During fashion month, the industry travels to global destinations to parade, see, and buy fashion, [and] it creates the desire that results in the consumption of fast fashion and beyond," XR wrote on its Facebook page. "Fashion should be a cultural signifier of our times, and yet the industry still adheres to an archaic system of seasonal fashions, adding pressure to relentlessly create new fashion from new materials."

It's hard to imagine fashion week disappearing, but who knows? This season's shows have already prompted questions about how we should engage with fashion, with designers staging major, celebrity-studded events in lieu of runway shows or stepping away from the catwalk entirely. Plus, XR ostensibly knew the industry wouldn't warm to their ideas right away; the goal right now is to simply get the right people talking about it. "I think it's important we use our voice to say what we believe is necessary rather than what we believe is achievable within the current system," Tori Tsui "People might say it just isn't realistic [to cancel fashion week]. But that isn't the point. It's to make people understand what's necessary in this emergency."
Watch this space for our coverage of XR's LFW actions.

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Extinction Rebellion's Climate Change Protests at London Fashion Week - Photos

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Earlier this summer, the Extinction Rebellion group urged citizens to "boycott fashion" by refraining from buying new clothing for a year, an effort to address the staggering excesses of global production. An estimated 100 billion pieces of clothing are made every year, with a truckload being burned or landfilled each second, according to Stella McCartney.

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Vivienne Westwood's political runway was everything that is wrong with fashion activism

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A lesson in what not to do when trying to change the world or put on a fashion show

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Amorphous Fall/Winter Collection 2016-2017 Photos by Ugo Camera/Portugal Fashion

Red, black and beige woven wool in black organza, as strings on the skin. The girls' mouth silenced by red makeup effect. Maybe, the strongest images of the M001 Cesura Collection designed by Carla Alves for her brand Amorphous. With this 2016/2017 Fall Winter Collection, Carla Alves was one of the winners at the Bloom Contest, an event integrated in the 38 th edition of Portugal Fashion Week, which aims to promote and reward young talented designers.

M001 Cesura is a short ready-to-wear collection of four designs, all with visual appeal and substance. It represents the creative value and social conciseness of designer Carla Alves, who wanted to materialise through her garment pieces "a clear vision of the maximum primary aspect of the vital human condition, freedom of choice, freedom from longstanding social and moral stigmas that force people to subsist in inhumane conditions or subject them to various types of exclusion and punishment."

The entire runway show was a silent scream of freedom against female genital mutilation.

This practice, founded on social and religious motivations, which still subsists in several parts of the world (in particular in the western, eastern and north-eastern regions of Africa, some countries in Asia and the Middle East, as well as among certain immigrant communities in North America and Europe), provokes irreversible damages to the health, physical and psychological integrity of young girls and women. It is a sadist ritual of pain, against the natural functioning of the body and, in some cases, causing death.

According to Amnesty International and several United Nations' organisations, such as the World Health Organisation: "an estimated 135 million girls have undergone female genital mutilation with dire consequences ranging from infection (including HIV) to sterility, in addition to the devastating psychological effects; and 3 million girls are estimated to be at risk of undergoing the procedures every year."

From a fundamental rights perspective, the free and equal personal development of young girls, and future women, is undermined by this practice of torture. It is a crime against human nature which violates the principle of human dignity, equality and non-discrimination. It is a subjugation of women to the will of a community, perpetuating gender inequality. Female genital mutilation is against the fundamental freedom of women deciding what to do with their own body to protect it. It is an imposition and not a child or woman's free and clarified decision. Hence, no freedom of religion or expression of a belief justifies the violation of other rights, such as life, health or physical and psychological integrity.

Countries affected by female genital mutilation have laws that consider this practice illegal and promote campaigns so as to raise awareness to its negative effects on children and women. Although the practice has declined, it still subsists due to the lack of capacity of control and prosecution.

Thus, to contribute to a counterculture against horror is a duty of all individuals. A fashion show or a fashion collection is an expression of culture. And, Carla Alves, as a fashion designer, is part of those cultural movements which accompanies the reality and the social worries of humanity while searching for new possibilities of creative design.

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AMORPHOUS: Fashion design's message against female genital mutilation

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Amorphous Fall/Winter Collection 2016-2017 Photos by Ugo Camera/Portugal Fashion Red, black and beige woven wool in black organza, as strings on the skin. The girls' mouth silenced by red makeup effect. Maybe, the strongest images of the M001 Cesura Collection designed by Carla Alves for her brand Amorphous.

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Viktor and Rolfe's fashion-slogans that you could adapt in your work?

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Viktor and Rolfe's fashion-slogans that you could adapt in your work?

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viktor and rolf fashion statements collection

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Meme-Inspired Couture Collection Lets Gowns Do the Talking

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Viktor & Rolf let their gowns do the talking when they sent meme-inspired couture down the runway for their "Fashion Statements" collection.

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Contrary to the conventional design approach, where brands are disconnected from the factories that produce their clothing, we design and produce onsite at Dorsu. This allows us to conceptualise, sample, test and adjust our garments in real-time before sending them out to the world.

Our design process is founded on three principles; ease of wear, longevity of quality, intelligent use of resources. We do not design and produce large seasonal collections but instead release small batches consisting of 3-4 intentional pieces designed to be worn with one another across seasons.

Our products are meticulously designed for everyday wear, focusing on quality above all else.

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Contrary to the conventional design approach, where brands are disconnected from the factories that produce their clothing, we design and produce onsite at Dorsu. This allows us to conceptualise, sample, test and adjust our garments in real-time before sending them out to the world.

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Stella McCartney-how she is a sustainable fashion designer

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Stella McCartney-how she is a sustainable fashion designer

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Eco-friendly Clothing | Ethical Fashion | Stella McCartney US

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With a commitment to eco friendly clothing, Stella McCartney’s initiative to sustainable clothing drives a positive impact on people and the planet. Learn more!

