Nicholas Cheng Gin Foon

Candidate Number
IB Visual Arts Extended Essay

IBDP Visual Arts extended essay

What are the qualities that make

political art effective?
Investigating the works of Peter Kennard and Robbie Conal

Candidate Name: Cheng Nicholas Gin Foon

Candidate Number: 000638-0110

School: Li Po Chun United World College
Supervisor: Wendy Tai
Examination Session: May 2016
Word Count: 3740

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Abstract

The purpose of this essay is to explore the qualities of eective political art through
social and political contexts. The main focus of the essay is an investigation of two
prominent contemporary political artistsPeter Kennard and Robbie Conal who address
and depict political events by incorporating their individual interpretations and beliefs in
their artwork. The two artists have evident political influences within their work, which will
be explored by looking at the context the artworks are created and the messages being
portrayed.

The research conducted throughout this essay is all secondary-sourced; personally
obtaining first hand information on the art pieces and the artists proved very dicult as I
could not contact the artists through e-mail. Thus my research is based heavily on reliable
and well-trusted online research and books.

In this essay I will look at the works of Peter Kennard and Robbie Conal and
explore the qualities of their work through their intention for general public consumption,
use of controversial imagery, and use of irony.

Word count: 170

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contents
i.
ii.

Introduction
intention for general public
consumption
A. crushed missile
b. MittBUBBLE

iii.

use of controversial imagery

A. Decoration 06 & Decoration 08
b. A Bombin nation

iv.

use of irony
A. Photo op
b. Wealth care

v.

Conclusion

vi.

List of figures

vii.

Bibliography

Cheng 4

Introduction
My interest in political art has had an tremendous influence on my political views,
and the ways I interpret politics today. Only last year, during my own participation
in Hong Kongs Umbrella Revolution, I saw the symbolic yellow umbrella, the
canisters of tear gas raining down upon protestors; I realised the ability and
significance of art to influence and reflect political views. I believe that art is an
eective medium in illustrating the tribulations and complexities of politics because
it can be viewed in its entirety but simultaneously of the individual elements it is
composed of; allowing the viewer to see both the big picture but also the minute
details of politics in parallel. Art should therefore be acknowledged as a crucial
element that shapes todays world of politics and how we perceive and understand
it. This is the significance of political art and the stem of my interest that has led
me to write this Extended Essay.

The purpose of this essay is to explore the elements of eective political art pieces.
The question posed by this paper is hence:
What are the qualities that make political art eective? Investigating the
works of Peter Kennard and Robbie Conal
To aid in this exploration, a distinction between conventional art and political art
must be made. The renowned artist-cum-sociopolitical commentator, Ai Weiwei
asserts that if somebody questions reality, truth, facts; [it] always becomes
political art. (Ai Weiwei, The European Magazine) Yet, it is in my belief that the
indicative quality of political art is in its intent: in this essay political art will be
defined purposefully engages the audience in sociopolitical commentary to invoke
a critical response in its viewers. Political art possesses a clear political agenda
that art, in its broadest terms, does not.

For the purpose of this paper, I will reference and compare three art pieces from
both Peter Kennard and Robbie Conal to outline three qualities of eective political
art. For the first quality, Peter Kennards Broken Missile and Robbie Conals
MITTBUBBLE were selected because they both had intention for general
consumption. For the second quality, I selected Peter Kennards Decoration 06 &
Decoration 08 and Robbie Conals A Bombin Nation because they both impact a
viewers emotions by utilising grotesque and iconic images- masterfully distorted.
For the third and final quality, Peter Kennard & Cat Phillips Photo Op and Robbie
Conals Wealth Care were selected because they both utilised satire to induce
critical responses in the viewer.

Peter Kennards work involves photomontage coupled with oil painting. His work
has been described as angry, wordless montages (Douglas) and is synonymous
with the modern protest movement (Kennard). Similarly, Robbie Conals work also
stems tackling societal issues, such as the counterculture of the 1960s: the
umbrella term of a large array of movements in topics ranging from civil rights to
feminist rights.

This paper will now explore in the context of political art, its intention for general
consumption, its use of controversial imagery, and its use of irony.

Cheng 5

intention for general consumption

Broken missile
Peter Kennards photomontage Broken Missile manifested in 1979 when Kennard chose
to create a photomontage on the Campaign For Nuclear Disarmament (CND). The piece
was later passed on to the Labour Party of the United Kingdom for the Anti-Nuclear
Movement of the 1980s. (Kennard) Broken Missile is a personal critique on a political
event specifically the Cold War and the nuclear arms race at the time.

