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Authors

Dick Averns

Abstract

This paper comprises primary research investigating contemporary official war art in Canada, Australia, Egypt, Israel, the United Kingdom and the United States of America. Findings are drawn from fieldwork conducted in these countries during the height of the so-called War on Terror, in 2008 and 2009. My thesis suggests that the degree to which nations are willing to provide military support for contemporary artists, to gain access to the frontlines of the War on Terror, serves as a barometer for how different nations either enable or disable conflict-related cultural canons. I demonstrate that official war art can provide important benchmarks for the value and health of liberal arts in liberal democracies.

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