TABLE OF CONTENTS

POLITICS

Steve McQueen

FOR THE PAST thirty-five years, the Art Commissions Committee of London’s Imperial War Museum has invited artists to make work responding to the activities of British and Commonwealth troops, whether they be engaged in combat or in peacekeeping missions. This privately run successor to the country’s official war artists’ program (which was created in 1916, partly for propaganda purposes, and dismantled in 1972) has thrown up the occasional attention-grabbing artwork—notably, Langlands & Bell’s interactive digital animation, The House of Osama Bin Laden, 2003, a detailed re-creation of the terrorist’s last known address. Most of the results, however, have been in the relatively uncontroversial vein of Linda Kitson’s pallid conté sketches, from 1982, of soldiers training for engagement in the Falklands, and Peter Howson’s muscular but conventional 1994 paintings of exhausted Muslim

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