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

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

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

In terms of composition, the peace sign is featured in the centre of the image, with the
missile split in two on either sides of the sign. In terms of colour, shades of grey are
utilised, which is accompanied by a black background which occupies the negative space
of the piece. It is the straightforwardness of Broken Missile and its intention for public
consumption which renders it such a captivating and effective political piece.

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MITTBUBBLE
MITT BUBBLE is an adversarial portrait (Heller) of American politician and
businessman, Mitt Romney. The inception of the piece began during Mitt Romneys
presidential campaign in 2012. Robbie Conal thought Romney to be tactless and of no
substantive thoughts, inspiring Conal to create the imagery of the blank thought bubble
as a reflection of Romney. (Conal)

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

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

The aspect of MITTBUBBLE which clearly distincts its intention for public consumption, is
the thought bubble. The poster gained momentum in the United States throughout the
summer of 2012. The art piece, initially in the form of a poster, took many forms during
the 2012 Presidential campaigns - from singular posters pasted on the walls of buildings
to the placards of diverse opinion during political rallies. (Eisinger)

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Broken Missile was intended for public consumption
because the piece was created for the Labour Party,
more specifically the Greenham Common Womens
Peace Camp, who used the image in posters,
badgers, flyers, and placards. It featured on the
front page of The Sunday Times on 25 October
1981.(The Sunday Times) Broken Missile became an
icon for the CND in the United Kingdom and was
consequently featured in many demonstrations
throughout the 1980s.

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

(The Sunday Times)

The image soon reached other parts of the world too;

spreading as an icon for the global Campaign for
Nuclear Disarmament. Kennard states on his website
I saw pictures of a mural in Australia, a photograph
in a Soviet newspaper and a poster on a wall in Japan
that had all used the photomontages.(Kennard, Peter
and Ken Livingstone) It is clear that the iconic image
of Broken Missile was intended for public
consumption.

Figure 4: Kennard, Peter,Broken Missile

taped to the fence of Greenham
Common, 1982. Photograph. (Kennard,
Peter and Ken Livingstone)

The MITTBUBBLE posters that were spread across the United States, though they
followed the same template created by the artist, allowed a large variety of public opinion
to proliferate. The self-invitation to the public to express their political beliefs combined
with the publics intrigue to the concept of the empty thought bubble creates significant
impact on the mass media.

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

Cheng 8
From the analysis above of both Broken Missile and MITTBUBBLE, the intention of the
two pieces to be used for public consumption is obvious. The appearance of the two
pieces on mainstream media represents and their usage in public rallies and protests
represents this. Broken Missile became the symbol of the Campaign for Nuclear
Disarmament in the United Kingdom, and a motif which became headline news in the
Sunday Times. MITTBUBBLE gained momentum in social media, reaching out to all three
million of Bill Mahers Twitter followers and many more. (Maher)

In the realm of political art, success is judged by a pieces ability to integrate itself into
mainstream culture; to reach out to the largest audience possible; to create the biggest
impact in the politics portrayed by the media and more importantly, to impact the political
beliefs of the public. The comparability of the two pieces lie in their ability to reach out in
the media and the public. This intention for public consumption is a quality that eective
political art should possess.

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use of controversial imagery

Decoration 06 & Decoration 08

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

Decoration 06 & 08 is part of Peter Kennards Decoration series. The two pieces combine
two of Kennards oil paintings, which he reworked digitally. The inception of the two
pieces was in response to the American invasion of Iraq. (Kerley) The two pieces take the
image of a US Military Ribbon and combines negative connotations of war using dark
colours and rough textures.

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

In Decoration 06, the medal has been substituted

by the helmet of an American Soldier, with the
number of kills, in tallies of five, etched onto the
helmet. In my opinion, Kennard creates the
message that war is merely a plaything, a source
of pride for the American soldiers. This creates an
alienating eect in the viewer as war is
desensitised purposely and killing becomes
something honourable. The purpose being to
express Kennards opinion of the state of US
Figure 8: Kennard, Peter,
military aairs in Iraq. The juxtaposition of
Decoration 06 (detail),
unquestioned patriotism and the mutilation of
2003-2004. Oil Painting,
humanity at the expense of nationalism can be well
Photomontage. (Kennard Peter)
seen in the piece, causing an array of emotions to be
felt by the viewer.

