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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.
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).
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.
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