Represent: 200 Yeas of African American Art at the Philadelphia Museum of Art

Represent as an exhibition is a unique attempt to draw in a new audience demographic with an exhibition showcasing pieces already owned by the museum. The exhibit highlights the work of African American artists as well as work depicting prominent and influential African-Americans. The exhibition attempts to express the personal identity of Black Americans by drawing on pieces that mark a national history of racial inequality. The Head Curator is John Vick, who's name you'll have to struggle to find, with consulting curator Gwendolyn DuBois Shaw from the University of Pennsylvania.

I found it very interesting that he chose to highlight the generosity and enthusiasm of the museum to bring these works together at a time when there are clear racial divisions in the country. This exhibit clearly draws on the impact of African-American culture on American history and how the two are so intertwined, it's difficult to use separate terms.

The Philadelphia Museum of Art owes it's draftsmanship to an African-American by the name of Julian Abele, the first Black American to graduate from the architecture program at the University of Pennsylvania. Along the outside wall of the exhibition are three of the original drafts of the museum.

The span of types of works on display are vast: sculptures, abstract art, portraiture, textile, furniture, etc. The exhibition itself represents only a small collection of African-American culture within the museum. To see the full range of objects and art, you'd need to see the official exhibition book.

"The End of the War: Starting Home:" (Detail) (1930-33)

Horace Pippin

Oil on Canvas

Philadelphia Museum of Art

There are a number of pieces that illustrate how intricate the culture of Black Americans and American history are one. Horace Pippin has a number of poignant pieces, but my favorite was the "The End of the War: Starting Home," (1930-33). This piece is a colourful portrayal of the First World War with all the pieces of the war technology and weaponry. The Black soldiers blend into the earth whereas the white soldiers standout as a focal point.

The US Army was at the time still-segregated. Pippin who had served, was profoundly changed by the experience and at the time of producing the work he was still nursing wounds. His work can serve as an excellent primary source of the terror and confusion of trench warfare and his corresponding journal is an excellence source of documentation about the changing landscape of the war.

Some of the most moving works that were on display were the pieces by Henry Ossawa Tanner (1859-1937). The masterpiece that is most often cited is The Annunciation. The painting depicts the Virgin Mary as a young Palestinian teenager. She sits quietly amazed by the apparition. What is illuminated by the light is the spirituality of the message she is receiving and the meekness of her reception.

The Annunciation (Detail), 1898

Oil on canvas, 57x71 1/4 inches

Purchased with the W.P. Wilstach Fund

Philadelphia Museum of Art

This was the first work of a Black artist acquired by the Philadelphia Museum of Art. Strikingly still is the second contemporary piece in the museum. Tanner had studied in Paris, but from the Pennsylvania school with Thomas Eakins, and is very much a part of the American Art Canon. What I found incredible was the use of light, made illuminated by the technical use of brush stroke.

"Smoking My Pipe" 1934

Samuel Joseph Brown, Jr.

Watercolor over graphite on cream wove paper

Public Works of Art Project, 

on long-term loan to the Philadelphia Museum of Art from the Fine Arts Collection

There was a unique aspect that made this exhibition touch home. Samuel Joseph Brown, Jr. was an artist who was a friend of the family. His self portrait on display is a watercolor over graphite on cream wove paper. He became a director of the museum, and produced work in the 1930s that was overtly social commentary. What drove me to see this piece in a sea of others stems from the detail in the eyes. Brown's eyes are fixed in a deadpan manner that signify he is a man that not only sees the viewer, but sees himself. There is strength in identity, and the smoke of the pipe, the painting in the background, and the vertical wallpaper further serve to illuminate the eyes.

Although a number of pieces were moving, by far the one that seemed to stick with me, was the Joyce J. Scott piece "Rodney King's Head Was Squashed Like a Watermelon" (1991). There are so many social references to the "Black Experience" in the piece. Scott was born in Baltimore and of mixed Native, Scottish, and African American.

"Rodney King's Head Was Squashed Like a Watermelon" 1991

Joyce J. Scott

Beads and Thread

Philadelphia Museum of Art

The use of beads is an extension of material that expresses her ancestral heritage and the integral nature and racial and gender stereotypes. This piece is intriguing as she rarely creates works that are based on historical events. This piece focuses on the brutality against race both in the consciousness of America as well as the standing issues that existed and still do in urban America. In this work Scott underlines the damaging and sometimes violent consequences of racial and ethnic stereotypes.

