The Politics of Artists in War Zones: Art in Conflict
Editat de Kit Messham-Muir, Uroš Cvoro, Monika Lukowska-Appelen Limba Engleză Paperback – 13 dec 2023
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Specificații
ISBN-13: 9781350386020
ISBN-10: 1350386022
Pagini: 272
Ilustrații: 100 colour illus
Dimensiuni: 156 x 234 x 18 mm
Greutate: 0.48 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:London, United Kingdom
ISBN-10: 1350386022
Pagini: 272
Ilustrații: 100 colour illus
Dimensiuni: 156 x 234 x 18 mm
Greutate: 0.48 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Visual Arts
Locul publicării:London, United Kingdom
Caracteristici
Offers a different perspective to war/conflict studies, a field dominated by a focus on digital practices and content, from military technologies to activist material
Notă biografică
Kit Messham-Muir, Professor in Art, School of Media, Creative Arts and Social Inquiry, Curtin University, Australia, and Uros Cvoro, Associate Professor of Art Theory, Arts, Design & Architecture, University of New South Wales, Sydney, Australia are the authors of Images of War in Contemporary Art: Terror and Conflict in the Mass Media (Bloomsbury, 2021) and The Trump Effect in Contemporary Art and Visual Culture: Populism, Politics, and Paranoia (Bloomsbury, 2022).Monika Lukowska-Appel is Research Assistant for 'Art in Conflict' at Curtin University, Australia.
Cuprins
List of IllustrationsAcknowledgementsIntroduction: Contemporary War Art, Kit Messham-Muir (Curtin University, Australia), Uros Cvoro (UNSW, Australia) and Monika Lukowska-Appel (Curtin University, Australia)Part One: Colonisation, Memory and AmnesiaIntroduction1. Unsettling Colonial Postamnesia: Contemporary Art, the WW1 Centenary and Beyond, Ana Carden-Coyne (Manchester University, UK)2. Above all Else: Art as a Weapon, Lisa Slade (Art Gallery of South Australia)3. WAR (ART): what is it good for?, Anthea Gunn and Laura Webster (Australian War Memorial)4. Colonisation, Memory and Amnesia: Interviews with Baptist Coelho, Alana Hunt and Abdul Abdullah Part Two: War Art, Official and UnofficialIntroduction5. The War at Home, Charles Green (University of Melbourne, Australia)6. Soldier/Artist: Negotiating the complexities of military service and critical practice, Kit Messham-Muir (Curtin University, Australia) and Uros Cvoro (UNSW, Australia)7. War Art, Official and Unofficial: Interviews with eX de Medici, David Cotterrell, Karen Bailey and Phillip CheungPart Three: Knowing and TestimonyIntroduction8. The Art of Testimony, Paul Lowe (University of the Arts London, UK)9. Inconvenient Narratives: Addressing moral ambiguity in the national war museum, Kit Messham-Muir (Curtin University, Australia)10. Knowing and Testimony: Interviews with Todd Stone, Andrew Sneddon and Joanna BourkeBibliographyIndex
Recenzii
A monumental and richly curated volume that challenges our notions of war itself, questioning how mass violence comes to count as meaningful and worthy of official memory.
An evocative exploration of the complexities inherent in 'war art'. The significant inclusion of the voices of official and unofficial war-artists provides compelling insights into the tensions involved in making art that speaks to military experience and public expectation.
In an era of hybrid warfare, the role of war art is changing. This book eloquently examines these transformations, exploring the relationship of war art to colonisation, witness bearing, knowledge, "truth", and memorialisation.
Few books have had the wit or the daring to pose serious questions about the visual potency of 21st century conflict. Facing this challenge head on, this urgent, timely, and important publication examines the ambiguous, distributed and often invisible world of warfare with conviction and insight. It is compulsory reading for scholars of conflict and all those fascinated by the testimony of learned experience.
An evocative exploration of the complexities inherent in 'war art'. The significant inclusion of the voices of official and unofficial war-artists provides compelling insights into the tensions involved in making art that speaks to military experience and public expectation.
In an era of hybrid warfare, the role of war art is changing. This book eloquently examines these transformations, exploring the relationship of war art to colonisation, witness bearing, knowledge, "truth", and memorialisation.
Few books have had the wit or the daring to pose serious questions about the visual potency of 21st century conflict. Facing this challenge head on, this urgent, timely, and important publication examines the ambiguous, distributed and often invisible world of warfare with conviction and insight. It is compulsory reading for scholars of conflict and all those fascinated by the testimony of learned experience.