One can only think that the British and the British Empire side, while officially victorious in the Great War, was left grievously wounded and stunned.
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This remarkable image from the Army Day Parade in Teheran on April 18th, and many more like it spread around the web, shows a particular kind of Iranian Army camouflage called a ghili suit.
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If there was ever a painting that matched John Gillespie Magee's High Flight, below, it is Lanyon's Thermal, above.
Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
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Thomas Hirschhorn's In-Between at South London Gallery has been reviewed in The Guardian under the title: 'Things fall apart: the beautiful Marxist bomb that's hit south London; Artist Thomas Hirschhorn plays on our manic pleasure at seeing ruins by making a whole building collapse in on itself'
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From History of the Great War - Naval Operations. God this is exciting reading. The first drawing above shows the movement of all the battle cruisers in this engagement from 2:45 to 3:00 pm. The next from 3:15 to 3:30, and the third from 3:40 to 4pm. The speed is evident. How quickly things moved.
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In terms of strategy I'm beginning to wonder if contemporary news coverage isn't preoccupied more with battles than with larger strategies, which would perhaps necessitate a discussion of root causes.
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And we return to a depiction not unlike the ledger drawings. Although the previous post's image from the 1371 Manual of Horsemanship and Military Practice shows the mounts bouncing towards each other like something from Thelwell, these horses are intent, flying flat out, gory scenes of death and dismemberment along the way.
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There is that relationship between battle and horses that held up until the second world war, cavalry units converting to tank units after the first world war.
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Unlike the linear arrays of a certain kind of depiction of war, battles and their aftermaths, this set of 26 drawings uses an entirely different narrative form. The whole set is on an american tribes forum and charts the battle of Little Bighorn in 1876.
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There is a horizontal datum line through the heads in all these pieces, above is an empty air, below all is struggling uncertainty. There is no perspective, and perhaps no perspective can possibly justify these scenes. We are not asked to engage, the precision of the row excludes us, we are forced to simply gaze at the panoply, and this shocks us. And it shocks us into muteness because the subjects can't or won't hear us.
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Robert Longo (Petzel shows his most recent work) has flirted around the edges of political art for a long time, forming a punk band when the Velvet Underground was a punk band, drawing from photographs figures seemingly in some sort of physical angst, an idea he claims from a still from Fassbinder's The American Soldier.
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When we see the bullet proof vests on foreign correspondents, they are basically kevlar with ceramic trauma plate inserts roughly from 5" x 8" and 1/4" thick for concealed vests, to 10" x 12" plates up to 1/2" thick for tactical vests. They work in combination with the aramid fabrics: high ballistic protection from the plates, dispersal of blunt trauma from the fabrics.
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What is the point of Google satellite maps if they only present clean copies taken in the summer? Is there no satellite path near Independence Square/ Maidan Nezalezhnosti/ Майдан Незалежності in Kiev these days?
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