The War in Iraq has ended (or has it?) and are we any safer? The costly occupation of Iraq has yet to bring democracy to its people or security to the U.S. The War has fueled hatred of the US around the world and weakened alliances built up over decades. Artists have a long history of reflecting on the events surrounding them. We feel that this is one of those times.

135 artists from 16 countries have created medals that reflect the terrible waste of this war. Medals commemorate heroes and battles but also Grief, Destruction, Terror, Greed, Hypocrisy, Arrogance and Loss. This war is remembered by artists from around the world with small but powerful objects that remind us the risks of unchecked power.

War Child continues to use the enormous support it receives from the media, music and entertainment industries to raise, not only much needed funds, but also public awareness of the daily struggle for survival facing children in war zones.

Music Artists are a vital part of our work. They help improve the lives of war-affected children by generating awareness and raising vital funds. Most importantly, they demonstrate how it is possible for each and every person to make a difference.

Smithsonian - By the late 1960s, the United States was in pitched conflict both in Vietnam, against a foreign power, and at home—between Americans for and against the war, for and against the status quo. Artists Respond: American Art and the Vietnam War, 1965–1975 presents art created amid this turmoil, spanning the period from President Lyndon B. Johnson’s fateful decision to deploy U.S. ground troops to South Vietnam in 1965 to the fall of Sài Gòn ten years later.

Artists Respond is the most comprehensive exhibition to examine the contemporary impact of the Vietnam War on American art. The exhibition is unprecedented in its historical scale and depth. It brings together nearly 100 works by fifty-eight of the most visionary and provocative artists of the period. Galvanized by the moral urgency of the Vietnam War, these artists reimagined the goals and uses of art, affecting developments in multiple movements and media: painting, sculpture, printmaking, performance, installation, documentary art, and conceptualism. This exhibition presents both well-known and rarely discussed works, and offers an expanded view of American art during the war, introducing a diversity of previously marginalized artistic voices, including women, African Americans, Latinos, and Asian Americans. The exhibition makes vivid an era in which artists endeavored to respond to the turbulent times and openly questioned issues central to American civic life.

Artists and peace advocates are using public art to oppose violence, notably in Afghanistan, Pakistan and the Middle East. The results have varied, advocates say, but the art campaigns have worked to undermine extremists’ calls to violence, and helped communities heal the divisions of war. They have ignited public discussion of local conflicts and even triggered peacebuilding efforts. Art campaigners and peace advocates who have worked across the Middle East and South Asia discussed the uses—and the limits—of public art as a peacebuilding tool, in a recent forum at USIP.

"Leon Golub: Paintings, 1950-2000," was an exhibition of some thirty-five works depicting the effects of individual and institutional power, was presented from May 18 through August 19, 2001 at the Brooklyn Museum of Art, the final venue of an international tour. These expressive political paintings, many of which are mural-sized, explore issues of race, violence, war, and human suffering.

Otto Dix was a German artist, painter, print maker and watercolorist. His depictions of mechanized warfare and post-war Berlin continue to shape our impressions of the Great War and Weimar society. Along with George Grosz, Dix was one of the more important figures in New Objectivity. While Grosz delved into the shadows of modern society, Dix stared into the abyss.

Fred Askew is a freelance News and Editorial photographer based in New York City. His work is published internationally in journals, newspapers and magazines. One of his themes is the anti-war movement.

His photographs have appeared in Time Magazine, The New York Times, Le Monde, El Pais, New York Magazine, Artforum Magazine, The Village Voice, Clamor Magazine, YES Magazine, Index Magazine, The Indypendent and other publications.

Can design change the world? I don't pretend that social and political problems can be solved with graphics or technology, but tools, technologies, and techniques of communication can profoundly alter our relationship to the world, to power, and to each other. This Web log is a collection of notes on the built environment, graphic design, product design, architecture, the decisions we make, and the impact they have. It is an exploration and a work in progress. I’m still working on my definition of “Social Design,” but I’m inclined towards projects that:

• are affordable and sustainable
• are made of renewable materials
• use energy from renewable sources and increase energy efficiency
• reduce consumption and waste, are reusable or recyclable
• are produced and developed locally
• are universally accessible to people of all ages, abilities, and physical conditions
• are developed at the initiative and with the participation of the communities they serve
• facilitate mobility, communication, and participation in civic life
• decentralize political power and facilitate transparency and accountability.

The Illustrated Enemy looks at graphic depictions of national leaders and military and civilian life, as illustrated by artists both before and during World War I. [A new section dealing with World War II Soviet posters was added in April, 2007]. These images were originally published in magazines, books, posters and postcards. The artists are French, German, Italian, Dutch, Russian, Spanish, British and American. Many are unabashedly patriotic, even jingoistic; others are just as firmly anti-war.

The War Room is an installation by British painter William T. Ayton that is constructed of four wall-sized panels depicting fundamental aspects of war: warriors, victims, witnesses, and aftermath. Unlike conventional war rooms designed to devise military strategy, Ayton’s War Room forces a provocative confrontation with the brutal realities and consequences of war. Inside the almost claustrophobic space, intense images engulf the viewer compelling us to face fundamental questions of where we each stand in the war room.

Red, white and blue signs, approximately 1.5' x 2', are to be placed in front yards and other public locations. They are designed to resemble the ubiquitous yard signs* printed commercially and posted in front of homes and businesses throughout the southern USA. The "Ten Commandments" yard sign includes text from the Geneva Convention as it relates specifically to treatment of prisoners. "Support Our Troops" includes officially suppressed imagery of the remains of US servicemen and servicewomen. "Re-Elect" makes explicit the merging of secular and religious iconography implied by the rhetoric of our political leaders. "Home For Sale" includes an image of the American flag, violently out of focus.