Cheng 10

Figure 9: Peter Kennard,Decoration 08 (detail), 2003-2004. Oil Painting, Photomontage. (Kennard Peter)
In Decoration 08, a naked and tattered man whos face has been hooded is shown. The
shades of brown, grey and yellow contour his body to look grazed and scraped. Kennard
aims to prompt people into remembering the prisoner abuse inflicted by US troops at Abu
Ghraib jail.(Kerley)

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

The use of controversial imagery is a necessary component of eective political art

because it allows the artist to draw the attention of the viewer and creates a state-of-mind
where the viewer can become critical of the politics at hand. Since the artist is in control
of the medium and of the message being portrayed, by selectively portraying select parts
of political events through controversial imagery, it directly causes the viewer to see the
event through the artists lens.

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A Bombin Nation
Robbie Conals A Bombin Nation is a satirical piece which
features American politician Dick Cheney primarily to target the
growing nuclear warfare in the United States and on the global
scale.

There are many elements to look into in Robbie Conals A

Bombin Nation. The most discernible element of the piece is
the person portrayed in the piece- Dick Cheney. A signature of
Robbie Conals work, the portrayal of Dick Cheney in the piece
is unflattering. In terms of texture, his facial features are
wrinkled, his head is balding and his facial expressions show
worry, frustration with his hands raised in fists pressing against
his temples to further signify Cheneys frustration. The context
of this piece, is that of the Iraq War. Dick Cheney was probing
to find any reason at all for the US to invade Iraq, phantom
WMDs for instance. (Standard)

Figure 10: Conal, Robbie, A

Bombin Nation, 2003. Visual
Illustration. (Conal, Robbie)

A second element of note in the piece are the two rabbits that
the portrayed Cheney is staring at. Similar to the portrayal of
Cheney, the rabbits are designed to look distorted and ominous. In particular, the design
of the eyes of the rabbits are distorted by size and position to create a chilling and a
fiendish tone. In the backdrop there is a red and orange spiral which adds further to
Cheneys confusion. The portrayal of the rabbits combined with the spiral creates a dark
overtone to the piece, conveying and reflecting the events of the Iraq War at the time.

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

Robbie Conals A Bombin Nation uses the highly contentious imagery of nuclear
warheads to attack the US invasion of Iraq. The strength of this piece lies in its ability to
draw in the viewer through the use of unusual motifs of rabbits and faeces disguised as
nuclear warheads. The message being conveyed in the piece is pronounced by
combining with its ability to draw in the viewer allows the piece to reflect and gauge the
actions of Dick Cheney leading up to the Iraq War with finesse and precision.

From my analysis, the reason why the use of controversial imagery is a quality of great
political art is because it urges the viewer to reflect. In Peter Kennards Decoration 06 &
Decoration 08, the artist utilises disturbing images of war to evoke emotions of disgust in
the viewer, allowing the viewer to reflect on the Iraq War, allowing it to become eective.

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

Cheng 12
political art, allowing a viewer to think critically and reflect on the messages and
questions posed by the artist. Through my analysis, I firmly believe that the use of
controversial imagery is a critical element all eective political art pieces must possess.

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Use of irony
photo-op

Figure 11: Kennard, Peter and Cat Phillips ,Photo Op, 2003. Photomontage. (Kennard, Peter)

Peter Kennard and Cat Phillips photomontage Photo Op is another addition to Peter
Kennards line of satirical political pieces.

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

The piece manifests itself as a reflection on the Iraq policy of former British Prime Minister
Tony Blair. In Photo Op, former British Prime Minister Tony Blair is seen posing for a
selfie. Photo Op has become one of the most well-known works of art on the Iraq War,
mentioned as the definitive work of art about the Iraq War. by the Guardian. (The
Guardian) The pieces ability to embody and express what many believe to be the cause
of the chaos and conflict which unfolded in Iraq. In its simplicity, it expresses the
sentiments of the demonstrators against the Iraq War and what in hindsight, has become
the legacy of the Iraq War of the former British Prime Minister rushed into a war with
neither purpose nor plan, a direct cause of the large scale chaos which ensued.
The strength of the photomontage Photo Op lies in its use of irony in the context of a
political event, in particular the Iraq War beginning in 2003. Through simple and decided
elements of the piece- Tony Blair and the large-scale chaos in the background, Photo Op
critically breaks down and reflects the happenings of a complex and multi-layered
political battle. The ability to convey and critique a complex political event through the
use of irony in a simple and succinct form allows the piece to be an eective political art
piece.

