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World War II stands as one of the most significant and catastrophic events in human history. From its igniting spark in the late 1930s to its harrowing conclusion in 1945, it was a conflict that reshaped the world in ways that still reverberate today. This tumultuous period saw nations rise and fall, ideologies clash, and humanity plunge into a steep decline into chaos.
The origins of World War II can be traced back to the aftermath of World War I. The Treaty of Versailles, which ended the First World War in 1919, imposed heavy reparations and territorial losses on Germany, sowing the seeds of resentment and economic instability. The global economic depression of the 1930s further exacerbated these tensions, creating an environment ripe for extremist ideologies to flourish.
One of the most prominent figures in this tumultuous era was Adolf Hitler, whose rise to power in Germany in 1933 marked a turning point. Hitler's expansionist ambitions and aggressive rhetoric set the stage for conflict. In 1939, he unleashed his military forces on Poland, triggering the outbreak of World War II. The swift and brutal invasion of Poland by Nazi Germany, followed by the Soviet Union's invasion from the east, demonstrated the chaos and brutality that lay ahead.
As the war spread across Europe, the Axis Powers, led by Germany, Italy, and Japan, sought to expand their dominion. France fell to the German blitzkrieg in 1940, and the Battle of Britain raged in the skies over the United Kingdom. In Asia, Japan was on a relentless quest for territorial conquests, leading to the infamous attack on Pearl Harbor in December 1941, drawing the United States into the conflict.
The early years of World War II were marked by a series of Axis victories, as they swept through vast territories and subjected millions to their rule. The occupation of France, the Balkans, and the Low Countries brought suffering and chaos to these regions. Meanwhile, the Holocaust, the systematic extermination of six million Jews and countless others by the Nazis, represented the darkest chapter in human history.
However, the tide began to turn in favor of the Allied Powers, including the United States, the Soviet Union, and the United Kingdom, as they rallied their forces and resources. The Battle of Stalingrad in 1942-43 marked a turning point in the Eastern Front, where the Soviets halted the German advance and launched a counteroffensive. In the Pacific, the United States fought back fiercely against Japan, culminating in the island-hopping campaigns and the dropping of atomic bombs on Hiroshima and Nagasaki in 1945.
The chaos of World War II extended far beyond the battlefield. Civilians endured immense suffering, whether due to bombings, forced labor, or displacement. The war also witnessed the rise of resistance movements and underground networks across Europe, with individuals risking their lives to sabotage the Axis powers and rescue persecuted populations.
One of the most significant consequences of World War II was the redrawing of the world map. The war led to the disintegration of empires, such as the British Empire, and the emergence of new superpowers, the United States and the Soviet Union, locked in a Cold War rivalry that defined much of the post-war era. The founding of the United Nations in 1945 aimed to prevent future conflicts by fostering diplomacy and cooperation among nations.
In conclusion, World War II was a period of steep decline into chaos that reshaped the world in profound ways. It was a conflict that tested the limits of human endurance, morality, and resilience. While it brought about immense suffering and destruction, it also laid the groundwork for a new world order, marked by the pursuit of peace and the recognition of the importance of international cooperation. The lessons learned from this dark chapter in history continue to shape our world today, serving as a stark reminder of the consequences of unchecked aggression and the importance of global unity.
A workshop organized by the Religious Studies Department, Armacost Library, MSGIS and CSS, with funding from the Wabash Center
Yinka Shonibare CBE RA
Mannequin, Dutch wax printed cotton textile and globe
Shonibare references the history of brightly coloured Dutch wax fabrics to comment on colonisation, hybridity, and authenticity. The fabric originated in Indonesia before being produced by the Dutch in Manchester and sold for mass consumption in Africa. He began using the material in the 1990s after one of his teachers commented that Shonibare, an artist of African origin, was not making ‘authentic’ African art.
Boy on a Globe addresses the ways in which humanity has exerted power over the world it occupies, often with disastrous consequences. The globe, yellow in tone and reddening in certain sections to indicate warming, is a dual symbol for environmental disaster and the redrawing of territory under Empire. The boy is perilously perched, as though about to fall. This sense of precarity offers a visual manifestation of the deconstruction of colonisation and empire, countering the ideas of stability and linear, forward progression that justified colonial missions.*
From the exhibition
Unravel: The Power and Politics of Textiles in Art
(February – May 2024)
Textiles are vital to our lives. We are swaddled in them when we’re born, we wrap our bodies in them every day, and we’re shrouded in them when we die.
What does it mean to imagine a needle, a loom or a garment as a tool of resistance? How can textiles unpack, question, unspool, unravel and therefore reimagine the world around us?
Since the 1960s, textiles have become increasingly present in artistic practices for subversive ends. This is significant as the medium has been historically undervalued within the hierarchies of Western art history. Textiles have been considered ‘craft’ in opposition to definitions of ‘fine art’, gendered as feminine and marginalised by scholars and the art market. The 50 international artists in this show challenge these classifications, harnessing the medium to speak powerfully about intimate, everyday stories as well as wider socio-political narratives, teasing out these entangled concerns through a stitch, a knot, a braid, through the warp and the weft. These artists defy traditional expectations of textiles, embracing abstraction or figuration to push the boundaries of the medium. They draw on its material history to reveal ideas relating to gender, labour, value, ecology, ancestral knowledge, and histories of oppression, extraction and trade.
