Imperial War Museums (IWM) London opened a new suite of galleries late last year dedicated to the representation of modern conflict and the experiences of artists, filmmakers and photographers. Although IWM say that the galleries ‘explore the complex tension between creativity and destruction’ I would argue that the still single image does more to show the impact and effect of war on combatants, civilians, and places, than many of the tanks, aircraft and other artefacts on display elsewhere in the museum. These galleries show that very effectively.
In an age where the immediacy of conflict is readily available on screens these galleries make the point – intended or not – that the still image retains a power to shock, inform and explore, and most importantly to remain in one’s memory in a unique way, that television and the moving image struggle to match. Photography does this in a particular way of course, but paintings and drawings, too, have that same power. The artist – and I include photographers in that term - through their presence, situation, and decision on what to show the viewer bring a unique perspective.
The five galleries of some 500 works, plus two screening areas, are arranged thematically. An introduction is following by practice and process, power of the image, mind and body, perspectives and frontiers. The artworks come from IWM's own extensive holdings and photography, artwork and film are all integrated in the gallery spaces. Of course, photography shows itself better than art in some areas. The camera as a tool is there and has more impact than the artist’s paintbox. But the impact of John Singer Sargent’s monumental painting Gassed (left), back after undergoing significant conservation, shows how artwork too can engage and absorb the viewer. Film is shown on screens in the galleries and in two viewing spaces ands felt less impactful and effective than the still image, although footage of the Normandy beach landings and concentration camps hold their own against single artworks.
The work of photographers and photojournalists are represented from the first world war up to the present. Christina Broom, Olive Edis, Cecil Beaton, Bill Brandt, Don McCullin and Tim Hetherington are just a few whose photography look at war and civilian life during conflict. Framed photographs on the wall remove many of the photographs from their originally intended method of presentation, changing their meaning, and treating them as artworks, although their power remains intact. Elsewhere, lantern slides, albums (amateur and for official presentation) and publications such as Picture Post, newspapers, books and posters show how photography was intended to be consumed by the public.
An end quote on the wall from first world war photographer and cinematographer Frank Hurley from 1917 faces the visitor on arrival and exit: ‘None but those who have endeavoured can realise the insurmountable difficulties of portraying a modern battle by the camera… I have tried and tried but the results are hopeless’. Hurley was being unfair on himself. Photography showed the war to an innocent public, and new uses of the medium such as aerial photography, used extensively from WW1, literally brought a new high-level perspective to places of conflict. But it was the photographers focusing in on details that had more to convey to the viewer about conflict, reminding us that conflict is human and its impact is on humanity.
The new galleries are a triumph of curatorial selection and design, and do much to remind us of the power and impact of the still image. Highly recommended.
https://www.iwm.org.uk/events/blavatnik-art-film-and-photography-galleries
https://www.iwm.org.uk/history/war-photographers-iwm-photography-collection
Dr Michael Pritchard
IWM London
Lambeth Road, London, SE1 6HZ
1000-1800 daily, except 24 to 26 December
https://www.iwm.org.uk/visits/iwm-london
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