The exhibit ends tomorrow, which makes me incredibly lucky to have come home this week. I hope the success of the exhibit, I hope demonstrates the interest in African-American culture as having an integral in American history. The two are really the same. What is most remarkable is that all of these pieces were already a part of the Philadelphia Museum of Art collection. All they needed was a curatorial team and funding support to bring them all together.

Rubens and His Legacy: Van Dyck to Cézanne

The Royal Academy of Art, London

Photograph by: Amanda Chain

I first became acquainted with Peter Paul Rubens at the Philadelphia Museum of Art with his famous work "Prometheus Bound" which depicts the Titan Prometheus' punishment of his liver ripped out by a predatorial bird for the rest of eternity for giving the gift of fire to man. For those of you who aren't familiar with his work, Rubens was one of those rare conundrums in the art world who make a fortune during their life producing a vast amount of work and died with fame and fortune. But what was it about this Dutchman that gave his works the titles of masterpieces? The exhibition at the Royal Academy brings together not only the work of Rubens, but works by other famous European painters that were hugely influenced by his work.

 "Prometheus Bound" by Peter Paul Rubens

Image: Courtesy of the Philadelphia Museum of Art

The first piece I was shocked to see was a work by Gainsborough, a copy of which I had in my old home in Winchester. The idyllic scene captures the imagination of the viewer because you almost feel as if you're looking into the window of a scene. To begin an exhibition with the work of another artist was somewhat startling. I expected to see perhaps some of Rubens' early work, but instead I was greeted with perhaps the most important message of the exhibition: influence. Rubens' work expanded far past the Low Countries of his birth, and his legacy is still felt in Europe and beyond.

"Tiger, Lion, and Leopard Hunt" by Peter Paul Rubens

Image: Courtesy of the Royal Academy of Art

On loan from the Musée des Beaux Artes des Rennes

The exhibition is broken down into six themes: Poetry, Elegance, Power, Compassion, Violence, and Lust. Rubens was a different artist to different painters. Some like Delacroix drew on the drama and action of his work, whereas others like Renoir looked more to he eroticism and poetry. Rubens work is distinct. He captures emotion and the voluptuousness of the human body with precise strokes and careful attention to color. He used a 'pace and tempo' style to fully shape his images.

Eugéne Delacroix "Lion Hunt" 1858

Image: Courtesy of Royal Academy of Art

Painting on Loan from Museum of Fine Art Boston

This piece by Delacroix highlights the influence of Rubens' "Tiger, Lion and Leopard Hunt" pictured above. Delacroix was of the Orientalist school and was very much interested in the Far East. He captures the suspense of the scene with emphasis on bold color and movement of the figures in the foreground and tranquil cool colors in the background to give the piece focus. The juxtaposition of this work by Delacroix and the Rubens masterpiece force the viewer to see the connection and the influence. This was a perfect exhibition for anyone who appreciates art and is looking to learn more about the master.

Apart from these works, I particularly enjoyed the theme of Lust. This is where the scope of his imagery comes in full force. Not only was Rubens a master portrait artist, but his breadth ranged from mythology to religious works, to nudes. He enjoyed painting buxom ladies, and he has more than once been accused of misogyny by painting women solely as objects of desire, as they tend to appear fairly passive in most of these paintings. What this overlooks is the fragility he is trying to evoke from the female form. He uses light to enhance the texture and would create a look of graduated tones by alternating between transparent and opaque colors. In this way the female body becomes not an object, but rather a metaphor for insatiability.

 "Pan and Syrinx" by Peter Paul Rubens and Jan Brueghel the Elder, 1617

Image: Courtesy of the Royal Academy of Art, London

Work on Loan from Museumslandschaft Hassen Kassel Gemäldegalerie

This work that Rubens completed with Brueghel the Elder invokes that theme of lust quite acutely. Yes Syrinx is an object of desire as she is clearly sought after by Pan, but in the myth this is right before the moment the nymph turns into reeds. The reeds, though background foliage at first glance, are really the centerpiece of the myth and though the work is small, and your eye is drawn to Syrinx, the detail applied through long but deliberate brush strokes and knife make the reeds rather dominant. Pan through his earthly colors is not nearly as important a figure, and neither is his desire. It is the unattainability that is central.