Rather than dictating a chronological history of fibre art, the exhibition is organised in thematic dialogues between artists — across both generations and geographies — to explore how artists have embraced textiles to critique or push up against regimes of power. Some artists work alone with solitary, near-meditative practices, while others reflect the shared approach that the medium often invites, working with collaborators in acts of community and solidarity. Spanning intimate hand-crafted pieces to large-scale sculptural installations, these artworks communicate multi-layered stories about lived experience, invoking the vital issues embedded in fibre and thread.
[*Barbican Centre]
Taken at the Barbican Centre
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Artist | Barbara Rossi (1940-2023 in USA)
Title | Rhapsodent II - My Dentist’s Dream (1974-1984)
collage composed of cut-and-pasted papers, graphite, and colored pencil, on cardboard
33 x 25.5 cm
Exhibitor | Art Institute of Chicago
Exhibition | Four Chicago Artists
www.artic.edu/artworks/116577/rhapsodent-ii-my-dentist-s-...
Rossi found photographic images of dental molds in an old dentistry textbook and used them as the basis for this "spontaneously created composition." She collaged the pictures to a piece of drawing paper and then proceeded to build up the rest of the image form by form, requiring herself to complete one part before beginning the next, without erasing or redrawing anything. “When I started this drawing," she commented, "I had no idea beforehand how it would evolve, what kind of subject matter would appear, what the nature of the forms would be. . . I think of this process of composition as similar to musical improvisation. I also think of it as a form of meditation in which there are no stray thoughts, or better, the stray thoughts are gathered up before they become too stray and are thus beautifully bound back into the whole?”
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Feel free to knock me for any asistance
Whatsapp : +8801926510217
email: tusharshakhary@gmail.com
Why trust us and the benefits you get?
◉ 5K plus satisfied buyer Worldwide
◉ 3.5K plus positive reviews
◉ TOP NOTCH Quality guaranteed
◉ Team of Professional Hard-working Designers
◉ Quick and Friendly Communication
◉ Unlimited Revisions (until you satisfied)
What you will get:
★ 1-3 or 24 Hours Delivery
★ 100% MANUAL Vector
★ No auto-tracing (100% Guaranty)
★ Recreate your lost pixels.
★ Clean and clear vector format
★ SVG, CDR, DXF, PSD, JPG, PNG (If need)
Logo vector, vectorize logo, convert to vector, raster to vector, vector tracing, redraw to vector"
"Are you looking for vectorizing your logo/image/graphics to get a high-resolution vector file so you can use the web or print a bigger size? or
Do you want to change color or modify/customize your existing logo or tagline?
Yes! You are in the right place!
We are a professional graphic designer Team and we have 10 years of experience in vectorizing. we are experts in #redrawing #vectortracing #logoedit #converttovector #rastertovector #convertinglogos and #imagestovector
Feel free to knock me for any asistance
Whatsapp : +8801926510217
email: tusharshakhary@gmail.com
Why trust us and the benefits you get?
◉ 5K plus satisfied buyer Worldwide
◉ 3.5K plus positive reviews
◉ TOP NOTCH Quality guaranteed
◉ Team of Professional Hard-working Designers
◉ Quick and Friendly Communication
◉ Unlimited Revisions (until you satisfied)
What you will get:
★ 1-3 or 24 Hours Delivery
★ 100% MANUAL Vector
★ No auto-tracing (100% Guaranty)
★ Recreate your lost pixels.
★ Clean and clear vector format
★ SVG, CDR, DXF, PSD, JPG, PNG (If need)
Logo vector, vectorize logo, convert to vector, raster to vector, vector tracing, redraw to vector"
Are you looking for vectorizing your logo/image/graphics to get a high-resolution vector file so you can use the web or print a bigger size? or
Do you want to change color or modify/customize your existing logo or tagline?
Yes! You are in the right place!
We are a professional graphic designer Team and we have 10 years of experience in vectorizing. Basically, we are experts in redrawing, vector tracing, logo edit, and converting logos and images to vectors.
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Why trust us and the benefits you get?
◉ 5K plus satisfied buyer Worldwide
◉ 3.5K plus positive reviews
◉ TOP NOTCH Quality guaranteed
◉ Team of Professional Hard-working Designers
◉ Quick and Friendly Communication
◉ Unlimited Revisions (until you satisfied)
What you will get:
★ 1-3 or 24 Hours Delivery
★ 100% MANUAL Vector
★ No auto-tracing (100% Guaranty)
★ Recreate your lost pixels.
★ Clean and clear vector format
★ SVG, CDR, DXF, PSD, JPG, PNG (If need)
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Description of the details of each package:
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Besides the redrawing service we can also offer you our architectural and interior design service in its preliminary phase. Please contact us to know your project and work through a custom offer.
