What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the ‘War on Terror’. Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews. It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to ‘culture’ wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisation in Australia, India and its relation to historical conflicts. It focuses on three overlapping themes: firstly, the role of memory and amnesia in colonial contexts; secondly, the complex role of ‘official’ war art; and thirdly, questions of testimony and knowing in relation to alleged war crimes, torture and genocide. Richly illustrated, and featuring three substantial interview chapters, The Politics of Artists in War Zones is a hands-on exploration of the complexities and challenges faced by war artists that contextualises the tensions between the contemporary art world and the portrayal of war. It is essential reading for researchers of fine art, curatorial studies, museum studies, conflict studies and photojournalism.

The 2021 Capitol Hill Riot marked a watershed moment when the 'old world' of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uros Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event's aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age. Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders' perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the 'Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society. As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.

What exactly is contemporary war art in the West today? This book considers the place of contemporary war art in the 2020s, a whole generation after 9/11 and long past the ‘War on Terror’. Exploring the role contemporary art plays within conversations around war and imperialism, the book brings together chapters from international contemporary artists, theorists and curators, alongside the voices of contemporary war artists through original edited interviews. It addresses newly emerged contexts in which war is found: not only sites of contemporary conflicts such as Ukraine, Yemen and Syria, but everywhere in western culture, from social media to ‘culture’ wars. With interviews from official war artists working in the UK, the US, and Australia, such as eX de Medici (Australia) and David Cotterrell (UK), as well as those working in post-colonial contexts, such as Baptist Coelho (India), the editors reflect on contemporary processes of memorialisation and the impact of British colonisation in Australia, India and its relation to historical conflicts. It focuses on three overlapping themes: firstly, the role of memory and amnesia in colonial contexts; secondly, the complex role of ‘official’ war art; and thirdly, questions of testimony and knowing in relation to alleged war crimes, torture and genocide. Richly illustrated, and featuring three substantial interview chapters, The Politics of Artists in War Zones is a hands-on exploration of the complexities and challenges faced by war artists that contextualises the tensions between the contemporary art world and the portrayal of war. It is essential reading for researchers of fine art, curatorial studies, museum studies, conflict studies and photojournalism.

In Images of War in Contemporary Art, Uros Cvoro and Kit Messham-Muir mount a challenge to the dominance of theoretical tropes of trauma, affect, and emotion that have determined how we think of images of war and terror for the last 20 years. Through analyses of visual culture from contemporary war art to the meme wars, they argue that the art that most effectively challenges the ethics and aesthetics of war and terror today is that which disrupts this flow-art that makes alternative perceptions of wartime both visible and possible. As a theoretical work, Images of War in Contemporary Art is richly supported by visual and textual evidence and firmly embedded in current artistic practice. Significantly, though, the book breaks with both traditional and current ways of thinking about war art-offering a radical rethinking of the politics and aesthetics of art today through analyses of a diverse scope of contemporary art that includes Ben Quilty, Abdul Abdullah (Australia), Mladen Miljanovic, Nebojsa Seric Soba (Bosnia and Herzegovina), Hiwa K, Wafaa Bilal (Iraq), Teresa Margolles (Mexico), and Arthur Jafa (United States).

The 2021 Capitol Hill Riot marked a watershed moment when the 'old world' of factbased systems of representation was briefly overwhelmed by the emerging hyper-individual politics of aestheticized emotion. In The Trump Effect in Contemporary Art and Visual Culture, Kit Messham-Muir and Uros Cvoro analyse the aesthetics that have emerged at the core of 21st-century politics, and which erupted at the US Capitol in January 2021. Looking at this event's aesthetic dimensions through such aspects as QAnon, white resentment and strongman authoritarianism, they examine the world-wide historical trends towards ethno-nationalism and populism that emerged following the end of the Cold War in 1989 and the dawning of the current post-ideological age. Building on their ground-breaking research into how trauma, emotion and empathy have become well-worn tropes in contemporary art informed by conflict, Messham-Muir and Cvoro go further by highlighting the ways in which art can actively disrupt an underlying drift in society towards white supremacism and ultranationalism. Utilising their outsiders' perspective on a so-called American phenomenon, and rejecting American exceptionalism, their theorising of the 'Trump Effect' rejects the idea of Trump as a political aberration, but as a symptom of deeper and longer-term philosophical shifts in global politics and society. As theorists of contemporary art and visual culture, Messham-Muir and Cvoro explore the ways in which these features of the Trump Effect operate through aesthetics, in the intersection of politics and contemporary art, and provide valuable insight into the current political context.