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Petit Pli-a fashion label using environmental initiatives to save the planet

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Petit Pli-a fashion label using environmental initiatives to save the planet

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ABOUT
Petit Pli is a wearable technology company. Petit Pli aims to clothe the future of humanity, starting with the next generation. London-based Petit Pli was founded in 2017, by trained aeronautical engineer Ryan Mario Yasin. Shortly after Ryan gifted clothes to his newborn nephew, they were already too small! This experience served as a signal: childrenswear today fails to recognise the dynamic & rapidly changing bodies of Earth's LittleHumans.

Inspired by aerospace engineering, Petit Pli's continuous size adjustment is a new way of approaching garment design - one suitable to high growth rates in children. Petit Pli uses technical materials that are ultra-lightweight, reinforced, rainproof and breathable because children are extreme athletes.

Today, Petit Pli's team consists of an agile force of interdisciplinary design engineers, fashion designers, neuroscientists and sociologists.

Contact us at hello@petitpli.com

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ABOUT Petit Pli is a wearable technology company. Petit Pli aims to clothe the future of humanity, starting with the next generation. London-based Petit Pli was founded in 2017, by trained aeronautical engineer Ryan Mario Yasin. Shortly after Ryan gifted clothes to his newborn nephew, they were already too small!

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Keith Haring The Boy Who Just Kept Drawing

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The Keith Haring Foundation • ©1997–2022 • Terms of Use

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#ARTIVISM | Explore social issues through art with BMike

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What a poignant reminder about how the words "Winter Collection" can take on an entirely different meaning depending on the person. New Ark Mission of India dressed up poor street kids in their everyday clothes - discarded newspapers, sacking and cardboard - and then photographed them for these moving posters.
The Mission is an organization solely dedicated to rescuing and rebuilding the lives of the destitute and dying people on the streets. It has marked a turning point for the poor people of India.

Advertising Agency: Ogilvy & Mather, Bangalore, India
Chief Creative Officer: Piyush Pandey
Executive Creative Director: Ajanta Barker
Creative Directors: Gautam Dev, Neel Roy
Art Director: Siju RS
Photographer: Senthil Kumar
Producer: Mubina Vaziralli
New Ark Mission of India website
via [ Creativity], [ IBelieveinAdvertising]

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What a poignant reminder about how the words "Winter Collection" can take on an entirely different meaning depending on the person. New Ark Mission of India dressed up poor street kids in their everyday clothes - discarded newspapers, sacking and cardboard - and then photographed them for these moving posters.The Mission is an organization solely dedicated to rescuing and rebuilding the lives of the destitute and dying people on the streets.

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Poster About Women's Issues_ Winners Announced

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Pick Me Up 2015 - Laura Callaghan Illustration

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Transforming Lives Through Public Art

As the Syrian War rages on, desperate civilians continue to pour across the borders into neighboring countries. While they have escaped the death and destruction of war, many refugees now find themselves in desolate refugee camps across the region. Other refugees pack into towns and cities, straining services and resources, leading to strained tensions with local populations. Lives are on hold and official work is prohibited. While international humanitarian organizations scramble to provide food, shelter and medical care to refugees, other critical needs often fall through the cracks, such as educational and creative activities for youth to focus on, trauma relief and mentorship programs. There is a lack of arts and culture that enrich the human experience and no platform for refugee voices to reach out to the world to tell their own stories.

To address these issues, I've been traveling to Jordan since 2013 to facilitate mural arts projects with Syrian youth and their families. Through organization that I co-direct, Artolution, we've teamed up with Syrian artists and educators in the Za'atari and Azraq refugee camps. We lead discussion and art-making in which Syrians explore their longing to return to Syria, their dreams for the future, and their current plight as refugees. In host communities in Jordan, Syrian and Jordanian young people work on collaborative arts-based projects that focus on reducing tensions and promoting social cohesion between these two populations. Hundreds of children have had the opportunity to participate and add their own creativity to murals throughout the refugee camps and host communities, bringing color and life to a desolate environment and spreading messages of hope to local residents.

Artolution supports Syrian refugee artists by providing capacity-building workshops and opportunities to work in their field and to engage the youth in their community. In Za'atari Camp, the Syrian artist collective Jasmine Necklace has co-facilitated community mural and sculpture projects. In Azraq Camp, an artist team led by Mohammed Hassan Ibrahim has engaged dozens of children and teens through public art, and is now developing an arts-based mentorship program with Artolution and the International Rescue Committee (IRC).

It's been an incredible experience for me to work with such resilient, warm individuals. The children we work with maintain their playful spark despite all the trauma and loss they've suffered. The adult artists and educators continue to strive to uplift their community, never giving up on their hope for a brighter future. I'm excited that my dream for setting up sustainable, ongoing arts-based programming in Syrian refugee communities, led by local artists, is now coming true thanks to our partner organizations who have the courage to believe in this initiative; thanks to everyone at the IRC, the Norwegian Refugee Council (NRC), GIZ, the European Union, UNICEF and UNHCR. In past projects, I've also partnered with the amazing aptART, ACTED and Mercy Corps. Last but not least, thanks to Max Frieder and everyone at Artolution, and all the local artists and the kids who made these murals come to life!

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Transforming Lives Through Public Art As the Syrian War rages on, desperate civilians continue to pour across the borders into neighboring countries. While they have escaped the death and destruction of war, many refugees now find themselves in desolate refugee camps across the region. Other refugees pack into towns and cities, straining services and resources,...

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A TRIBUTE TO JOHN LENNON'S VISION OF PEACE

THE " NON-VIOLENCE " SCULPTURE

The original sculpture of The Knotted Gun also known as "Non-Violence" was created by Swedish artist Carl Fredrik Reuterswärd, a friend of John Lennon's family. Reuterswärd created this piece of art after Lennon's tragic death as he wanted to honor the singer's vision of a peaceful world.

AN INTERNATIONAL SYMBOL OF PEACE

THE UNITED NATIONS RECOGNITION

Initially exhibited in the Strawberry Fields memorial in Central Park a bronze version of the sculpture was donated by the Government of Luxembourg and unveiled in 1988 in front of the United Nations' headquarters.

"The sculpture Non-Violence has not only endowed the United Nations with a cherished work of art. It has enriched the consciousness of humanity with a powerful symbol that encapsulates, in a few simple curves, the greatest prayer of man which asks not for victory, but for peace."

