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Elin O'Hara Slavick
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Cameramouth
Elin O'Hara Slavick is an artist and a Professor of Visual Practice at the University of North Carolina, Chapel Hill. She is the author of two monographs - "Bomb After Bomb: A Violent Cartography" with a foreword by Howard Zinn, and "After Hiroshima", with an essay by James Elkins. Her visual work has been featured in the New York Times, Los Angeles Times, Images Magazine, FOAM, San Francisco Chronicle, Asia-Pacific Journal, and Photo-Eye, among other publications. Her Surrealist and Dadaist poems have been published in the Papers of Surrealism, Survision, and Lips.
Hiroshima
Pulitzer Prize-winning journalist and bestselling author John Hersey's seminal work of narrative nonfiction which has defined the way we think about nuclear warfare. “One of the great classics of the war" (The New Republic) that tells what happened in Hiroshima during World War II through the memories of the survivors of the first atomic bomb ever dropped on a city. "The perspective [Hiroshima] offers from the bomb’s actual victims is the mandatory counterpart to any Oppenheimer viewing." —GQ Magazine “Nothing can be said about this book that can equal what the book has to say. It speaks for itself, and in an unforgettable way, for humanity.” —The New York Times Hiroshima is the ...
Family Tree Whakapapa
"Family Tree Whakapapa brings together the work of four sisters: elin o'Hara Slavick, Madeleine Slavick, Sarah Slavick and Susanne Slavick. As curators, painters, photographers and writers, all have incorporated images of trees in social, political and environmental conditions -- trees that stand as refuge and livelihood, consumed and consuming, under assault and triumphant, as historical record and as harbinger of things to come. Family Tree Whakapapa offers perspectives both unsettling and soothing as nature increasingly reflects salient issues of our times. Based on experiences in Japan, elin presents photographic works that bear witness to the ongoing aftermath of atomic bombs in Hiroshi...
Insurgent Aesthetics
In Insurgent Aesthetics Ronak K. Kapadia theorizes the world-making power of contemporary art responses to US militarism in the Greater Middle East. He traces how new forms of remote killing, torture, confinement, and surveillance have created a distinctive post-9/11 infrastructure of racialized state violence. Linking these new forms of violence to the history of American imperialism and conquest, Kapadia shows how Arab, Muslim, and South Asian diasporic multimedia artists force a reckoning with the US war on terror's violent destruction and its impacts on immigrant and refugee communities. Drawing on an eclectic range of visual, installation, and performance works, Kapadia reveals queer feminist decolonial critiques of the US security state that visualize subjugated histories of US militarism and make palpable what he terms “the sensorial life of empire.” In this way, these artists forge new aesthetic and social alliances that sustain critical opposition to the global war machine and create alternative ways of knowing and feeling beyond the forever war.
After Hiroshima
By emphasising the role of nuclear issues, After Hiroshima, published in 2010, provides an original history of American policy in Asia between the dropping of the atomic bombs on Japan and the escalation of the Vietnam War. Drawing on a wide range of documentary evidence, Matthew Jones charts the development of American nuclear strategy and the foreign policy problems it raised, as the United States both confronted China and attempted to win the friendship of an Asia emerging from colonial domination. In underlining American perceptions that Asian peoples saw the possible repeat use of nuclear weapons as a manifestation of Western attitudes of 'white superiority', he offers new insights into the links between racial sensitivities and the conduct of US policy, and a fresh interpretation of the transition in American strategy from massive retaliation to flexible response in the era spanned by the Korean and Vietnam Wars.
Map As Art, The: Contemporary Artists Explore Cartography
This work is filled with 350 works by well-known artists such as Joyce Kozloff, Ed Ruscha, Julian Schnabel, and Olafer Eliasson. All are wayfinders, charting the highways and byways of the spirit and the topography of the soul.
What I Keep
Presents a photographic study of twenty-first century poverty, one that transcends class and race, profession and talent. A visual survey, these portraits capture the individuals who gather on Sunday mornings at a nondenominational, multicultural church that has been meeting below an Interstate overpass for sixteen years. Those who attend Waco, Texas's Church Under the Bridge have experienced periods of homelessness or incarceration, addiction to drugs or alcohol, mental illness, or profound poverty and, almost always, deep periods of hopelessness. From publisher description.
Every Breath We Drew
Every Breath We Drew examines the intersection between private, individual identity and the search for intimate connection with others.
Durham Dances
Durham Dances is a dance photography book by Zoe Litaker featuring the mesmerizing dancers of Durham, NC. From the city's most iconic locations to its hidden gems, from belly dancers to ballerinas, Durham Dances invites you into the magical world of dance. Featuring local companies such as ShaLeigh Dance Works, NC Youth Tap Ensemble, Swagga Muffins, Bipeds Dance, Om Grown and many more, Durham Dances showcases the beautiful moves of over 50 dancers in the city they call home.
