![]() ![]() You could argue that this was a fitting monument to Blair’s imperial hubris, but only if you made your point quickly. It was the work of the Iraqi-American artist Michael Rakowitz, part of his long-term project to recreate the relics of Iraq’s museums looted after the invasion. This imposing sculpture of a winged bull was a copy of an artefact Isis destroyed. Back in Britain, where Blair’s reputation was mud, another Iraqi sculpture was placed on another empty plinth, the one in the northwest corner of Trafalgar Square. In 2 018, Mosul in northern Iraq had to be liberated once more, this time from the savagery of Isis. Factions fought to fill the power vacuum, some brutally. That empty plinth, briefly a symbol of hope, soon came to symbolise the chaos that left Iraq teetering on civil war. ” It’s a boast that aged as well as the one about the unsinkable Titanic. “I have no doubt Iraq is better without Saddam but no doubt either, that as a result of his removal, the dangers of the threat we face will be diminished. No one said invasions require dramatic subtlety.Ī year later, as the Coalition of the Willing fragmented, Prime Minister Tony Blair still sounded confident. By evening, only steel shards remained in the plinth, and a thirty-year dictatorship was over. The mob cheered on the M88 tank pulling down Saddam. “What ,” I wondered, “is this eejit playing at ?”įirdos Square fell ominously silent until another jarhead replaced the American colours with Iraq’s. Doubts set in as an excitable marine covered the statue’s head with the Stars & Stripes. Until then, I thought Iraq’s invasion wholly justified. First order of business? Knocking down a 4 0 ft statue of Saddam. US marines had starring roles this time, too. Horst P.Working in Manchester in 2 003, I watched a BBC live stream of what Robert Fisk later called “the most staged photo opportunity since Iwo Jima ”.Käthe Kollwitz, In Memoriam Karl Liebknecht.Meret Oppenheim, Object (Fur-covered cup, saucer, and spoon).Alberto Giacometti, The Palace at 4 a.m.René Magritte, The Treachery of Images (Ceci n’est pas une pipe).Surrealist Techniques: Subversive Realism.Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany.Dada’s “Aproximate Man”: A Portrait of Tristan Tzara (1919) by Marcel Janco.Raoul Hausmann, Spirit of the Age: Mechanical Head.Max Ernst, Two Children Are Threatened by a Nightingale.The Bride Stripped Bare by Her Bachelors, Even (The Large Glass).Art as concept: In Advance of the Broken Arm.Giorgio de Chirico, The Soothsayer’s Recompense.Carlo Carrà, Funeral of the Anarchist Galli.Gino Severini, Dynamic Hieroglyph of the Bal Tabarin.Umberto Boccioni, Unique Forms of Continuity in Space. ![]() De Stijl, Part III: The Total De Stijl Environment.De Stijl, Part II: Near-Abstraction and Pure Abstraction.Henri Cartier-Bresson, Behind the Gare Saint-Lazare.Amedeo Modigliani, Young Woman in a Shirt.Varvara Stepanova, The Results of the First Five-Year Plan.Kazimir Malevich, Suprematist Composition: White on White.Russian Neo-Primitivism: Natalia Goncharova and Mikhail Larionov.Robert Delaunay, Simultaneous Contrasts: Sun and Moon.The Cubist City – Robert Delaunay and Fernand Léger.Georges Braque and Pablo Picasso: Two Cubist Musicians.Le Viaduc à L’Estaque, (The Viaduct at L’Estaque).The Old Guitarist, and the question of beauty.How to paint like Pablo Picasso (Cubism).Pablo Picasso and the new language of Cubism.Who created the first abstract artwork?.Nazi looting: Egon Schiele’s Portrait of Wally.Franz Marc and the animalization of art.Alexej von Jawlensky, Young Girl in a Flowered Hat.Paula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, Half-Length I.Women in the Interior I Museums Without Borders.Art and context: Monet’s Cliff Walk at Pourville and Malevich’s White on White.Representation and abstraction: looking at Millais and Newman.An Introduction to photography in the early 20th century.Elena FitzPatrick Sifford on casta paintings Reframing Art History, a new kind of textbook.Not your grandfather’s art history: a BIPOC Reader.With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world. We believe that the brilliant histories of art belong to everyone, no matter their background. At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. ![]()
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