Since the first bronze sculpture exhibited in front of the United Nations, replicas have been placed in more than 30 strategic locations around the world: the Olympic Museum in Lausanne (Switzerland), at the Waterfront in Cape Town (South Africa) or in Beirut (Lebanon) to name a few.

A SOURCE OF INSPIRATION

FOR ARTISTS

The sculpture has been interpreted by some of the world's most well-known personalities. Initially part of the Non-Violence For Peace Tour, the Knotted Gun has been - and still is - interpreted by artists, personalities and is a source of inspiration for companies sharing the symbol's values.

For NVP AMBASSADORS

Most of NVP Ambassadors create their personal version of the sculpture and their replicas are then exhibited at various events and art exhibitions around the world, supporting NVP awareness raising efforts and work.

BRANDS COLLABORATIONS

The Knotted Gun is also an inspiration for various brands generating beautiful and meaningful collections. To know more about the licensing collaborations between NVP and some brands check out BRANDS FOR PEACE.

The Non-Violence Project is a non-profit organization created in 1993 with the goal of preventing and reducing violence. The organization is headquartered in Switzerland and is active in many countries around the world. Its symbol, the Knotted Gun, is an international symbol of peace.

Our mission is to INSPIRE, MOTIVATE and ENGAGE people to solve conflicts without resorting to any form of violence. Through education and awareness, we measure the impact of our programs and we have a specific focus on youth as we believe in the power of young people as changemakers.

The Non-Violence Project is a NPO with special consultative status to the United Nations Economic and Social Council (ECOSOC).

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The original sculpture of The Knotted Gun also known as "Non-Violence" was created by Swedish artist Carl Fredrik Reuterswärd, a friend of John Lennon's family. Reuterswärd created this piece of art after Lennon's tragic death as he wanted to honor the singer's vision of a peaceful world.

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Самым распространенным сайтом по продаже веществ на всем интернет-пространстве служит Hydra и зеркала на официальный сайт.
Основным и самым главным правилом портала служит честность по отношению к клиентам. Каждый человек перешедший на главный сайт гарантированно получает анонимность со стороны администрации сайта.

Все данные остаются под секретом.

Помимо мы рекомендуем использовать не настоящую личную информацию и дополнительно пользоваться системами анонимности по типу ТОР браузера. Гидра официальная ссылка.!

Лишь после того, как вопрос с анонимностью остается закрытым - можно переходить к основной потребности и осуществить вход на Гидру.
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Система входа на портал достаточно легкая - мы находим ссылку в браузере, которая ведет на официальный сайт и после этого вас перекинет на регистрацию или вход.

Для дальнейшего и легкого входа на сайт рекомендуем сохранить активные ссылки. Это делается для того, чтобы не потерять доступы на главный сайт из-за блокировок роскомнадзора.

Вся основная информация для поиска обычными юзерами на сайтах - зеркалах. Структура зеркал многогранна и их достаточно много и они используются для перехода на основной сайт.

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Челябинск, Пермь, Сочи, Москва, Томск, Омск, Новгород, Астрахань, Челябинск, Новгород, Первоуральск, Кемерово, Первоуральск, вся Россия.

Ссылки на этих зеркалах представленные в обычном виде и постоянные. Регистрация на гидре. Сами же зеркала периодически банятся и поэтому необходимо сохранить именно сами ссылки, а не ссылку на зеркало.

После перехода на основной сайт необходимо будет пополнить баланс счета.

Для этого используются онлайн-кошельки и биткоин-обменники в совокупности которые дают хорошую анонимность и быстрые переводы.

Для того чтоб оформить заказ необходимо первым делом осуществить обмен монетами на самом сайте для наилучшей безопасности.
После этого продаем монеты и переходим к шопам.

На сайте Гидра продавцы предоставляют множество товаров, где каждый из посетителей найдет именно то за чем он пришел, а иногда и гораздо большее.

Шопы представленные на сайте разнообразны они с реальными продавцами и реальными отзывами.

Перед осуществлением покупки мы рекомендуем прочитать все известные отзывы о данном поставщике, бывают такие моменты, что сейлер предоставляет не очень качественный товар хотя в описании было указано другое.

Для избегания таких моментов стоит подробнее изучить страничку продавца и выяснить сколько по времени он занимается продажей.

Мы думаем, что всем понятно - чем дольше работает шоп тем лучше для клиента.

Сам же официальный сайт Гидра предоставляет только прозрачную информацию для своих пользователей о каждом продавце.

Следит за порядочностью и находится в поддержке покупателей круглосуточно. После того как вы определились с покупкой - переходим и оплачиваем.
С подключением Гидра зеркало.
Лишь после этого вам поступит информация где и как забирать покупку. Как правило, это не очень людные места, а сами закладки выглядят в виде прикопов или скрытых свертков с магнитами под металлическими проборами.

Лишь после того как вы нашли и удостоверились в качестве товара можно переходить на сам Hydra com и оставлять отзыв.

Это делается для того, чтоб в моменте, если товар низкого уровня качества - связаться с продавцом и решить данную проблему.

Как правило, если возникают проблемы то они решаемые.

В другом случае за частые и некачественные предоставления веществ продавцу могут заблокировать магазин. А самого продавца обременить штрафом.

Магазин Гидра работает и радует своих пользователей уже многие годы. При этом не зависимо от запретов и блокировок известность только набирает обороты.

Люди переходят и осуществляют сделки в больших количествах - а значит и доверяют проекту.

Сегодня, чтоб произвести сделку не нужно много времени и сил. Осуществить заказ через сайт Гидра.

Все проходит под полной анонимностью, что приятно вдвойне.

Работу и связь можно осуществлять не только благодаря компьютеру, а также можно использовать мобильные устройства.

Только с мобильника все необходимо делать грамотно, задействую максимальную анонимность. Подробнее про сфот можно прочитать на просторах самого интернета.

После осуществления множества сделок по покупая товара у вас повышается экспертность и одновременно улучшается рейтинг покупателя. Лояльность сайта становится выше и благодаря этому растет уровень доверия к вам.

