Tamir Zadok’s film Gaza Canal ,תעלת עזה is nothing less then brilliant. Zadok’s humorist approach to this politically charged subject matter is genius. If you haven’t seen yet this film you absolutely must watch it. Just beware that the film completely rely on fabricated contents and “facts”.
Gaza Canal, describes the Canal’s construction. It was created for the opening of a Visitor Center on site, and forms a part of the Center’s permanent display. For the current exhibition it was shifted to the Gallery. The Rabin Visitor Center in Gaza Canal offers a visitors route which includes a virtual tour of the Canal, historical documentation of the digging work, and interviews with the project initiators. The Gaza Canal was created over the course of eight years, during which 61 kilometers were dug by 15,000 Jewish and Arab workers. It began as an American initiative and saw many crises along the way. Over the years, however, it became a symbol of change and improvement, a paragon of a healthier reality, creating a reality of prosperity and tourism, industry and commerce in the “island of Gaza.” Zadok’s chosen tactic employs tools from the field of propaganda, such as interviews and documentary photographs, which constitute the body of documentation indicating that the construction of the Canal was the optimal humanitarian act for implementation of the Israeli fantasy—”to throw all the Arabs into the sea.”

gaza canal ,תעלת עזה from Tamir Zadok on Vimeo.

Peace Rally | Union Square, NYC | October 7, 2001 | Photographer Lorna Tychostup

Photography driven by social change. Social change driven by photography.

This is a great organization to help photographers be able to connect with people all over the world and document stories of the people. It is interesting to see how the organization connect viewers to see different photographers’ work and see the stories of different people. The organization not only help professional photographers, but as well as amateurs and students. There are many inspirational stories and photographs that you don’t see everyday.

Change the Truth—Uganda | By Gloria Baker Feinstein for Change the Truth

Photo Philanthropy’s Activist Award

Activist award Submission Open through October 1st!

PhotoPhilanthrophy believes in the power of photography to inspire hope and understanding and to connect people around the world.
Submitted photos must depict the work of a charitable organization (designated by 501c3 in the US, or international equivalent) and be presented as a photo essay. All photographs in the essay must have been taken within the last 3 years.

click here to submit your work, and remember to let us know if you won so we could congratulate you and publish your socially aware artworks right here!

Sama Alshaibi is born in Iraq to an Iraqi father and Palestine mother. She is now an American citizen living in the States and teaching in post secondary institution. She is a multi-media artist who produces photographs and video art. Alshaibis’ art is strikingly powerful with its silent grab on the viewers’ attention with stories about suffer and the displacement of loss.

Alshaibi often uses her own body as both a protagonist and a site, linking struggles and the way that nations have affected and twisted lives in bodily performances. Her auto-ethnographic approach is informed by her own history of living in war, the double negation to her familial homelands and her countless encounters with those policing borders from the undesired. I admire her art and courage to render the history and the current affairs that is heavily looked at today. Her photographic and cinematic skills are full of stories behind them. It was very difficult to choose just a few images to represent her work, which is very aesthetic, powerful and diverse. Check out her website, it is a little old fashion (flash and pop-ups) but it does compliment her artworks.

Sama Alshaibis’ website

http://www.samaalshaibi.com

Welcome to ArtPolitica.

The beautiful painting above is “Massacre in Korea”, a 1951 expressionistic painting composed by Pablo Picasso which is seen as a criticism of American intervention in Korean conflict. Alongside with Guernica, The Charnel House (1944-45), War and Peace (1952), and Rape of the Sabine Women (1962–63) this is one of Picasso’s works that he composed to depicts the politics of his time.

We start this blog because we feel that artists need a place that will allow them to freely present social/political artworks that express their ideas and thoughts. Many of the commercial galleries and museums will not showcase political art, especially if it does not express popular views. Artists also tend to avoid handling politically charged subjects, they don’t want to risk losing a potential sale or exhibition by addressing topics that are too controversial or sensitive.

Our aim is to expose contemporary works of art which express the artists’ political and/or social stance and to evoke public discussions revolving their ideas. We hope that this blog will become a place where you can debate and explore great, meaningful art.

We welcome writers, artists and people with interest that wishes to post to ArtPolitica.
Those who want to contribute to our blog please use the form at the About page to send us a message.
Alternatively, you can email us @ info@artpolitica.com.