The exhibition places the legacy and the master together so that the viewer is left with a feeling that Rubens used his brush to leave an indelible mark on the trajectory of art, and we'll be seeing the reverberations indefinitely.

The exhibition is on until April 10th at the Royal Academy of Art so hurry before it's too late!

Click Here for more details.

History in Ruins: Hastings and Battle Abbey

View of the Hastings Battlefield from the South

Hastings, England

Photograph by: Amanda Chain

The archaeologist in me is forever obsessed with ruins and times begone. It is only fitting that my time in England include a visit to arguably the most pivotal event in English history. Perhaps this will result in me visiting all the English Heritage and soon to be Historic England properties, but this one is especially of interest because it serves as one of the first English "memorials."

In 1066, the line of Saxon Kings came to a standstill at the death of Edward the Confessor. With a battle between his sons and invaders from the north, William the Duke of Normandy saw an opportunity. What became the Battle of Hastings between King Harold and William was one of the bloodiest moments in English history.The Saxon Army stood its ground along the ridge which now belongs to a school, against Norman forces attacking from the south. Approximately 14,000 men fought in what became one of the bloodiest sieges in English history for the sheer number of men that were wiped out.

Remnants of Battle Abbey

Battle, England

Photographed by: Amanda Chain

What makes the site so remarkable is that rarely do victors commemorate those that are defeated, and in this case that is precisely what William the Duke of Normandy and newly crowned King of England did. He ordered an Abbey to be built to mark the event and to pay respects to those that died, and for the High Altar to be placed on the exact spot of King Harold's tomb. Why he chose to do this is of interest. The concept of memorializing events doesn't really become a tradition until the Twentieth century after the World Wars, so why is it that William nearly 900 years prior feels the need to do this? The answer could only be in the scale. The scale of a loss of thousands of men in that time is equivalent to the loss felt during the World Wars. Chivalric code, perhaps, but my thoughts are that the new King of England wanted to make a noble gesture to his new people and the great loss of life felt throughout his new kingdom.

Monastic Quarters, Battle Abbey

Battle, England

Photograph by: Amanda Chain

Although little physically remains of the original abbey, there are visible vestiges of the monastic complex that was built subsequently. Little was altered on the Battlefield itself except for remnants of quarrying that took place once it became an estate.

The area is in a village known for little else, and the site itself is a tourist attraction for leisure walks and the appreciation of a bit of history. Under the period of its use as an estate, ponds were made to farm fish. Although not all of them are maintained, there is one particular spot where I took the photograph below to highlight the tranquility of the atmosphere even if you venture there on a grey day. When we visited there were a number of people out walking, and the trails are clearly marked with information about the Battle and the positions of the armies. There were a number of posts for those who rented audio-guides, but I'm afraid I have to admit I wasn't one of them.

Fish Pond at Battle

Battle, England

Photograph by: Amanda Chain

Although the site has an interpretation center with a café. I must say one of the highlights of my visit to Battle Abbey had to be the rustic café called Pilgrim's Rest. Especially on a cold grey day, this lovely spot had bright cheery faces that greeted us at the door. I had a sandwich made of melted brie and bacon on bread that had the thickness and softness of only freshly baked. I forgot that bread could taste this good. Not to mention the welcoming decor of magazines and newspapers. My real regret is that we could only stay an hour.

Pilgrim's Rest

Battle, England

Photographed by: Amanda Chain

The Battlefield and ruins of Battle Abbey represent what heritage in the Twenty-first Century has become. We will not be able to preserve the past and its building in their entirety. Not every structure we deem important was constructed to last imperpetuity. What we can preserve is the landscape and feel of places we deem culturally important. This site marks a major turning point in British history. It is the end of the Saxon line and the beginning of the line of current English rulers. And although we can't see the tomb of King Harold or the shrine William the Conqueror built to honor him, by visiting the site we can better understand the events that led to these moments and get a better feel for the importance of the event.

Alexander McQueen: Savage Beauty @ The Victoria & Albert Museum

This weekend marked the opening of Savage Beauty at the Victoria & Albert Museum. And rather fittingly this post falls on what would have been the designer's 46th birthday. The Thursday Night Opening was a star-studded affair with all available super models and who's who in the fashion industry including Kate Moss who features in the exhibition, Naomi Campbell and Victoria Beckham. The event is based off of the Savage Beauty exhibit that took place in New York City in the Metropolitan Museum of Art, but this exhibition is a far grander affair.