С мобильных же устройств лучше использовать проверенные прокси плюс симку зарегистрированную на левых пользователей. Только так можно будет иметь хотькаую-то защиту.

Работа Гидра онион осуществляется с периодичностью - на самом деле официальный сайт работает стабильно, а единственной бедой являются слеты зеркал.

Зеркала служат прослойкой между оф сайтом и поисковым запросом. Иногда прослойка блокируется и тогда у пользователей нет информации для перехода на сам сайт.

Мы рекомендуем использовать несколько вариантов, которые обеспечат вам постоянный доступ.

Первое это сохранить в закладки браузера ссылку на зеркало с расположением дальнейшей ссылки.

Либо в заметки отдельно сохранить набор ссылок для быстрого вброса на главный сайт.

Для более быстрой и честной работы используйте только проверенные зеркала и сайты. Сейчас в сети есть множество форумов и статей где доверчивых людей обманывают на деньги.

Поэтому к этому вопросу нужно будет подойти с головой. В противном случае доказать ком-то что-то будет вообще нереально.

Удобной функцией проекта служит наличие непосредственных гарантов. Услуги гаранта это распространенная система, особенно для крупных заказов.

Смысл которой обеспечить граждан, осуществляющих рыночные отношения, честной и своевременной передачей средств и веществ.

В наше время у покупателя есть множество возможностей на осуществление запланированных покупок. Покупки через Гидру. Перспективой для действий должен быть подкрепленный качественный сайт или гидра зеркало с проверенными ссылками, а если вы выбрали сделку через телеграм, то нужен уверенный и честно работающий продавец.

Для работы и дальнейшей взаимодействии с официальным сайтом Hydra потребуется активная ссылка с просторов интернета. Также устройство с доступом и выходом в интернет через ТОР браузер.

С одной стороны для покупки спама особо ничего не нужно, а с другой стороны неопытному юзеру будет достаточно сложно осуществить первые транзакции да и в целом можно нарваться на мошенников.

Поэтому сегодня разберем все постепенные детали для работы с криптомаркетом нового поколения. И как же все-таки добиться высокого уровня анонимности.

Первое, что необходимо - это компьютер с выходом в интернет, еще желательно чтоб передача данных была не низкой. Чем выше тем лучше и если есть возможность увеличить силу передачи - лучше это сделать.

Второе - переходим через любой браузер в скачивание анонимного ТОР браузера. ТОР был придуман пользователями, которые хотели иметь полную неприкосновенность в интернете.

Поэтому был выбран путь сложной передачи.

Суть заключается в том, что сигнал переходит с одного компьютера на другой и изначально отправителя этого сигнала или запроса установить невозможно. Через Hydra onion. Все дальнейшие действия будут осуществляться только в нем. Из этого следует что посетить сам официальный сайт Гидра можно полностью безопасно для себя. Да и все другие сайты не горят желанием размещать такой вид деятельности у себя под открытым крылом.

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ГИДРА - HYDRA ВХОД ОФИЦИАЛЬНЫЙ САЙТ МОБИЛЬНАЯ ВЕРСИЯ ОНИОН

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ГИДРА : HYDRA ВХОД ОФИЦИАЛЬНЫЙ САЙТ МОБИЛЬНАЯ ВЕРСИЯ ГИДРА : HYDRA автоматы ГИДРА : HYDRA ак47 ГИДРА : HYDRA Официальный сайта ГИДРА: HYDRA автоматы ГИДРА : HYDRA апрель ГИДРА : HYDRA аккорды ГИДРА : HYDRA авторизация ГИДРА : HYDRA ак 47 скачать ГИДРА : HYDRA ак 47 слушать ГИДРА : HYDRA бонус при регистрации ГИДРА : HYDRA бонус при регистрации : HYDRA ГИДРА : HYDRA бонус при регистрации : HYDRA рублей ГИДРА : HYDRA бонус при регистрации : HYDRA рублей официальный сайт ГИДРА : HYDRA бонус ГИДРА : HYDRA бонус при регистрации : HYDRA

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Stop Telling Women to Smile - Tatyana Fazlalizadeh

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This particular campaign wants to help victims that have been branded by their traffickers. Thanks to the work of talented tattoo artists in the UK, we will turn this symbol of branding into a new symbol of hope. Human trafficking and sexual exploitation continue to leave a mark on victims all around the world and even in the UK.

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Description

Stories about people on beaches finding plastic trash from discontinued brands and products that no longer exist are more common these days. The main reason behind this fact is that plastic can take 500 years to biodegrade in the ocean.

Fundación Meri and Plastic Oceans partnered to get more awareness about this issue and help educate people to protect marine biodiversity from plastic pollution.

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Stories about people on beaches finding plastic trash from discontinued brands and products that no longer exist are more common these days. The main reason behind this fact is that plastic can take 500 years to biodegrade in the ocean.

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Futurecraft.Footprint is the first sneaker with a CO2 balance of <3KG

Months of development work between Adidas and Allbirds

Choice of material as the decisive factor

First sneaker with a CO2 footprint <3KG

Usually, competitors do everything they can, to differentiate themselves from one another. Adidas and Allbirds prove that there is another way. After 12 months of joint development work, they present the Futurecraft.Footprint, the first sneaker with a CO2 balance of 2.94kg CO2e. This means that they outperform the previous front-runner models 1L11 by Norm, with 6.5kg CO2e per pair, and the 2020 Space Hippie from Nike, with 3.7kg CO2e.

"Our partnership with Allbirds is a beacon of what can happen when competing brands from the same industry see the possibilities in coming together to design. By truly co-creating and providing each other with open access to knowledge and resources. This is a call-to-action for other brands, and a milestone in the sports industry achieving carbon neutrality.", said Brian Grevy, board member Global Brands at Adidas.

