Battle Lines: Australian Artists at War

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  2. World War I in Photos: The Western Front, Part I
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In doing so they have assumed a powerful social agency. The first of several contemporary war art exhibitions slated for the next year, this large show surveys the diversity of recent responses to war. Notable shifts marked in this show include a strong rise in new media practices.

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Using film and animation respectively, Australian artists Shaun Gladwell and Baden Pailthorpe explore warfare in the digital age. Both artists also point to the deep entanglement of military technologies with popular cultures such as video games and everyday life such as the increasing civilian use of drones.

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The Conflict exhibition also includes the colonisation of Australia in its curatorial statement and features often sardonic work by Indigenous artists including Joan Ross , Daniel Boyd and Fiona Foley. The exhibition wades into a long contested debate currently being amplified by the forthcoming centenary of the first world war: acknowledgement of colonisation as warfare.

Also featured are a number of works that re-imagine the familiar form of the war memorial monument. This is also the theme of another exhibition, Concrete , currently at the Monash University Museum of Art in Melbourne.

World War I in Photos: The Western Front, Part I

By remembering two very different but interwoven conflicts together, Nicholson highlights how the act of recalling one difficult history in the context of another can provide a platform for much-needed international unity into the future. At a time when so many of our public commentators seem content to rehearse tired polemic, we can look to our artists for the nuanced analysis the difficult history of war deserves.

Aesthetics, politics and pleasure: How literature transforms us — York, York. A tunnel to the beginning of time: a lecture on particle physics and the large hadron collider — Egham, Surrey. Edition: Available editions United Kingdom. Gallipoli, like the battles of the Western Front which ground on for four years, was supposed to be a decisive phase of combat. After the Ottoman Empire sided with Germany, it was decided the empire should be knocked out of the war.

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The plan was simple - sail a huge fleet up the narrow Dardanelles, a patch of water linking the Mediterranean up to Istanbul. By capturing the Ottoman capital, the empire would be badly weakened, and perhaps even have to surrender.

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The plan failed miserably. The fleet, was huge but badly outdated. Many of the ships were damaged or sunk by Ottoman cannons and mines, forcing them to retreat. The allies made plans to invade by land instead - to capture the area and ensure the fleet could safely pass. The landings were a disaster.

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  • In recent years, many historians have attempted to unpack some of the mythology of military history. Henry Reynolds represents a view that questions why we place so much emphasis on war:. The only possible answer is that fighting is more important to the life of nations than farming or legislating, labouring, teaching, nurturing children or any other of the innumerable, unspectacular activities of civil society.

    Home Explore history Learn skills For teachers Search. Stretcher-bearer Percy Samson wrote in his diary from Paris: No fuss was made by the boys. Additional resources.

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    Richmond carnival in aid of blind soldiers, Australian Screen. Researching World War I soldiers, research guide. Also on ergo. Arguments over conscription As World War I dragged on and the casualty list grew, Australia struggled to maintain troop numbers.