War is Nothing More
The title of the collage 'War is Nothing More' refers to the concise quote 'war is the continuation of politics by other means' as defined by Carl von Clausewitz in his book 'Vom Krieg' (On War). In relation to the image, the artist is insinuating that contemporary wars are an extension of political motivations, rather than moralistic campaigns.
This discussion shall establish whether the aforementioned collage created by Thomas Dellart-Delacroix may be considered as an example of valuable illustration, using supporting references.
This discussion shall establish whether the aforementioned collage created by Thomas Dellart-Delacroix may be considered as an example of valuable illustration, using supporting references.
Paul Schutzer, the renowned Life magazine photographer captured the original image of a VietCong prisoner who had been bound and gagged by American soldiers. Contextually Dellart-Delacroix's image was created during the Iraq War, which was subject to mass criticism and protest.
The artist is suggesting that the American foreign policy has changed little over the decades, where once communism was a valid excuse for conflict, now the vague evidence of weapons of mass destruction are now cause for war. In addition the design makes the allegation that war is not simply an extension of political motivation, but also commercial. This supports the view that 'consumerism is running uncontested', and that this work is indeed challenging consumerism 'through the visual languages and resources of design,' (Lasn, K. et al, 2000), thus reinforcing the value of piece.
Further, the collage draws attention to typical products associated with consumer selling, we may observe imagery of tomato sauces, cigarettes and fizzy drinks. This is akin to the listing of products of the original First Things First manifesto which gives examples such as 'slimming diets, fattening diets, deodorants, fizzy water, cigarettes, roll-ons, pull-ons and slip-ons' (Garland, K. ,1964). The piece is indeed 'a reversal of priorities in favour of the more useful and more lasting forms of communication' (Garland, K. ,1964) as rather than contributing to the system of commerce it instead chooses to satirise it and it's relation to modern conflicts.
Through the use of subversive collage the piece illustrates what the artist has decided is an unhealthy synthesis between business and foreign policy. By appropriating familiar brands as the gag of the victim, the artist may be suggesting that the images crafted by graphic designers are in fact 'helping draft a reductive and immeasurably harmful code of public discourse' (Lasn, K. et al, 2000).
To summarise, the piece may be viewed as valuable design which challenges the relentless onslaught of commercialism. Rather than aiding it's message it contends it, further it seems to have a lasting effect, it equally relevant now as it was during the Iraq conflict, and it shall continue to provoke viewers to question their countries own role in global conflicts.
The artist is suggesting that the American foreign policy has changed little over the decades, where once communism was a valid excuse for conflict, now the vague evidence of weapons of mass destruction are now cause for war. In addition the design makes the allegation that war is not simply an extension of political motivation, but also commercial. This supports the view that 'consumerism is running uncontested', and that this work is indeed challenging consumerism 'through the visual languages and resources of design,' (Lasn, K. et al, 2000), thus reinforcing the value of piece.
Further, the collage draws attention to typical products associated with consumer selling, we may observe imagery of tomato sauces, cigarettes and fizzy drinks. This is akin to the listing of products of the original First Things First manifesto which gives examples such as 'slimming diets, fattening diets, deodorants, fizzy water, cigarettes, roll-ons, pull-ons and slip-ons' (Garland, K. ,1964). The piece is indeed 'a reversal of priorities in favour of the more useful and more lasting forms of communication' (Garland, K. ,1964) as rather than contributing to the system of commerce it instead chooses to satirise it and it's relation to modern conflicts.
Through the use of subversive collage the piece illustrates what the artist has decided is an unhealthy synthesis between business and foreign policy. By appropriating familiar brands as the gag of the victim, the artist may be suggesting that the images crafted by graphic designers are in fact 'helping draft a reductive and immeasurably harmful code of public discourse' (Lasn, K. et al, 2000).
To summarise, the piece may be viewed as valuable design which challenges the relentless onslaught of commercialism. Rather than aiding it's message it contends it, further it seems to have a lasting effect, it equally relevant now as it was during the Iraq conflict, and it shall continue to provoke viewers to question their countries own role in global conflicts.
Life Magazine, 26th of November 1965
Garland, K. (1964) 'First Things First Manifesto', self published
Lasn, K. et al (2000) 'First Things First Manifesto', Adbusters
Poyner, R. (19990 'First Things First: Revisited', Emigre 51
Mau, B. (1998) 'An Incomplete Manifesto For Growth'
Beirut, M. (2007) 'Ten Footnotes To A Manifesto', in 'Seventy Nine Short essays On Design'
Garland, K. (1964) 'First Things First Manifesto', self published
Lasn, K. et al (2000) 'First Things First Manifesto', Adbusters
Poyner, R. (19990 'First Things First: Revisited', Emigre 51
Mau, B. (1998) 'An Incomplete Manifesto For Growth'
Beirut, M. (2007) 'Ten Footnotes To A Manifesto', in 'Seventy Nine Short essays On Design'
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