I was lucky enough to procure myself a member's ticket for the Friday Preview Day and I was blown away by the exhibition. I have to admit that I knew very little about "Lee" McQueen before visiting the exhibition, but was drawn as I am sure anyone would be by the evident genius of his designs, not to mention the buzz that has been going about the exhibit all over London.

I walked in to a dark room. On the far wall was a screen covering the entire wall playing footage of some of his early work for Givenchy placed behind mannequins wearing grunge inspired outfits. Closest to me was a quote: 

Alexander McQueen

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

It becomes incredibly evident to the viewer the purpose and pride that the V&A have in displaying this exhibition. Alexander McQueen is a part of not just British culture, but far greater he is a local hero. The V&A makes it abundantly clear to you that they are about to marvel you with the largest collection of his work displayed in Europe, including pieces to delicate to travel, and making the exhibit more of a homecoming of Alexander and a celebration of his life as well as his work.

The next room, "A Romantic Mind," I was greeted with the work of his from his MA Fashion course at Central St. Martins. Understanding McQueen's beginnings is integral for understanding his work. The son of the taxi-driver, dropped out of school at 15 to become a tailor's apprentice. It is clear from his MA and early work that he is incredibly interested in form and figure. The clothes offer a sort of construction. Another McQueen quote mentioned that he spent years learning how to construct clothing before he could then deconstruct it. I was marveled by the cut of the jackets. One of my favorites was a simply cut blazer with a slit at the elbows that was apart of his final show during his MA. Below the jacket was a simple quote saying "Beneath every layer of skin, is blood." Highlighting both the blood-red lining of the jacket, but a bit of the dark side of his personality as well.

The next room was entitled "Romantic Goth." This room was echoed with deeply operatic music, giving the feeling that you left the early years of McQueen's world and have officially entered the world of high fashion. The stark difference wasn't color. Both rooms exhibited predominantly black pieces, the difference here was texture. This room featured work from his collection "Horn of Plenty" AW 2009/2010. I was amazed by the use of feathers. The first dress I saw was the famous duck feathered dress featured on all of the press pieces marketing the exhibit. I instantly thought of the poem "The Raven" by Edgar Allen Poe. The last two stanzas below:

"The Horn of Plenty" Autumn Winter 2009-2010

 Alexander McQueen: Savage Beauty

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—

“Get thee back into the tempest and the Night’s Plutonian shore!

Leave no black plume as a token of that lie thy soul hath spoken!

Leave my loneliness unbroken!—quit the bust above my door!

Take thy beak from out my heart, and take thy form from off my door!”

Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;

And his eyes have all the seeming of a demon’s that is dreaming,

And the lamp-light o’er him streaming throws his shadow on the floor;

And my soul from out that shadow that lies floating on the floor

Shall be lifted—nevermore!

-"The Raven" by Edgar Allen Poe

The context of the work in these collections change when you recognize that McQueen is not just imagining these pieces. He's drawing on literature on art of 15th century masters of the Renaissance. He saw the beauty of Poe's writing and used it to articulate the melancholic side of his personality. Seeing as this was one of his last shows, the darkness of his mind becomes apparent, but equally is it a necessary part of his genius. The expression of a mood via not just color, but texture. This room displays a number of pieces illustrate that a feeling can be expressed through cut, color, texture, accents, etc. "The Horn of Plenty" collection shows his incredible range of material. You are put in awe immediately. At the same time the decor of the room follows mirrored walls with incredibly guilt frames to give a more gothic feel to the collection. As you walk through it is impossible to not see yourself in the shadow of the pieces, giving a rather unsettling feeling.

"It's a Jungle Out There" Autumn/ Winter 1997-1998

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

The following room "Romantic Primitivism" was little more than a small vestibule of pieces from "Eshu" and "It's a Jungle Out There" collections. McQueen was fascinated with the concept of the "Other." He takes a classic postcolonial approach, but with a twist. He was inspired by other ethnicities, but aimed to have his pieces not appear to be costumes, but rather express elements of other cultures within the clothing. You have no choice but to see yourself in his work that was inspired by various cultures. He felt you didn't need to leave London to see other ways of life. The multicultural presence of globalism was evident in various neighborhoods in London. There is also an element of the natural or original being evident in this room. McQueen saw the duality nature of human beings. There is a constant tension between "civilized" and "barbarian" and this is expressed through the mixture of fabrics and Swarvoski crystals or other glitzy accent pieces.