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Wealth care
Robbie Conals Wealth Care is another addition to his signature ironic political portraits.

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

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

Boehner detests Obamacare, an Act which would improve quality, accessibility, and
aordability of health insurance for all across the United States (Obamacarefacts). In my
opinion, Conal is trying to say that the speaker only cares for the privileged, and is only
trying to look out for his own wealth. The irony of the piece is rooted in the wordplay. The
wordplay on healthcare to wealth care indicates the disparity between Boehner and
Obama. The piece is eective in its ability to incite critical thought on the state of
healthcare, and in the greater scheme of things, socio-economic divisions in the United
States.

Cheng 15
Peter Kennard and Cat Phillips Photo Op and Robbie Conals Wealthcare both utilise
satire and irony to a high degree to gauge and reflect the political proceedings of the Iraq
War and healthcare in the United Kingdom and the United States respectively. Photo Op
was eective in reflecting the political proceedings of the Iraq War by expressing the
opinions of the artists through its simplicity, allowing the piece to be easily broken down
by the typical viewer. Likewise, Robbie Conals Wealthcare was eective in reflecting
political tensions, specifically of John Boehners stance on Obamacare. It was eective
through its use of satire and its ability draw a viewer in to look more deeply into a piece
which comments on much more than just Obamacare. By manipulating and utilising the
infamy of a political figure, the artists were able to shed light on the chaotic proceedings
of the politics of war and health insurance, allowing the public to become more aware of
the calamities present in society.

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

The two artists Robbie Conal and Peter Kennard were influenced by radically
dierent backgrounds and the messages and questions posed by their artwork are
all unique and individual, they both ultimately bring to fruition the same ideal, to
advocate their political beliefs and to shed light on the political proceedings of the
world. The two artists are able through their work to bring the role of art further into
the fray of politics.

Peter Kennards Broken Missile was a logo for a highly influential campaign for
nuclear disarmament, making its way onto the Sunday Times allowing his work and
his beliefs to impact the media and the public. Robbie Conals MITTBUBBLE
reached its peak when voiced by a highly influential sociopolitical-commentator
and comedian, Bill Maher, on a Twitter post which lead Conals piece to escalate
through social media. The intention for general public consumption is an essential
aspect of political art because it allows the largest number of people to be directly
influenced by the work, indirectly aecting the political beliefs relayed in the media
and the political beliefs of the public.

Similarly, the use of controversial imagery is an essential aspect of political art

because it allows the viewer to think critically and reflect on the political events
which the art works are in response to. Robbie Conals A Bombin Nation raised
issues on nuclear warfare and whether it has been achieved through the use of
iconic figures who fought for the ideal. Peter Kennards Decoration 06 & Decoration
08 utilised grotesque alterations to cause emotional change in the viewer, raising
questions on the cruelty and unnecessary damage caused by the US in the Iraq
War.

In Peter Kennard and Cat Phillips Photo Op, the viewer is easily able to grasp that
Tony Blair was a stakeholder to blame for the chaos which unfolded in the Iraq
War. In Robbie Conals A Bombin Nation, the viewer can easily grasp the irony and
satire of the piece indicating the invalidity of Dick Cheneys reasons for wanting to
invade Iraq. This ability to gauge and reflect political events is an important
element of political art because it allows the viewer to grasp both the larger picture
of a political event and simultaneously the minute details of importance in the
proceedings.

The ties between art and politics is indisputable. Its ability to impact the media,
emotions, and its ability to reflect complex political happenings are summarised in
the essay. The ability to portray political nuances which would require thousands of
words to explain as singular images, the strength of the arts in politics is often
overlooked. This essay showed the strength and necessity of art in politics and the
qualities eective political art should possess.

