{"id":1052,"date":"2015-12-07T15:24:00","date_gmt":"2015-12-07T20:24:00","guid":{"rendered":"http:\/\/web.colby.edu\/humanslashnature\/?p=1052"},"modified":"2015-12-07T15:24:00","modified_gmt":"2015-12-07T20:24:00","slug":"ec-november-22","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/humanslashnature\/2015\/12\/07\/ec-november-22\/","title":{"rendered":"EC November 22"},"content":{"rendered":"

I found the presentation by Ana Carden-Coyne really interesting. \u201cThe Sensory War, 1914-2014\u201d is an exhibition that came from a collaboration between Manchester Art Gallery and Whitworth Art Gallery. It focused on a century of artists responding to modern war. What was the imagery of WW1 and how did those artists experience war? The show examined the effect of modern warfare on the human mind and body through nearly 200 artworks\u2014mostly paintings, but also some telling films\u2014from 1914 to the present. The way they tried to communicate the idea of war is strictly connected to sensory. The impact of war deeply affected people\u2019s psychological, physical and even environmental conditions, and it is the bodies that express the horror of war most profoundly. Pain and succor, rupture and rehabilitation, wounds and disability, bombing and burning are the recurring themes but each artist had his own personal way to convey his grief. Artists such as CRW Nevinson focused on the new technology and its capacity for mass destruction. But war is a human activity and e exhibition\u2019s aim was to show how artists depicted the devastating impact of new military technologies on human flesh and minds. \u00a0Nevinson\u2019s Returning to the trenches<\/em> (1914) is clearly associated with Futurism. Although he depicted images of combat, he did not glorify destruction; he portrayed, instead, dehumanized soldiers who were part of the great machine that is modern war. Other artists, like Paul Nash in his Wounded, Passchendaele<\/em> (1918), depicted wounded soldiers surrounded by a poisoned landscape. The ruined landscape came to stand for the dead themselves. He was able to make these landscapes of the aftermath of war into metaphors for the human body destroyed by conflict.<\/p>\n","protected":false},"excerpt":{"rendered":"

I found the presentation by Ana Carden-Coyne really interesting. \u201cThe Sensory War, 1914-2014\u201d is an exhibition that came from a collaboration between Manchester Art Gallery and Whitworth Art Gallery. It focused on a century of artists responding to modern war…. Continue Reading →<\/a><\/p>\n","protected":false},"author":7547,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/posts\/1052"}],"collection":[{"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/users\/7547"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/comments?post=1052"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/posts\/1052\/revisions"}],"predecessor-version":[{"id":1053,"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/posts\/1052\/revisions\/1053"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/media?parent=1052"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/categories?post=1052"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/humanslashnature\/wp-json\/wp\/v2\/tags?post=1052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}