Art Analysis from The Vietnam War

The World of Art during the Vietnam War

The Vietnam War affected nearly every aspect of life in the 1960s and 1970s. The world of art was no exception. Since this war, in particular, was extremely controversial for many, the artwork during this time seems to reflect different perspectives and views of the war. I will share a mix of paintings, sculptures, and photography that I believe were really profound during this era.

                                                                    Mi Vida by Jesse Treviño, 1971-73

Jesse Trevino was drafted to Vietnam in 1967. While there, he sustained a permanent injury to his right hand, which ultimately had to be amputated. Upon his return, he was forced to learn to use his left hand for everything, including painting. For this reason alone, I find this piece of artwork to be so amazing. He painted this on his sheetrock wall in the dark, and it is a collage, in a way, of his life following Vietnam. We see his Purple Heart, which is front and center. His cigarettes, beer, and medicine are scattered along the mural. We also see his vehicle which was purchased with his soldier compensation. The spacing of each item is significant because it allows some things to stand out, like his medal, while other items, like the beer, are barely in the painting. This ties into the emotional side, in my opinion. Those who did not go to Vietnam often only consider the medals or the compensation and not what the soldiers had to endure or use to deal with their trauma when they returned home. The darkness in the background allowed for each item to stand out in its own way. I think the emphasis on the Purple Heart ties in the whole piece of art. I think this piece of art would be great in any room of a house, but to me, it is quite personal and might seem appropriate for only a Vietnam veteran to have. 

monument 4 for those who have been killed in ambush (to P.K. who reminded me about death) by Dan Flavin, 1966

Dan Flavin was known for his use of fluorescent bulbs to create artistic sculptures. This monument he made for display consisted of four red fluorescent bulbs that were aligned in the shape of what might seem like a crossbow. There are many theories on who P.K. in the title may have been. Some have speculated that it was his brother who fought in Vietnam, while others have considered it could have been a friend with the initials of P.K. Either way, this monument is believed to represent and memorialize those who died in ambush. This is a piece that I think would be perfect in a museum to be lit up constantly and never to dim. It would also be meaningful in a personal library as a memorial to a family member who died in war. It is a timeless piece that could represent any soldier who died, but the color red seems to symbolize Vietnam in many ways. The shape of the bulbs in the form of a crossbow could symbolize a "dagger to the heart" in the way an ambush would hit suddenly and unexpectedly. The shadows behind the red give a sense of darkness and death, and I think the red just adds to that and makes it even more solemn. This is extremely emotional for me to see as the grandson of two brave Vietnam veterans who made it home.

Vietnam II by Leon Golub, 1973

Leon Golub's piece of artwork is one where he is expression his opposition to the war. He had spent many years in protest, and this is just one in a series he did to expression his distaste for the war. On the left we see several American soldiers pointing guns at Vietnamese civilians on the right. This piece of work is very textured, which gives the illusion that the viewer could reach out and touch the civilians. Golub used several different techniques to create this look. In an interview, he explained, "The figures are first outlined and shaded in black. The second coat emphasizes three dimensionality and designated highlights. I apply local colour to define skin, wood, metal, cloth. The canvas is put on the floor and paint areas are dissolved with solvent and scraped. The main scraping tool is a meat cleaver. Once the canvas has been scraped down, eroded – a process which frequently takes two weeks – I reconstruct the figures." The colors he chose, while all neutral, are dark and depressing, which I think is appropriate for this piece of work. The shading he used in the background behind the civilians leads you to know that there are building destroyed and smoke from the fires. While I may not agree with his political stance, I do appreciate this piece of work and believe it would be appropriate to hang in an office or library. It is a reminder that men, women, and children who have nothing to do with war can be directly affected by it and usually are. 

Lace Curtain for Mayor Daley by Barnett Newman, 1968

Lace Curtain for Mayor Daley was a large, heavy screen that was filled with barb wire and then splattered with red blood. This piece was created as a message to police about how they handled anti-war protests during the Democratic Convention. Apparently, the mayor of Chicago, Richard J. Daley, was considered responsible for the police brutality. To me, this is so subtle and simple that it is highly effective in its expression. It could be made by items you have at home and, yet, it sends a very strong message. The texture of the wood and barbed wire makes it rough physically but also theoretically. The splash of red paint to represent blood gives it just the right amount of color against the dark wood and wires. The shape of it is perfect, as it almost appears the size of what a policeman would hold as a shield during a protest. The fact that he named it "lace" in the title, which is delicate, is ironic considering the brutality that was involved. The placement of this would likely be in a museum of some kind, but I could imagine it on top of someone's bookcase. 

