The examples were very relevant and interesting, and the theme of art for protest was evident, but there was a lack of substance in the articles. They were mainly a collection of examples or a source of information on examples of art for protest. This is acceptable and the articles were certainly informative, but there was little actual substance, analysis, or criticism.
The Craftivism piece provides an introduction to the work of Carrie Reichardt, but does little to address the impact of the piece mentioned: her house being turned into an outlet for public protest. (Michel, 1) This concept is fascinating but the article does not expand on the topic. It would be very interesting to know what people are protesting, who is engaging with the piece, how is it viewed by the community and local authorities, what is the end goal of the piece. The article continues to mention a few other examples of protest art, but does little to expand on them, leaving many questions left unanswered.
The “The Guerilla Girls are Still Relevant After All These Years Article,” was more successful in expanding on the topics introduced by the art discussed. It incorporates the personal experience of the author/viewer to give a more complete view of the pieces in question. The work of the Guerilla Girls and its importance is also evident. It mentions the “staggering” (Waldow, 3) statistics regarding women in the art world and includes those statistics to address the statements in the work being discussed. The author also discusses how some works “cut close to the bone,” (Waldow, 4). While there was no thesis or argument present in article, and there was limited exploration of the work’s impact, it was clear that the author felt strongly about the work of the Guerilla Girls enforces its relevancy and value visually and content-wise.