Source & Copyright by Adidas

Materials have the greatest impact on the greenhouse balance

In its quest for more sustainability in the sports industry, Adidas has already set some stones in motion: Most recently, the brand presented the latest generation of its Stan Smith classics from Mylo, the mushroom-based vegan leather. In addition, the lowest-emission shoe from Adidas to date was the Adizero RC3 with 7.86kg CO2e. With conventional sneakers, the value can be up to twice as high. The impact becomes clear when you consider that Adidas produced almost 400 million sneakers in 2020.

The young American collaboration partner Allbirds was only recently valued at US$ 1.4 billion. This is especially due to its ambitious sustainability goals. Because Allbirds also specializes in the use of natural, renewable and recycled materials. So far, the emissions of the popular wool runners have been around 7.6kg CO2e per pair. The largest part falls on the material.

Allbirds carbon footprint per sneaker, source & copyright by Allbirds

This clearly shows that the material used in the manufacturing process of sneakers is decisive for the CO2 balance. This has therefore been optimized in the new Futurecraft and consists of 70% recycled plastic and 30% natural fiber Tencel. No new plastic was produced for the shoe. Unfortunately, several material components still mean that the product is not 100% recyclable, to achieve a circular economy.

Real scalability requires investment

The shoe is real and the numbers are correct. But there is still a long way to go before the textile industry becomes truly sustainable. For the release only 100 pieces were raffled, 2021 pairs are to be produced by the end of 10.000. That's a drop in the ocean.

Like the creative director and sneaker designer Christopher Snyder recently explained in our interview: "In order for sustainable or an eco-conceived company to have a large impact on the market, we have to be able to build and adjust the infrastructure, to bring scalability to sustainable fabrics. But right now, there is not the infrastructure to produce a million products a day made of these innovative materials. "

In addition, intensive investments or reallocation of capital are required to develop alternative materials. In order to realize this, groups of manufacturers would have to get together and the government would need to get involved. Collaboration is therefore a good sign, that the path can only be taken together. But there is still a lot to do before the dream of truly sustainable sports shoes becomes a reality for everyone.

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Adidas x Allbirds present the lowest-emission sneakers

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Futurecraft.Footprint is the first sneaker with a CO2 balance of <3KG Months of development work between Adidas and Allbirds Choice of material as the decisive factor Usually, competitors do everything they can, to differentiate themselves from one another. Adidas and Allbirds prove that there is another way.

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June is pride month. Take a look at how agencies are recognizing the lesbian, gay, bi-sexual, transgender and queer community through dramatic, heartfelt and thought-provoking advertisements.

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Work from the United Nation's Open Call for Covid-19 Related Content

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The United Nations issued a creative brief asking people around the world to deliver work that would translate public health messages into engaging communications that will inform people across different cultures, languages, age groups, communities and platforms. The response was overwhelming, with over 17,000 pieces of work from 143 counties in 20 languages.

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To tell you the truth, I don't believe that even the most creative anti-smoking ads can make you quit smoking after you see it. It's just not that easy to break bad habits.

When a smoker runs into another anti- smoking campaign, often the reaction is - "yes maybe it is cool, but it won't make me quit - it's a waste of time and money". Well of course, one single even the most creative ad won't change your mind in a second, but it does create the awareness that smoking is a BAD thing, and when a message is being repeated over an over again - it finds its place somewhere deep inside your unconscious mind.

It takes time, but someday it may build up, and it will seem as though YOU have an idea - "smoking is really a stupid thing to do, I quit!" What may seem as your own idea on quitting smoking, could be a huge job of those creative anti-smoking social ads you used to see everywhere.

So, if you want to help those hooked on smoking, make this list of "Top 40+ Creative Ads Made to Stop You Smoking" VIRAL. Digg it, blog it, share it on Facebook, give thumbs up on StumbleUpon, etc.. - the more people will see these social campaigns, the more people we will help.

The Smoke

( lucaszoltowski.deviantart.com via boredpanda)

Shotgun

(via boredpanda)
"The Roy Castle Lung Cancer Foundation. passivesmokingkills.org"
Advertising Agency: CHI and Partners, UK

Gun

(via via boredpanda)

Credit: Gitam-BBDO Israel

More information

(via via boredpanda)
"For more information on lung cancer, keep smoking."
Advertising Agency: TBWAVancouver, Canada

Deathbed

(via boredpanda)

Advertising Agency: CHI&Partners, London, UK

Sex Life

(via boredpanda)
"Smoking Can Affect Your Sex Life"
Credits: surajit soms

You smoke. We smoke.

(via boredpanda)

Credit: BatesPANGULF, Dubai; AD: Fahad Shehadat, CW: Bipen Jacob

Suicide vs Homicide

(via boredpanda)
"Suicide - Homicide. The Roy Castle Lung Cancer Foundation. passivesmokingkills.org"
Advertising Agency: CHI and Partners, UK

Passive Smoking: 5 a day

(via boredpanda)
"Passive smoking kills 5 people a day. The Roy Castle Lung Cancer Foundation. passivesmokingkills.org"
Advertising Agency: CHI and Partners, UK

Eyesight

(via boredpanda)
"Smoking can kill your eyesight first."
Agency: Team Young & Rubicam, Abu Dhabi, UAE

Jumping off buildings harms

(via boredpanda)
"Jumping off buildings when pregnant harms your baby" "You wouldnâ€™t ignore this warning. Why ignore them on cigarette packs?"
Agency: Lowe Bull, Johannesburg, South Africa

Die Younger
"People who stand here die younger"
(via boredpanda)

" You wouldn't ignore this warning. Why ignore them on cigarette packs?"

