Text in the image reads: ‘Marchwood Military Port ships equipment & munitions to wars. March he won’t now. Alverhurst the penguin refuses to march to war.’
Image Alverhurst at Marchwood by Lizzie Jones (2012). Homemade milk and slaked-lime paint and acrylic paint on plywood (4ft x 3ft). Click image to view large version.Alverhurst, so named by some college…
While preparing this issue, and asking permission to use the graphic on the front page (which is not in the public domain, contrary to what the internet believes), we learned that the revered British anarchist illustrator Clifford Harper was not well (but on the mend).
Clifford is the author of Anarchy: A Graphic Guide and The Education of Desire and has been illustrating radical, alternative and mainstream publications since the 1970s! (You may know him from the…
This beautifully-illustrated book documents the lives of 44 artists who were conscientious objectors (COs) and pacifists in the two world wars.
In a series of monographs, Gill Clarke gives us a valuable insight into lives lived and shaped by political and spiritual objections to killing and the war machine.
She gives us a very particular record of the development of creative lives: how artists made a living; the political and social communities of artists; and the impact of war…
Why make reportage drawings? Graphic artist Olivier Kugler was commissioned by Médecins Sans Frontières (‘Doctors Without Borders’) to travel to Iraq, Kos and Calais to interview Syrian refugees. He took photographs and used translators to record stories. So why not stop at that?
On first viewing, I didn’t like the drawings in this book. I shrank back from lines that didn’t please me, from flat Photoshop washes. But I was curious because something interesting happens in these…
emergency use soft shoulder (1966). Photo: Josh White, courtesy Corite Art Centre, Immaculate Heart Community, Los Angeles
Ditchling Museum of Art and Craft may seem an unlikely place to host an exhibition of 1960s Warhol-inspired socially-engaged prints from California, but these brightly-coloured, life-affirming texts by Corita Kent make for an exciting dialogue with artworks by members of the Roman Catholic local artistic community in the permanent collection.
In 1921,…
I wonder whether people who have been directly affected by the aftermath of 9/11 – in a way that most of those viewing this exhibition haven’t – would find parts of it baffling or even insulting
For example, if you had lived in Baghdad during the 2003 war against Iraq, what would you make of the ‘twin towers’…
Oska Lappin: The first weekend after the inauguration of the current occupant of the White House, I was with friends and inevitably the discussion turned to politics and our fears of what could occur for the world at large. Someone said: ‘This discussion is probably akin to the talk in Germany around 1935.’ There was a group shudder and an unusual silence.
As a narrative-based self-expressionist, I begin…
Life & Death by Amy Corcoran, 2017, watercolour and pen. Donated to Art the Arms Fair
Artists can participate by sending in digital images of their work, by donating physical art works for the auction, and by taking part in a mass outdoor art event on 9 September. All art and artists are welcome, from painters to performance artists, and from sculptors to satirists. Come with your canvases, clay and…
We had arranged to meet up at the Manhattan Gourmet Restaurant [in New York city], a glorified deli at 57th and 6th, right above the F Train station, with the Chase bank looming across the avenue. We carried our toad heads in a big sack.
It was a working-class place with a lunch crowd shouting their orders, lots of laughter. The folks were service workers, spiffily…
How can we create a sustainable art world, where artists can live by their labour and the public can have a healthy engagement with them? Curating is, or should be, a public service akin to a friend introducing you to new music. But in a world of power lists, billionaire superdealers and sickening Miami conventions, we have travelled very far from the idea of curating as a social duty.
David Balzer’s writing is admirably clear and anti-theoretical, providing a lively history of the…
It’s easy to forget, but art galleries are ‘our’ galleries: they are supposed to belong to us. You might even like to think of them as having taken the place of (now defunct) churches. So how did oil money seep through their walls?
Mel Evans begins by charting the journey of arts funding in the UK. The Arts Council of Attlee’s postwar Britain was deliberately at arm’s length from the state. Thatcher and Tebbit increased government involvement, which enabled New Labour to follow…
A reader in Germany has sent us news of PN appearing as an artefact in an art exhibition!
A display case in the 'Picasso and contemporary art' exhibition in the gigantic Deichtorhallen art centre in Hamburg, Germany, contains a recent edition of Peace News!