"Eshu" Autumn/Winter 2000

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

This piece especially demonstrates the theme of the "Noble Savage" and is a part of the "Eshu" collection. The beading is reminiscent of the tribal necklaces, and the gauze tulle offers a thin veneer over long legs with a lace detail on the bottom. You see the harmony of the tension McQueen is trying to convey. Both the savage and the citizen can live as one.

One of the most stunning rooms in the collection followed after this was "Romantic Nationalism." This featured pieces inspired by the Scottish clan McQueen as well as by English Heritage. McQueen was a fierce nationalist, but also deeply interested in English history and culture. It would be impossible for him not be inspired by his own heritage, and as this portion of the exhibit displays, the glitz and glamour of the British royalty. 

"The Girl Who Lived in a Tree" Autumn/ Winter 2008

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

This is one of the most impressive dresses. It is made of died goose feathers and the fullness of the skirt and sleekness of the design demonstrates the fluidity that can be attained through richer materials. The headpiece is also incredible. It isn't entirely made of gold unfortunately, which would probably have made it way too heavy, but the metal/gold plating show the richness of how McQueen imagined the royalty. The use of decadent horns also display the fickle nature of excess.

"The Girl Who Lived in a Tree" Autumn/ Winter 2008

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

One of the most impressive pieces was this gorgeous Sating cape and silk dress with Swarvoski crystal accent. There is such grandeur to this piece, that it is impossible to not admire and oggle this piece, even though there is no human being wearing it. It was in this room of the exhibition it began to dawn on me that this was not a "fashion designer" but this was an artist of the highest form.

The next room was for lack of a better word spectacle. Entitled "Cabinet of Curiosities" draws on the nature of former Enlightenment Age collectors tendency to document and catalogue all the things and objects around the world. After visiting the British Museum's Enlightenment Gallery, this McQueen-esque take on the era makes for a stark commentary on the nature of politics and the way we view the world. My favorite dress was in here, but it was impossible to draw on only one thing or even area. 

"Cabinet of Curiosities"

Curated by: Claire Wilcox

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

The room was set as you would have seen a cabinet of curiosity in one of the aristocratic collectors at the turn of the Nineteenth Century. Interspersed with dresses, capes, and shoes, are headpieces, necklaces, and jewelry. If there was any doubt before, McQueen was genuinely a jack of all trades. But what made the room really overwhelm you was by playing an eclectic mix of the high energy shows in which these pieces featured. The shock and awe factor of this room makes this gallery incredibly overwhelming to the senses. The best way to take it in was to sit on one of the benches and just look.

"Cabinet of Curiosities"

Curated by: Claire Wilcox

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

After the Cabinet of Curiosities, any other exhibit would be fine to call it the finale, but only in true McQueen fashion, this is only the half of it. What next came the famous hologram of Kate Moss as she wore the dress from the "The Widows of Culloden" Autumn/ Winter 2006 Collection. As she moved the theme to Schindler's List played creating an eerie sense of impending doom. Towards the end of his life, Lee became increasingly interested in death and the afterlife, and perhaps in this we see the beginning of this obsession. 

"The Widows of Culloden" Autumn/ Winter 2006

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

Although a number of collections feature in the Romantic Exoticism and Romantic Naturalism, finishing with Plato's Atlantis, his final collection, by far the most captivating was the featurette of "Voss." This collection when debuted challenged the notion of beauty. McQueen challenged the audience to find beauty within. Upon entering the room you see no dresses, only a mirrored box. Slowly, this box illuminated to illustrate gorgeous dresses inside. The box looks starkly like that of an asylum and one can't help but notice the white padding along the top and bottom along this box. You become aware that you are a viewer in the same way you look at animals at a zoo. You get the impression the mannequins are trapped within the box and have no way out.  This clearly owes to the genius of the curators in styling the mannequins in such a way to convey emotion in their starkness. There is a naturalness of the dress that draws on his interest in the use of ostrich feathers and apparent imagery of butterflies.

