ABSTRACT

Several weeks after this feature was aired, Baskerville’s work was shown in an exhibition in central London. The show, which was actually called ‘The White Picture,’ duly received signifi cant publicity, not least because

the work had been commissioned by the country’s largest veterans’ organization, the Royal British Legion, and was timed to coincide with Remembrance Day, one of the most hallowed rituals in the national calendar. Headlines such as ‘Weapons, Warpaint and Washing: A Modern Portrait of Women Warriors’ (Lydall 2012) greeted commuters reading their free evening papers on the tube. The images were widely available on media websites along with interviews with Baskerville. In an article in The Guardian, she described how the women offi cers, when approaching communities, ‘set aside their weapons, and seek out the wives. “They are in the frontline, but they have to walk into the compounds, take off their helmets and suddenly become more feminine”’ (Hopkins 2012).