On Art And War And Terror

This book, a collection of Alex Danchev's essays on the theme of art, war and terror, offers a sustained demonstration of the way in which works of art can help us to explore the most difficult ethical and political issues of our time: war, terror, extermination, torture and abuse.It takes seriously the idea of the artist as moral witness to this realm, considering war photography, for example, as a form of humanitarian intervention. War poetry, war films and war diaries are also considered in a broad view of art, and of war. Kafka is drawn upon to address torture and abuse in the war on terror; Homer is utilised to analyse current talk of 'barbarisation'. The paintings of Gerhard Richter are used to investigate the terrorists of the Baader-Meinhof group, while the photographs of Don McCullin and the writings of Vassily Grossman and Primo Levi allow the author to propose an ethics of small acts of altruism.This book examines the nature of war over the last century, from the Great War to a particular focus on the current 'Global War on Terror'. It investigates what it means to be human in war, the cost it exacts and the ways of coping. Several of the essays therefore have a biographical focus.

Presents a collection of anti-war graffiti images from around the world.

In Images of War in Contemporary Art, Uroš 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, Nebojša Šeric Šoba (Bosnia and Herzegovina), Hiwa K, Wafaa Bilal (Iraq), Teresa Margolles (Mexico), and Arthur Jafa (United States).

Art in the Age of Terrorism tackles one of the most difficult topics imaginable - a war that is quintessentially postmodern in its decentred identity, globalized character and confused conflict of cultures. In this publication both artists and critics explore in a series of essays the various ways in which art can help articulate the zone of grey that lies behind the black and white term 'terrorism'. A significant number of the texts deal with the theme of 'the unspeakable', from a number of perspectives. An international plurality of voices is offered in this book, addressing key works by artists from New York, Northern Ireland, South Africa, Lebanon and Israel, many of them profoundly moving and poignant. A number of contributors address the problems facing refugees from terror in the post-9/11 era, exploring the cruel logic by which the contemporary refugee from terror is often perceived as a terrorist and treated accordingly.

This book examines the language of the war on terrorism and is essential reading for anyone wanting to understand how the Bush administration's approach to counter-terrorism became the dominant policy paradigm in American politics today.

The phrase 'War on Terror' has quietly been retired from official usage, but it persists in the American psyche, and our understanding of it is hardly complete. Exploring the role of verbal and visual images in the War on Terror, the author finds a conflict whose shaky metaphoric and imaginary conception has created its own reality.

The eleven interconnected essays of this book penetrate the dense historical knots binding terror, power and the aesthetic sublime and bring the results to bear on the trauma of September 11 and the subsequent War on Terror. Through rigorous critical studies of major works of post-1945 and contemporary culture, the book traces transformations in art and critical theory in the aftermath of Auschwitz and Hiroshima. Critically engaging with the work of continental philosophers, Theodor W. Adorno, Jacques Derrida, and Jean-Francois Lyotard and of contemporary artists Joseph Beuys, Damien Hirst, and Boaz Arad, the book confronts the shared cultural conditions that made Auschwitz and Hiroshima possible and offers searching meditations on the structure and meaning of the traumatic historical 'event'. Ray argues that globalization cannot be separated from the collective tasks of working through historical genocide. He provocatively concludes that the current US-led War on Terror must be grasped as a globalized inability to mourn.

Why did Britain come to play such a prominent role in the war on terror and why did the military instrument come to be the dominant theme in the British prosecution of what was an ideological and political struggle? This book is an analysis of Britain’s war against Al Qaeda and the phenomenon of international terrorism which marked a paradigm shift in the nature and conduct of war in the twenty-first century. At the heart of the book is an attempt to understand why Britain, which possessed a wealth of experience in the conduct of counterterrorism, counterinsurgency and small wars, developed a strategic and operational design to defeat the Islamist threat which proved to be deeply flawed. In addressing this question the book explores the complex intellectual, doctrinal and geopolitical challenge posed by Al Qaeda and international terrorism and how and why the British response took the form that it did. In conducting this analysis the book raises important questions about the assumptions and perceptions of those in government who led the UK into this conflict, the nature of the civil military relationship in Britain and how well it functioned, and finally the competence of its security forces in being able to deal with this threat both domestically and overseas.