"Voss" Spring/Summer 2001
Alexander McQueen: Savage Beauty

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

In commenting on his own collection he said, "It was about trying to trap something that wasn't conventionally beautiful to show that beauty comes from within." This was by far one of the most lasting commentaries that in my opinion completely epitomizes the vision of McQueen. You are presented with a voluptuous woman who represents the attempt by McQueen to challenge convention. The video displays a room filled with butterflies and birds all trapped in this Asylum box. Here was an excellent example of how brilliantly the Victoria & Albert Museum was at incorporating the life and essence of his shows when displaying his work. 

"Voss" Spring/Summer 2001

Alexander McQueen: Savage Beauty 

Courtesy of the Victoria & Albert Museum

Photograph by: Amanda Chain

It isn't enough to just show the work f Alexander McQueen in a museum, one must show it in the context of his shows. He was an artist that put on high energy shows that challenged the way you were meant to see fashion. He was a visionary that wanted to make you see the beauty in the grotesque and to above all things make you see with more than just your eyes. I left this show with a completely different opinion on fashion. Having gone to London Fashion Week it is difficult to see fashion the same way after viewing the trajectory of a single man's genius. These pieces flowed in a way that made you feel as though you were looking at a second layer of skin. They challenged the constrictions of fashion by attempting to bring out a deep truth about human nature within. You walk away feeling the tragedy of his loss, and the torment within him that pushed him to the edge of his creativity and imagination. This exhibit above everything serves as a celebration of his life and work, and is worth a visit for anyone looking to see the evolution of a maverick.

Alexander McQueen: Savage Beauty
14 March - 2 August

The Victoria & Albert Museum
Cromwell Road
South Kensington
London SW7 2RL

Admission: Daily 10:00-17:30, Friday 10:00-21:30
In Partnership with Swarvoski, sponsored by American Express

Conflict Time Photography at the Tate Modern

                             

Photograph: Conflict, Time, Photography

Courtesy of The Tate Modern

This exhibition brings together history, politics, and art in a seamless transmission of time. Conflicts, not only those relating to war, have lasting effects on the visual landscape as well as via the people that lived through them. This exhibition begins with an introduction detailing the author Kurt Vonnegut, Jr and Slaughterhouse-five and his response to the bombing of the city of Dresden. This provides the viewer with a poignant starting point as it took Vonnegut nearly 24 years after the bombing to publish Slaughterhouse-five. The panel provides a quote from the book that creates a thought-provoking introduction into the exhibition,

"People aren't supposed to look back. I'm certainly not going to do it anymore. I've finished my war book now. The next on I write is going to be fun. This one is a failure, and had to be, since it was written by a pillar of salt." -Kurt Vonnegut, Jr. Slaughterhouse-five

Dresden After Allied Raids, Germany 1945

Photography by: Richard Peter

SLUB Dresden/ Deutsche Fotothek / Richard Peter, sen.

Perhaps one of the most iconic images of the exhibition is "Dresden After Allied Raids, Germany 1945" by Richard Peter. The wholesale destruction of Germany's cultural capital is often overlooked in media portrayal of the Second World War. A war that presents itself today as "Good versus Evil", is not necessarily as simple as what occurred. Both sides committed atrocities and this presents a different picture of the war as do the images of Hiroshima and Nagasaki of just how costly this war was and who was affected by it.

Looking at the past is necessary for this exhibition. Through the lens of photography, the viewer will see conflict through another's eyes. It faces the reality that there are those that cannot escape the trauma of the past as is with the case of those who suffer from shell-shock, PTSD, and the physical wounds of war. There are those that live with war through the departure of loved ones and the destruction of homes and livelihood. Conflict is not only that between countries, but inherently it is between people. It is not a past, but rather a continual present.

                                                

Shell Shocked US Marine, The Battle of Hue 1968

Photography by: Don McCullin

Printed 2013 

The exhibition looks at not a single conflict through the years, but rather many. The chronology of the exhibit ranges from the (First) Crimean War 1853-1856 to the Libyan revolution of 2011. There is a focus on wars between countries and internal conflicts. The presence of some of these images in a British national museum like the Tate Modern I found incredibly encouraging.

The representation of controversial images of Northern Ireland and former colonies express a degree of accountability and recognition. The museum as well as this exhibition in particular receives a great deal of support from the HM Government, the Department for Culture, Media and Sport and Arts Council England, so the apparent freedom of expression and potentially controversial presence of images should not be lost on the viewer, nor should the popularity and support be lost on those institutions.

