Synopsis
In After Hiroshima, American artist elin o’Hara slavick attempts to address the aftermath of the 1945 bombing--historically, poetically and visually. This act of ethical seeing “brings to us with harrowing clarity … what may lie ahead if we cannot cure ourselves of the pathology that has brought us this far." --Noam Chomsky
elin o’Hara slavick is a Professor of Visual Art, Theory and Practice at the University of North Carolina at Chapel Hill. She received her MFA in Photography from the School of the Art Institute of Chicago and her BA from Sarah Lawrence College. Slavick has exhibited her work internationally [and is the author of Bomb After Bomb: A Violent Cartography, with a foreword by Howard Zinn and essay by Carol Mayor in addition to After Hiroshima]. She is also a curator, critic and activist.
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer.
He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism.
His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).
elin o’Hara slavick is a Professor of Visual Art, Theory and Practice at the University of North Carolina at Chapel Hill. She received her MFA in Photography from the School of the Art Institute of Chicago and her BA from Sarah Lawrence College. Slavick has exhibited her work internationally [and is the author of Bomb After Bomb: A Violent Cartography, with a foreword by Howard Zinn and essay by Carol Mayor in addition to After Hiroshima]. She is also a curator, critic and activist.
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer.
He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism.
His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).
"synopsis" may belong to another edition of this title.
Review
“What Slavick produces are ghosts, haunting images from a past that, to paraphrase Faulkner, is neither dead nor past.”,
- Los Angeles Times, August 3, 2013
“...forms one of the most modest, least sensational of commemorations.”,
- San Francisco Chronicle, August 2, 2013
"...artist elin o’Hara slavick faces a void of annihilation that transcends expression, and yet, with meticulous care and consciousness, she produces photographic exposures that illuminate the unspeakable.”,
- The Asia-Pacific Journal, May 12, 2013
"About this title" may belong to another edition of this title.
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After Hiroshima
Seller: Webster's Bookstore Cafe, Inc., State College, PA, U.S.A.
Seller rating 4 out of 5 stars
hardcover. Condition: Good. No DJ. Light shelf wear. Else clean and tight. Seller Inventory # mon0000130424
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After Hiroshima
Seller: Midtown Scholar Bookstore, Harrisburg, PA, U.S.A.
Seller rating 5 out of 5 stars
Hardcover. Condition: Good. Jumbo-sized. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD. Seller Inventory # M0983231656Z3
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After Hiroshima Format: Hardcover
Seller: INDOO, Avenel, NJ, U.S.A.
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Condition: As New. Unread copy in mint condition. Seller Inventory # PG9780983231653
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After Hiroshima Format: Hardcover
Seller: INDOO, Avenel, NJ, U.S.A.
Seller rating 5 out of 5 stars
Condition: New. Brand New. Seller Inventory # 9780983231653
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After Hiroshima
Seller: The Anthropologists Closet, Clive, IA, U.S.A.
Seller rating 5 out of 5 stars
Hardcover. Condition: New. New oversized cloth-bound hardcover. Pages are clean and free of marks or underlining. (9.7 x 0.6 x 9.7 inches) 128 pp. Fast shipping in a secure book box mailer with tracking. The photographic images of Hiroshima, Japan, in this photo essay are attempts to visually, poetically, and historically address the magnitude of what disappeared, and what remains, after the dropping of the A-bomb in 1945. They are images of loss and survival, fragments and lives, architecture and skin, surfaces and invisible things, like radiation. Exposure is at the core of Slavick's project: exposure to and exposures made from radiation, to the sun, to light, to history, and exposures made from radiation, the sun, light, and history, including historical artifacts from the Peace Memorial Museum's collection. After Hiroshima engages ethical seeing, visually registers warfare, and addresses the irreconcilable paradox of making barbarism visible as witness, artist, and as viewer. Seller Inventory # 200876