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Yinka Shonibare CBE RA
Mannequin, Dutch wax printed cotton textile and globe
Shonibare references the history of brightly coloured Dutch wax fabrics to comment on colonisation, hybridity, and authenticity. The fabric originated in Indonesia before being produced by the Dutch in Manchester and sold for mass consumption in Africa. He began using the material in the 1990s after one of his teachers commented that Shonibare, an artist of African origin, was not making ‘authentic’ African art.
Boy on a Globe addresses the ways in which humanity has exerted power over the world it occupies, often with disastrous consequences. The globe, yellow in tone and reddening in certain sections to indicate warming, is a dual symbol for environmental disaster and the redrawing of territory under Empire. The boy is perilously perched, as though about to fall. This sense of precarity offers a visual manifestation of the deconstruction of colonisation and empire, countering the ideas of stability and linear, forward progression that justified colonial missions.*
From the exhibition
Unravel: The Power and Politics of Textiles in Art
(February – May 2024)
Textiles are vital to our lives. We are swaddled in them when we’re born, we wrap our bodies in them every day, and we’re shrouded in them when we die.
What does it mean to imagine a needle, a loom or a garment as a tool of resistance? How can textiles unpack, question, unspool, unravel and therefore reimagine the world around us?
Since the 1960s, textiles have become increasingly present in artistic practices for subversive ends. This is significant as the medium has been historically undervalued within the hierarchies of Western art history. Textiles have been considered ‘craft’ in opposition to definitions of ‘fine art’, gendered as feminine and marginalised by scholars and the art market. The 50 international artists in this show challenge these classifications, harnessing the medium to speak powerfully about intimate, everyday stories as well as wider socio-political narratives, teasing out these entangled concerns through a stitch, a knot, a braid, through the warp and the weft. These artists defy traditional expectations of textiles, embracing abstraction or figuration to push the boundaries of the medium. They draw on its material history to reveal ideas relating to gender, labour, value, ecology, ancestral knowledge, and histories of oppression, extraction and trade.
Rather than dictating a chronological history of fibre art, the exhibition is organised in thematic dialogues between artists — across both generations and geographies — to explore how artists have embraced textiles to critique or push up against regimes of power. Some artists work alone with solitary, near-meditative practices, while others reflect the shared approach that the medium often invites, working with collaborators in acts of community and solidarity. Spanning intimate hand-crafted pieces to large-scale sculptural installations, these artworks communicate multi-layered stories about lived experience, invoking the vital issues embedded in fibre and thread.
[*Barbican Centre]
Taken at the Barbican Centre
Image copyright
PAUL ELLIS/AFP VIA GETTY IMAGES
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Yinka Shonibare CBE RA
Mannequin, Dutch wax printed cotton textile and globe
Shonibare references the history of brightly coloured Dutch wax fabrics to comment on colonisation, hybridity, and authenticity. The fabric originated in Indonesia before being produced by the Dutch in Manchester and sold for mass consumption in Africa. He began using the material in the 1990s after one of his teachers commented that Shonibare, an artist of African origin, was not making ‘authentic’ African art.
Boy on a Globe addresses the ways in which humanity has exerted power over the world it occupies, often with disastrous consequences. The globe, yellow in tone and reddening in certain sections to indicate warming, is a dual symbol for environmental disaster and the redrawing of territory under Empire. The boy is perilously perched, as though about to fall. This sense of precarity offers a visual manifestation of the deconstruction of colonisation and empire, countering the ideas of stability and linear, forward progression that justified colonial missions.*
From the exhibition
Unravel: The Power and Politics of Textiles in Art
(February – May 2024)
Textiles are vital to our lives. We are swaddled in them when we’re born, we wrap our bodies in them every day, and we’re shrouded in them when we die.
What does it mean to imagine a needle, a loom or a garment as a tool of resistance? How can textiles unpack, question, unspool, unravel and therefore reimagine the world around us?
Since the 1960s, textiles have become increasingly present in artistic practices for subversive ends. This is significant as the medium has been historically undervalued within the hierarchies of Western art history. Textiles have been considered ‘craft’ in opposition to definitions of ‘fine art’, gendered as feminine and marginalised by scholars and the art market. The 50 international artists in this show challenge these classifications, harnessing the medium to speak powerfully about intimate, everyday stories as well as wider socio-political narratives, teasing out these entangled concerns through a stitch, a knot, a braid, through the warp and the weft. These artists defy traditional expectations of textiles, embracing abstraction or figuration to push the boundaries of the medium. They draw on its material history to reveal ideas relating to gender, labour, value, ecology, ancestral knowledge, and histories of oppression, extraction and trade.
Rather than dictating a chronological history of fibre art, the exhibition is organised in thematic dialogues between artists — across both generations and geographies — to explore how artists have embraced textiles to critique or push up against regimes of power. Some artists work alone with solitary, near-meditative practices, while others reflect the shared approach that the medium often invites, working with collaborators in acts of community and solidarity. Spanning intimate hand-crafted pieces to large-scale sculptural installations, these artworks communicate multi-layered stories about lived experience, invoking the vital issues embedded in fibre and thread.
[*Barbican Centre]
Taken at the Barbican Centre