Agency: Lowe Bull, Johannesburg, South Africa

Monsters

(via boredpanda)

Agency: Euro RSCG, India

Poisoning
"Smoking kills 30 times more people than poisoning."
(via boredpanda)

Advertising Agency: 1pointsize, Chennai, India

Chemicals
"...Xantham Gum, 3,4-Xylenol, Yeast and there are another 4000 chemicals found in cigarette smoke. Say no to smoking."
(via boredpanda)

Advertising Agency: The Classic Partnership Advertising, Riyadh, Saudi Arabia

Cancer cures

(via boredpanda)

Agency: Ogilvy & Mather, India |Award: Gold Lion, Cannes, 2003

Get to heaven earlier
"Children of parents who smoke, get to heaven earlier."
(via boredpanda)

Advertising Agency: Serviceplan, Munchen/Hamburg, Germany

Creative director: Ekki Frenkler | Art Director: Sybille Stempel | Copywriters: Carlos Obers, Christine Deinhart | October 2006

Water
"SURGEON GENERAL'S WARNING: Drinking This Water Causes Lung Cancer, Heart Disease, Emphysema, And May Complicate Pregnancy" "Would you drink it?"
(via boredpanda)

Advertising Agency: Intermarkets, Dubai, UAE

Terrorism
"Terrorism-related deaths since 2001: 11,377. Tobacco-related deaths since 2001: 30,000,000."
(via boredpanda)

Advertising Agency: DDB New Zealand

Smoking is harmful to your breath
"Smoking is harmful to your breath. National Committee Against Tobacco www.cnct.org"
(via boredpanda)

Agency: TBWA, Paris, France

Lungs

(via boredpanda)

Advertising Agency: NeogamaBBH, Brazil

Reduces weight

(via boredpanda)

Touchstone Advertising, Mumbai; Aditya Uphadayay, Kailash Chaudhari, Shoeb Shaikh, Raju Gawde

Cemetery

(via boredpanda)
Roughly: "What people call a puff, the bible calls something else."
Agency: Everest Brand Solutions, India

Smoke Demon

(via boredpanda)

Advertising Agency: Neogama BBH, Brazil

Charms

(via boredpanda)

Agency: GMASCO Marketing Communications, Dubai, UAE

Hooked

(via boredpanda)

The Roy Castle Lung Cancer Foundation. passivesmokingkills.org
"Everything you do affects your chilfren. Stop smoking with Nicorette."
Advertising Agency: CHI and Partners, UK

LEGO

(via boredpanda)
"The First Non-Smoking Pub in UAE."
Advertising Agency: Draftfcb Kobza, Wien, Austria

Non-Smoking Pub

(via boredpanda)

Creatives: Jaywant Dabholkar, Porus Jose, Tushar Mahajan

Maze
"It's called suicide because it's your choice." "Give up smoking: 0 8008 700 700"
(via boredpanda)

Suicide

(via boredpanda)

Advertising Agency: Mercury 360, Bucharest, Romania | Published: December 2008

Non Smoking Area

(via boredpanda)

Advertising Agency: TBWAAthens, Greece
"Secondhand smokers are on the worst side of the cigarette."
Creative Director: Vangelis Vrouvas

Worst Side

(via boredpanda)
"Second hand smoke in the home hospitalises 17,000 UK every year."
Advertising Agency: BDDP Unlimited, Paris, France

Second hand smoke

(via boredpanda)
"Smoking isn't just suicide. It's murder."
Advertising Agency: Chi & Partners, London, UK | Creative Director: Ewan Paterson | December 2008

It's murder

(via boredpanda)
"Cigarettes. Just looking at them makes you sick."
Advertising Agency: DRAFT FCB + IDB

Just looking at them makes you sick

(via boredpanda)

Advertising Agency: JWT, Brazil

Poor swimmers

(via boredpanda)

An award winning advert for ASH depicting the effect of smoking on male fertility, created by Clear Marketing Communications: Writer: Andy Fenton and Art Director: Jason Chadwick

Carry on

(via boredpanda)

The Roy Castle Lung Cancer Foundation. passivesmokingkills.org

Advertising Agency: CHI and Partners, UK

Lips

(via boredpanda)

Smoke

(via boredpanda)

Quick vs Slow

(via boredpanda)

P.S.: if you want to help those hooked on smoking, make this list of "Top 40+ Creative Ads Made to Stop You Smoking" VIRAL. Digg it, share it on Facebook, thumbs up on StumbleUpon, etc.. - the more people will see it, the more people we will help.

P.S2. don't forget to check The Facts About Smoking [Pic]

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Top 40+ Creative Ads Made to Stop You Smoking

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When a smoker runs into another anti-smoking ad, often the reaction is - yes maybe it is cool, but it won't make me quit - it's a waste of time and money.

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Women's rights, Gender Equality Advertising

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Women's rights, Gender Equality Advertising

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UK-Create not Hate. Watch your prejudice 

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UK-Create not Hate. Watch your prejudice 

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Carnival is cancelled this year, but the world-famous street party's spirit of protest, anti-racism and fellowship is honoured by new creative work from under-represented young talent in the capital, all inspired by the personal stories of racism and racial profiling experienced by the young people involved.

Create Not Hate participants have been coached by leading figures from advertising, TV, film, design and digital, as part of the Quiet Storm founder's drive to give young, marginalised people in London a pathway to jobs in the creative and media industries, and to bring about real social change.

Two short films, with the theme, "That's not Me," were the idea of Emmanuel, 17, from Camberwell, and were made with help from Quiet Storm. Together they aim to change people's perceptions of race by countering negative assumptions, with references spanning everything from Shakespeare to the medical profession.

Also on view at the launch, will be Create Not Hate T-shirts, designed by Merton 17-year-olds Lilo and Keiran and Hammersmith 13-year-olds Anis and Santonio, with help from London creative agency Exposure.

A series of posters, 'The Little Things Build Up,' will also be unveiled at the launch. They were designed by Merton 16-year-olds Raphael and Jaiden alongside Hammersmith Jenelle, Princess & Oshea, which will be displayed along the route Carnival would usually take.

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Carnival is cancelled this year, but the world-famous street party's spirit of protest, anti-racism and fellowship is honoured by new creative work from under-represented young talent in the capital, all inspired by the personal stories of racism and racial profiling experienced by the young people involved.

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Print advertisement created by Euro RSCG, United States for Juvenile Protective Association, within the category: Public Interest, NGO.

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We usually complain about ad agencies that they are only producing advertisements to generate companies profit and make us buy their products, but that's not all the ad agencies are good for. Following advertisements are the perfect example of how these ad agencies use some of the most creative minds in the world and produce the effective advertising strategies for social issue campaigns that forces us to hear their voices.