Cheng 17

List of Figures
Figure 1

Description and Source

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

Figure 2

Mitt Bubble
Robbie Conal
<http://www.theatlantic.com/
entertainment/archive/2011/09/
smearing-power-with-wheat-pasterobbie-conals-portraits/244803/>

Figure 3

More than 150,000 Join CND Campaign

(1982)
The Sunday Times
< http://www.peterkennard.com/main/
my_art/photomontage/CND.htm>

Figure 4

Broken Missile taped to the fence of

Greenham Common (1982)
Peter Kennard

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

Figure 5

Twitter post on Robbie Conals

MITTBUBBLE (2012)
Bill Maher
< https://twitter.com/billmaher/status/
258385717632327681>

Figure 6

MITTBUBBLE Posters (2012)

Robbie Conal
< http://illustrationage.com/2012/10/24/
robbie-conals-mitt-bubble-hits-the-streets/ >

Figure 7

Decoration 06 (Left) & 08 (Right)

(2003-2004)
Peter Kennard
< http://www.telegraph.co.uk/culture/
photography/11583917/Peter-Kennard-

Figure 8

Figure 9

Decoration 06 (Left) & 08 (Right)

(2003-2004)
Peter Kennard
< http://www.telegraph.co.uk/culture/
photography/11583917/Peter-KennardUnofficial-War-Artist.html?frame=3292274>
Decoration 08 (detail) (2003-2004)
Peter Kennard
< http://www.telegraph.co.uk/culture/
photography/11583917/Peter-KennardUnofficial-War-Artist.html?frame=3292274>

Cheng 18
Figure 10

A Bombin Nation (2003)

Robbie Conal
< http://www.theguardian.com/artanddesign/
2013/oct/15/tony-blair-selfie-photo-op-imperialwar-museum>

Figure 11

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

Figure 12

Wealth Care (2003)

Robbie Conal
< http://www.theguardian.com/artanddesign/
2013/oct/15/tony-blair-selfie-photo-op-imperialwar-museum>

Cheng 19

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Conal, Robbie. "Robbie Conal on the ImageBlog." The Huffington Post. TheHuffingtonPost.com, 24 Oct. 2013. Web. 1
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Douglas, Noel. "Eye Magazine." Eye Magazine. 1 July 2011. Web. 21 July 2015.
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Eisinger, Dale. "The 50 Most Political Art Pieces of the Past 15 Years." Complex. 3 July 2013. Web. 1 July 2015,
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Heller, Steven. "Smearing Power With Wheat Paste: Robbie Conal's Portraits." The Atlantic. Atlantic Media Company,
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244803/>.
Jones, Jonathan. "The Tony Blair 'selfie' Photo Op Will Have a Place in History." The Guardian. 15 Oct. 2013. Web. 21
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< http://www.theguardian.com/artanddesign/2013/oct/15/tony-blair-selfie-photo-op-imperial-war-museum>

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

<http://www.iwm.org.uk/exhibitions/iwm-london/peter-kennard-unofficial-war-artist>.
Kennard, Peter: Unofficial War Artist." The Telegraph: . The Telegraph. Web. 24 June 2015,
< http://www.telegraph.co.uk/culture/photography/11583917/Peter-Kennard-Unofficial-War-Artist.html?
frame=3292274>
Kennard, Peter, and Ken Livingstone. Dispatches from an Unofficial War Artist. Aldershot: Lund Humphries ;, 2000.
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< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>.
Kerley, Paul. "Peter Kennard: A Very Unofficial War Artist - BBC News." BBC News. 14 May 2015. Web. 2 July 2015,
< http://www.bbc.com/news/magazine-32706845>.
Maher, Bill. "Thought Bubble over Romney's Head "Say, This Obama Fella Is Starting to Make a Lot of Sense...""
Twitter. 17 Oct. 2012. Web. 20 Aug. 2015,
< https://twitter.com/billmaher/status/258385717632327681>.
Maher, Bill. Twitter. 2009. Web. 21 Aug. 2015,
<https://twitter.com/billmaher>.
The Sunday Times. "More than 150,000 Join CND Rally against Bomb." The Sunday Times 25 Oct. 1981. Web. 21 Aug
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< http://www.peterkennard.com/main/my_art/photomontage/CND.htm>.
The Standard. Tony Blair's Crazed Selfie Included in Imperial War Museum's New Art." Evening Standard. 9 Oct.
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< http://www.standard.co.uk/news/london/tony-blairs-crazed-selfie-included-in-imperial-war-museums-new-art-andwar-exhibition-8869420.html>.
Zgheib, Yara. On Art and War. The European, 26 Mar. 2015. Web. 3rd Sep. 2015.
< http://www.theeuropean-magazine.com/yara-zgheib/9957-the-relationship-between-arts-and-politics>.