Show Notes
How do modern conflicts change the way artists respond to warfare? In this bonus episode, Edmund Clark discusses his experiences of depicting life for those who are living in controlled environments. In this wide-ranging conversation with Rebecca Newell, Head of Art at Imperial War Museums, we touch on many of the themes explored over series three, as well as how Clark tries to capture the invisible; how relationships form an integral part of his process, and the stories and artwork that can be created from the seemingly mundane. Narrator: James Taylor Producer: Matt Hill at Rethink Audio, with support from Eleanor Head, Daniel BenChorin, and the IWM Institute team at Imperial War Museums.
Podcast artwork photo © Oliver Abraham.
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What did artists and photographers choose to show us of the horrors of the front line? And how did Governments seek to curb what its citizens could see? Carl Miller (The Kill List) travels from the trenches of France to modern day Iraq, via the paintings and photography on display at the Blavtnik Art, Film and Photography Galleries at Imperial War Museum, London. Guiding Carl's journey is Claire Brennard, Art Curator at IWM London, and Professor Ana Carden-Coyne, Director of the Centre for the Cultural History of War in Manchester - encountering artistic works that have rarely been seen by the public. Objects Discussed: John Singer Sargent, Gassed, 1919 Christopher Richard Wynne Nevinson, The Doctor, 1916 Stanley Spencer, Travoys Arriving with Wounded at a dressing-station at Smol, Macedonia, September 1916, 1919 Francis Dodd, An Operation at the Military Hospital, Endell Street, Dr Louisa Garrett Anderson, Dr Flora Murray, Dr Winifred Buckley, 1920 Christopher Richard Wynne Nevinson, Paths of Glory, 1917 William Orpen, Dead Germans in a Trench, 1918 Steve McQueen, Queen and Country, 2008 Narrator: James Taylor. Producer: Matt Hill at Rethink Audio, with support from Eleanor Head, Daniel BenChorin, and the IWM Institute team at Imperial War Museums
How did British society react to the sudden increase of women in the workforce during the First World War? Or the thousands of colonial volunteers brought over to fight Nazism?