What is most striking is that you would struggle to find go through this exhibit and not see at least one conflict you have either heard of or studied in the past. This is relevant for everyone as the chronology is such that we have all lived through at least one of these and it is difficult to not see the affects on society. Although the names change the visual effects are incredibly similar. The emotional damage is the same even though the place names change. By the end, the viewer is left with the impossible realization that humanity's ability to be cruel to one another leaves irreparable damage on the societal psyche.

The exhibit was curated by Simon Baker, Shoair Mavlian, and David Mellor and was a collaboration between the Tate Modern and Museum Folkwang, Essen and Staatliche Kunstsammlungen Dresden. The exhibit is open until the 15th of March 2015, and there will be a Curator's tour and private view on Monday the 23rd February 2015 from 18:30-20:30.

Visit: Conflict, Time, Photography - Click Here! for more details

Welcome back! I had an exam-writing hiatus for the winter, but luckily there are plenty exhibits and shows opening so there is plenty to write about and plenty to catch up on!

However, for starters, I'd like to begin with one that doesn't require any money or any venue. Simply walking around London today I had such a thrill at the art and architecture that's right on view for anyone with the interest and the time. 

London Light

Photo taken by: Amanda Chain

Quite honestly, the beauty of London never ceases to amaze me.

Today it was grey, rainy, cloud, and clear. Despite the schizophrenic weather, I think this may be one of the most pedestrian-friendly cities. I just thought I'd share a photo with you all that I took by the New Street Square, which is around the Temple Bar area.

I highly recommend a walk, even if the weather isn't particularly nice, it will most likely change for the better at some point in the day.

The Other Side of the Medal: How Germany saw the First World War

Tucked away in an alcove of the British Museum, off-shooting the Ancient Roman collection on the second floor is a small exhibition space dedicated to German commemoration of the First World War entitled: "The other side of the medal: how Germany saw the First World War." This was a small exhibition that was put on this summer to precursor the much larger exhibition "Germany: Memories of a Nation."

There have been a lot of exhibitions, specials, and lectures discussing the Great War and its impact. One of the most difficult aspects of studying the First World War is understanding the failures of diplomacy and how what should have been a small conflict between two states become a conflagration among the largest empires of the day. The war saw the end to three Empires (German, Ottoman, Russian), and left devastating consequences.

The psychological impact of the war cannot be overestimated. For many it was seen as a conflict of "Good" versus "Evil"; to the Allies a means of stopping an ever-expanding German empire and to protect a nation's right to neutrality. To the Central Powers, it was about honoring alliances and maintaing power. This perhaps is an over-generalization, but to many this was a war of ideals; the "War to end all Wars." Which if history has taught us anything such a concept is the equivalent of suggesting creating a fire to put out all fires.

Pax 1919

By: Erzsébet Esseö, Germany, 1919

Photo: By Amanda Chain

The British Museum

What makes this exhibition so poignant is the fact that what we normally associate with victory and success: medals, are in fact representing defeat. These medals commemorate disappointment. With the loss of the war the only survivor of the Central Powers was Germany, and thus had to take the brunt of the "punishment" for defeat. The terms of the Treaty of Versailles left the German people with a feeling of humiliation. The medal "Pax" suggests that there was much left to be desired on the part of the German people. Created by , illustrates the feeling of bitterness and devastation over the high cost of the war imposed on Germany. In contrast to the medals on display from the Allied countries, it is evident that the treaty was by no means accepted.

The Blockade

By: Karl Goetz, Germany 1919

Photo: By Amanda Chain

The British Museum

Another "The Blockade" takes this sentiment even further. It represents the allied naval blockade of Germany and shows starving figures behind a harbor wall that is wrapped in barbed wire. The blockade was in effect after the end of fighting in November 1918 and lasted until peace was formally signed at Versailles on 28 June 1919. Written at the top is "England's Schandtat" which translates to "England's shameful deed." It suggests the bitterness felt towards the allies who continued to blockade until the formal declaration of peace despite the armistice, not coincidentally this medal was produced less than a month after the Treaty of Versailles passed.

It is worth seeing the much larger exhibition now on display at the British Museum "Germany: Memories of a Nation, " which will include some of these medals, which opened on Remembrance Day and will run until the 25th of January.