You got to admit that the world is an ugly place, but when there is darkness, there is light. These social issue ads will make you stop and think what is the wrong we've been doing since ages.

#01. Would You Care More If I was a Panda?

#02. Victims are people too, just like you and me.

#03. Workers are not tools.

#04. If you smoke, statistically your story will end 15% before it should.

#05. Stop the violence. Don't drink and drive.

#06. Your Skin Color Shouldn't Dictate Your Future.

#07. Deforestation Continues With The Turn Of A Page.

#08. Our water is thirsty. Save Water.

#09. World Wide Fund For Nature: Frightening vs. More Frightening.

#10. What We See When You Smoke.

#11. Slower Is Better.

#12. Save Paper - Save The Planet.

#13. Don't kill blockbusters. Choose original DVDs over pirated ones.

#14. Air Pollution Kills 60.000 People A Year.

#15. Unhate.

#16. The longer a child with autism goes without help, the harder they are to reach.

#17. Sexual Predators Can Hide In Your Child's Smartphone.

#18. Smoking Causes Premature Aging.

#19. Animal Anti-Cruelty League: Stop the abuse.

#20. Don't Talk While Driving.

#21. It's Not Happening Here, But It's Happening Now.

#22. Censorship Tells The Wrong Story.

#23. Think Of Both Sides

#24. Every 60 Seconds a Species Dies Out. Each Minute Counts.

#25. Plastic Bags Kill.

#26. Liking Isn't Helping. Be A Volunteer. Change A Life.

#27. Don't Buy Exotic Animal Souvenirs.

#28. Buckle up. Stay alive.

#29. Keep The Sea Clean because What Goes Around Comes Around.

#30. You're Not A Sketch. Say No To Anorexia.

#31. Neglected Children Are Made To Feel Invisible. Stop Child Abuse.

#32. Tailgating Isn't Worth It. Give Trucks Room.

#33. When You See A Tuna, Think Panda.

#34. Sleepiness Is Stronger Than You.

#35. One Child Is Holding Something That's Been Banned In America To Protect Them. Guess Which One?

#36. Breast Cancer Awareness Bra.

#37. Where's The Pedophile?

#38. For The Homeless, Every Day Is A Struggle

#39. The Prvention Beer Mug: Please Don't Lose Control Over Your Drinking.

#40. If You Don't Pick It Up They Will.

#41. See how easy feeding the hungry can be?

#42. Women need to be seen as equal.

#43. Cancer, which is thrown into your lung by yourself.

#44. Deforestation And The Air We Breathe: Act Before It's Too Late.

#45. Same Pet, Different Owner.

SHARE these social issue ads with your friends and family because everyone needs a wake-up call sometimes!
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About the Author

Daniel Adams is from San Diego, California. He has been in developer and designer world for more than 10 years. Apart from web designing, He love all things having to do with writing and reading.

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45 Most Powerful Social Issue Ads That Makes You Think.

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We usually complain about ad agencies that they are only producing advertisements to generate companies profit and make us buy their products, but that's not all the ad agencies are good for.

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In a world where attention is the biggest asset, advertising is the new podium for social change. Watch Most powerful Social Issue ads.

Ever since the advent of advertising, advocates of social change have called it a tool for corporations to shove their agendas down the throats of commoners. Movies like Fight Club have their entire plot built around the idea that advertising is an evil practice that creates a spiritual war inside society. However, advertising is not just about taking money from the poor to fill the pockets of the rich. It is a medium that enables visionary creative minds to broadcast their ideas onto people from all parts of the social hierarchy.

A well-crafted advertisement has the power to capture the attention of its audience in a bid to bring about some intended change. We're all aware of shimmering billboards, and over-the-top TV ads that sell products and services. However, light needs to be shed on the fact that responsible advertising can advocate for a progressive society by bringing sensitive topics like climate change, human trafficking, racism, identity politics, gender inequality, and more into the limelight. Even though some social ads tend to be commercial in nature, it is great to see corporations talking about issues that the general public deeply cares about. Simply put, a social issue Ad not only allows creatives to use the power of advertising to captivate the masses, but it also helps in bringing about meaningful change in society.

Here are a few examples that reinforce the idea that when used with the right intent, advertisements can be much more money-making machines:-

Tags:
Advertising Agency, RKS BBDO, India, Freedom Fighter, IAA, Polution, Public Interest, Air pollution, Print, Germany, NGO, Noah, Grabarz & Partner, NOAH, Climate Change, Animals, Amnesty International, Sexual Abuse, Havas, Paraguay, ActionAid, Equal Rights, Human trafficking, Racism, Identity Politics, Gender Inequality, 3A Worldwide, Children of the Street Society, Awareness Campaign, Kiss with Pride, BBH Creative, Absolut, Homosexuality, LGBTQ+ community, LGBTQ rights, LGBT Arts Festival, Grey, Moms Demand Action, Anti-Bullying ad, Best Social Issue Ads, bullying print ads, Anti-Bullying ad, Print advertising, Creative Print Ads, Print campaign, Creative Advert

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Most powerful Social Issue ads - Creative Print Ads | Campaigns of the World

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In a world where attention is the biggest asset, advertising is the new podium for social change. Watch Most powerful Social Issue ads. Ever since the advent of advertising, advocates of social change have called it a tool for corporations to shove their agendas down the throats of commoners.

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70 Amazing Social Issue Ads That Made Us Think

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Glantz Design knows we are overloaded with advertisements every day, but here are 70 amazing social issue ads that made us pay attention.

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Many people complain about glossy advertisements and TV commercials as an obnoxious way for companies to invade our everyday lives and ram their products down our throats, but that's not all that printed ads are good for. The best commercials on this list are excellent examples of effective advertising strategies for social issues marketing campaigns that let their voices be heard.

A well-made advertisement is designed to grab your attention and to remain in your memory long after you've left it behind, and that is precisely what many of these social problems need. Getting people to think and worry about various social and environmental issues such as human trafficking, racism, and air pollution is significant for raising public supporting and affecting meaningful changes. A few of these ads are, in fact, commercial ads, but it's still nice that they champion socially or environmentally aware causes/products.Just like with commercial advertisements, having just the facts is not enough. They are essential, but the ad must also appeal to the observer's emotions to raise social awareness. Many studies have indicated that feeling can have a powerful effect on memory formation, ensuring that memories with emotion will last longer than those without.

