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David Lewis-Baker ADMIN October 1, 2007
This group was started by the Bath (UK) based new media artist David Lewis-Baker.


1. Admin reserves the right to remove ANY art/photography without explanation if works (and/or comments) are considered racist, sexist, pornographic, threatening, or unduely aggressive/offensive.

2. Admin will remove images of war protest demonstrations (for or against) and of war zones/military vehicles/soldiers, standard photo-journalism.

Group Description

See the group's most interesting works on Flickriver:

Flickr War and Memory in Art and Photography Gallery - View this group's most interesting photos on Flickriver

This group is for contemporary artists and photographers to display and discuss their aesethic, humanitarian and political response to war and their role in the construction of the 'memory' of war. As such it is neither 'for' not 'against' war as such, but rather intended as a record of artists and photogrpahers responses to war whatever their beliefs on the subject.

It is NOT a group for war protest photographs, nor for images of war zones and military vehicles in action or at rest etc There are excellent sites on flickr that deal with these aspects of war and Admin will remove such images from the group pool. Exceptions will be made for works from such sources depicting or creating exceptional images which evoke memories of war.

Artists have long recorded, reflected and reacted to the "terror, cruelty, and pathos of war. Amongst those who have made powerful visual statements about war are Picasso ("Guernica") and Goya ("The Disasters of War") and also George Grosz, John Hearfield, Leon Golub, Kienholz, Brueghel, Durer, Frans Masereel and Ben Shahn. Artsist do not win or lose wars, but they do record them in their own context and also reflect the reactions of themselves and others.

The follwing extract from 'Art and War' by Craig Stephens is useful in understanding the links between art and war:

"Traditionally, art has prospered during wartime. From pre WWI, WWII, Vietnam, Korea, to the Gulf and Bosnia. Observing a few hallmarks of the last 100 years or so spans everything from Goya to Beuys and beyond. Capturing the terror, cruelty, and pathos of war, Goya’s "Desastres de la Guerra" cycle (etchings created between 1810 and 1816 and printed in 1892) was acknowledged as one of the first non-heroic representations of battle.

About 150 years later, Joseph Beuys announced, "To make people free is the aim of art, therefore art for me is the science of freedom." As a German who shared the devastation and guilt of World War II, he was able to mine and transform his experiences, just as he transformed common materials into art. A perhaps apocryphal story was told of Beuys being rescued by Tartars and wrapped in felt and lard to keep warm during wartime service.

In Felt Suit (1970), a multiple of sewn felt, Beuys plays with the idea of felt as a protective, magical material. This felt suit is no ordinary suit, it is contemporary armor made out of humble cloth. An empty shell, without the human presence, it vibrates meaning and power, valid more as an idea rather than as an object. Beuys as a conceptual artist used nontraditional materials to call the tenets of traditional art into question. For him, art was not about beauty, but communication and freedom.

Fellow German artist, Helmut Herzfeld was contentiously acclaimed as the inventor of photomontage, having inspired everyone from Warhol to Robert Heineken. In the early forties he changed his name to John Heartfield as a deliberate protest when he heard about the anti-British WWI German slogan "Gotte Straffe England" [God punish England]. Heartfield was inspired in part by frontline German soldiers evading censors by clipping snapshots and photos sent with their letters home to compose what are regarded as the first photomontages.

For most Americans and Europeans, the Bosnian War, like the Gulf and Afghanistan was played out in the flickering images of television news. Yet another set of images, more permanent and profound, played an active role. Molding public sentiment and calling attention to the plight of the Bosnian people, for three hellish years, Bosnians plastered the walls of their towns with messages of anger, frustration, desperation, resistance, and hope.

Former Bosnian aid workers Daoud Sarhandi and Alina Boboc have since gathered over 180 of the most dramatic wartime posters, largely created by Bosnian artists and graphic designers at the height of the war. Fascinating on both political and artistic levels, they provide a harrowing account of the war and put a human face on this seemingly incomprehensible conflict."

David Lewis-Baker
Bath UK
David Lewis-Baker - View my most interesting photos on Flickriver

Additional Info

  • Members can post 6 things to the pool each day.
  • Accepted content types: Photos, Videos, Images, Art, Screenshots
  • Accepted safety levels: Safe
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