162:(head of CBS), who reportedly "hit the ceiling" on seeing the proofs of the poster. Both were "firm supporters" of the war effort and backed the Nixon administration. It is unclear if they pulled out for political reasons (as pro-war supporters), or simply to avoid a scandal (personally and/or for MoMA), but the official reason, stated in a press release, was that the poster was outside the "function" of the museum. Nevertheless, under the sole sponsorship of the AWC, 50,000 posters were printed by New York City's lithographers union.
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on March 16, 1968. It shows about a dozen dead and partly naked South
Vietnamese women and babies in contorted positions stacked together on a dirt road, killed by U.S. forces. The picture is overlaid in semi-transparent blood-red lettering that asks along the top "Q. And babies?", and at the bottom
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was "easily the most successful poster to vent the outrage that so many felt about the conflict in
Southeast Asia. Copies are still frequently seen in retrospectives dealing with the popular culture of the Vietnam War era or in collections of art from the period." According to historian Matthew
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Although the photograph was shot almost two years prior to the production of the poster, Haeberle had not released it until late 1969. It was a color photograph taken on his personal camera, which he did not turn over to the military, unlike the black and white photographs he took on a military
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On
December 26, 1969, a grassroots network of volunteer artists, students and peace activists began circulating it worldwide. Many newspapers and television shows re-printed images of the poster, consumer poster versions soon followed, and it was carried in protest marches around the world, all
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magazine where they were first seen nationally in the
December 5, 1969, issue. When the poster came out a few weeks later, in late December 1969, the image was still quite shocking and new to most viewers but already becoming a defining image of the My Lai Massacre and
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further increasing its viewership. In a further protest of MoMA's decision to pull out of the project, copies of the poster were carried by members of the AWC into the MoMA and unfurled in front of
Picasso's painting
154:. The Museum of Modern Art (MoMA) had promised to fund and circulate the poster, but after seeing the 2 by 3 foot poster, pulled financing for the project at the last minute. MoMA's Board of Trustees included
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A. Well, I fired them automatic, so you can't – You just spray the area on them and so you can’t know how many you killed ‘cause they were going fast. So I might have killed ten or fifteen of them.
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artists who opposed the war, used
Haeberle's shocking photograph of the My Lai Massacre, along with a disturbing quote from the Wallace/Meadlo television interview, to create a poster titled
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172:– on loan to MoMA at the time from the Rockefeller family, the painting depicts the tragedies of war and the suffering it inflicts upon innocent civilians. One member of the group was
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Israel, "My Lai became the representative incident of war crimes in
Vietnam. It sparked a great deal of antiwar protest, including efforts by artists, the best-known of which was the
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The message of the poster was that
American soldiers were killing babies in Vietnam, and therefore that the war was immoral. According to cultural historian M. Paul Holsinger,
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Propaganda art found more fertile ground in criticizing the U.S. government during the
Vietnam conflict through works such as the famous Art Workers Coalition piece
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During the 1972 Nixon reelection campaign, the poster was revived with the text replaced with "Four More Years?" in blood red. The
British punk band
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Partial transcript of the Mike Wallace interview with Paul Meadlo in which Meadlo describes his participation in the massacre:
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was "easily the most successful poster to vent the outrage that so many felt about the conflict in Southeast Asia."
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Matthew Israel (2013). "Chapter 6: 1969. AWC, Dead Babies, Dead American Soldiers".
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Propaganda Prints: A History of Art in the Service of Social and Political Change
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Why America Fights: Patriotism and War Propaganda from the Philippines to Iraq
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Propaganda and Mass Persuasion: A Historical Encyclopedia, 1500 to the Present
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Art, Politics, and Dissent: Aspects of the Art Left in Sixties America
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with the words "KILL LIES ALL" in blood red paint, protesting about
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wrote the song "Q: And Children? A: And Children" on the album
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418:(1970) which commented on the horrors of the My Lai incident.
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Art of Engagement: Visual Politics in California And Beyond
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Opposition to United States involvement in the Vietnam War
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Kill for Peace: American Artists Against the Vietnam War
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The poster was included in two major MoMA exhibitions:
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connected the My Lai massacre with anti-war sentiment
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