According to David Ogilvy, founder of the legendary Advertising Agency, his contemporary, Howard Gossage, said that " advertising justifies its existence when used in the public interest-it is much too powerful a tool to use solely for commercial purposes. " We definitely agree, which is why we wanted to share this list of excellent advertisement examples with you!

Torture Victims Are People Just Like You And Me

Advertising Agency: Advico Y&R, Zurich, Switzerland

Stop The Violence: Don't Drink And Drive

Advertising Agency: Terremoto Propaganda, Curitiba, Brazil

Premature Ending: "If you smoke, statistically your story will end 15% before it should."

"THE END. If you smoke, statistically your story will end 15% before it should. For help with quiting call QUITTLINE on 0200 00 22 00" (Advertising Agency: Iris, London, UK)

World Wide Fund For Nature: Frightening vs. More Frightening

Advertising Agency: DDB&CO., Istanbul, Turkey

Your Skin Color Shouldn't Dictate Your Future

Advertising Agency: Publicis Conseil, Paris, France

Deforestation Continues With The Turn Of A Page

Advertising Agency: LINKSUS, Beijing, China

Unhate

Advertising Agency: Fabrica, Italy

Elm Grove Police Department: Slower Is Better

Advertising Agency: Cramer-Krasselt, Milwaukee, USA

Save Paper - Save The Planet

Advertising Agency: Saatchi & Saatchi, Copenhagen, Denmark

Air Pollution Kills 60.000 People A Year

Advertising Agency: unknown

Liking Isn't Helping. Be A Volunteer. Change A Life

Advertising Agency: Publicis, Singapore

Bird Conservation: If You Don't Pick It Up They Will

Advertising Agency: TBWAHuntLascaris, Johannesburg, South Africa

What We See When You Smoke

Advertising Agency: JWT, Atlanta, USA

Animal Anti-Cruelty League: That's Not A Football

Advertising Agency: Lowe Bull, Cape Town, South Africa

Bangalore Traffic Police: Don't Talk While Driving

Advertising Agency: Mudra Group, India

Child Soldiers: It's Not Happening Here, But It's Happening Now

Creative/Art director Pius Walker, Amnesty International, Switzerland.

Censorship Tells The Wrong Story

Advertising Agency: Memac Ogilvy & Mather Dubai, UAE

Distracted Driving: Think Of Both Sides

Advertising Agency: Red Pepper, Ekaterinburg, Russia

Every 60 Seconds a Species Dies Out. Each Minute Counts

Advertising Agency: Scholz & Friends, Berlin, Germany

Innocence In Danger: Where's The Pedophile?

Art Director: Michael Arguello, Copywriter: Bassam Tariq, Additional credits: Jason Musante

Sexual Predators Can Hide In Your Child's Smartphone

Advertising Agency: Herezie, Paris, France

Smoking Causes Premature Aging

Advertising Agency: Euro RSCG Australia

You're Not A Sketch. Say No To Anorexia

Advertising Agency: Revolution Brasil

Neglected Children Are Made To Feel Invisible. Stop Child Abuse Now

"To dramatize the issue of neglect, we placed mannequins dressed as children behind billposters. When the inevitable happened, we revealed a second message." (Australian Childhood Foundation, JWT Melbourne)

Global Action In The Interest of Animals: Plastic Bags Kill

Advertising Agency: BBDO Malaysia, MALAYSIA, Kuala Lumpur / Advertising Agency: Duval Guillaume, Belgium

What Goes Around Comes Around. Keep The Sea Clean

Advertising Agency: JWT, Dubai, UAE

Tailgating Isn't Worth It. Give Trucks Room

Advertising Agency: Amélie Company, Denver, Colorado, USA

Sea Shepherd Conservation Society: When You See A Tuna, Think Panda

Advertising Agency: Ogilvy & Mather, Singapore

Sleepiness Is Stronger Than You. Don't Drive Sleepy

Advertising Agency: BBDO Bangkok, Thailand

See how easy feeding the hungry can be?

Advertising Agency: TBWAHuntLascaris, Johannesburg, South Africa

Causing Cancer By Yourself

Advertising Agency: Dentsu, Beijing, China

Deforestation And The Air We Breathe: Before It's Too Late

Advertising Agency: TBWAPARIS, France

For The Homeless, Every Day Is A Struggle

Advertising Agency: Clemenger BBDO, Melbourne, Australia

The Prvention Beer Mug: Please Don't Lose Control Over Your Drinking

Advertising Agency: EURORSCG Prague, Czech Republic

One Child Is Holding Something That's Been Banned In America To Protect Them. Guess Which One?

Advertising Agency: Grey, Toronto, Canada

Breast Cancer Awareness Bra

Advertising Agency: Bolero, Fortaleza, Brazil

What Goes Around Comes Around: Stop The Iraq War

Advertising Agency: Big Ant International, New York, USA

UN Women: Auto-Complete Shows Perceptions Of Women

Advertising Agency: Ogilvy & Mather, Dubai, UAE

Don't Buy Exotic Animal Souvenirs

Advertising Agency: LOWE GGK, Warsaw, Poland

Animal Abuse And Shelters: Same Pet, Different Owner

Advertising Agency: TBWA-Santiago Mangada Puno, Philippines

Buckle up. Stay alive

Advertising Agency: Lg2, Quebec, Canada

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40 Of The Most Powerful Social Issue Ads That'll Make You Stop And Think

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Many people complain about advertisements as an obnoxious way for companies to invade our everyday lives and cram their products down our throats, but that's not all that advertisements are good for. The advertisements on this list are excellent examples of effective advertising strategies for social issue campaigns that let their voices be heard.

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Bystander action on preventing race-based discrimination

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Te Kāhui Tika Tangata NZ Human Rights Commission

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Christo and Jeanne Claude "The Gates" NYC

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Christo and Jeanne Claude "The Gates" NYC