Kim Phuc standing in front of the famous photo titled The Terror of War or Napalm Girl taken by Nik Ut, 1972

Most likely one of the most famous photographs from the Vietnam War era is that of little Kim Phuc running naked to relieve herself from the napalm burns. This photograph was taken by photojournalist, Nik Ut, in 1972. According to Ut, “When I took the photo of her, I saw that her body was burned so badly, and I wanted to help her right away. I put all my camera gear down on the highway and put water on her body.” This photograph was quickly seen around the world and was said to have contributed to ending the war, despite it continuing for a few more years. The fact that this photo is black and white really adds to its dramatic effect. Also, it is worth noting that while Kim Phuc is the focus of the photo, the young boy at the front of the photo is also impactful despite not receiving as much attention. I believe him being in the front does give the photo depth and perhaps contributes to the attention that Phuc received from being in the center and being unclothed. In fact, the positioning of each person in the photo has significance. The blur of smoke in the background covering up the entire backside of the photo also really drives home what they were running from in such a desperate way. It creates a texture to the photo that otherwise would not exist. This photo would not be displayed in my home, but I think it should be displayed in museums and libraries in a history section. It is extremely emotional on every level when it comes to humankind.

Kim Jones, Mudman Structure (large), 1974, sticks, mud, rope, foam rubber, shellac, and acrylic

Kim Jones went to Vietnam, but he did not get to "fight" like his fellow soldiers did. He was assigned to be a postman, and he came home from Vietnam feeling what we would consider now to be survivor's guilt. "On the morning of January 28, 1976, Kim Jones stepped into his combat boots, pulled a nylon stocking over his face, and slathered himself in mud. He strapped an unruly lattice of sticks — held together by twine and electrical tape — to his back, as though he’d been lying on a forest floor for years. Then he began walking down Wilshire Boulevard, the symbolic spine of Los Angeles. He walked for 12 hours to the ocean, stopping once for coffee with some friends." His costume is now a sculpture at the Smithsonian. The texture of the sticks and dirt speaks for itself. That is a heavy load to have carried on his back, but it probably was lightweight compared to what the soldiers were carrying through the jungle. The neutral colors against the white wall allow you to focus on each of the items and their significance. The spacing of each item also has an impact. They are all lined up, and you can almost imagine Jones placing each item on one at a time before heading out for that twelve-hour walk. I would not have this display in my home, but it is ideal for a museum such as this. It does have an appeal to emotion because you can imagine all of these items being used in Vietnam by a young solider, and as a young man myself, I think about what that would be like to carry the weight of these items.

BIBLIOGRAPHY

Holland, Oscar. "Napalm Girl at 50: The Story of the Vietnam War's Defining Photo." CNN, 2022. ‘Napalm Girl’ at 50: The story of the Vietnam War’s defining photo | CNN Accessed November 18, 2024.

Israel, Michael. "Dan Flavin's Monument: Can Minimalism Protest a War?" Huff Post, 2017. Dan Flavin's "Monument" / Can Minimalism Protest a War? | HuffPost Entertainment Accessed November 19, 2024.

Roos, Dave. "7 Iconic Photos from the Vietnam Era." History, 2024. https://www.history.com/news/vietnam-war-photos Accessed November 19, 2024.

Artists Then And Now Respond To Vietnam War, Accessed November 19, 2024.

Lace Curtain for Mayor Daley | The Art Institute of Chicago, Accessed November 19, 2024.

How American Artists Engaged with Morality and Conflict During the Vietnam War | Smithsonian, Accessed November 19, 2024.

‘Vietnam II‘, Leon Golub, 1973 | Tate, Accessed November 19, 2024.

Why the Vietnam War still matters: Connecting the art of the 1960s to our time –– Minneapolis Institute of Art, Accessed November 18, 2024.