Current / Upcoming Exhibitions + Lectures / 2020-2021
Holding History In Our Hand, book of photographs from the Peace Resource Center Archive for the 30th Annual Peace Symposium, Wilmington College, Wilmington, Ohio, October, 2020 www.blurb.com/b/10237191-holding-history-in-our-hand
Hiroshima Nagasaki 75, 13 billboards installed throughout southwest Ohio, October, 2020, http://www.wilmington.edu/wps-billboards
Family Tree (with Susanne, Sarah and Madeleine Slavick), Aratoi Wairarapa Museum of Art and History, Masterton, New Zealand, December, 2020 - February 14, 2021; The Wallace Trust, Auckland, New Zealand, April 19-June 13, 2021
Visiting Artist Lecture, University of Colorado, Colorado Springs, April, 2021
CalTech-Huntingdon Art and Research Fellowship, CalTech, California, March - June, 2022
Seeing the Invisible, GOCA, Galleries of Contemporary Art, University of Colorado, Colorado Springs, TBA, 2021
Books
After Hiroshima, produced by Daylight Books: with an essay by James Elkins
Bomb After Bomb: A Violent Cartography, with a foreword by Howard Zinn, Charta Books
Cameramouth, chapbook of surrealist poetry, SurVision Books, Dublin, Ireland
www.survisionmagazine.com/books.htm
Holding History In Our Hand, Blurb Books, 2020 www.blurb.com/b/10237191-holding-history-in-our-hand
On Sale
On Sale
After Hiroshima
BOOK FORMAT
Hardcover, 9.5 X 9.5 In. / 128 Pages / 56 Color
ISBN 9780983231653
“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
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.
Featured in San Francisco Chronicle, Los Angeles Times, Foam and New York Times, and more!
Essay by James Elkins
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On Sale
Bomb After Bomb: A Violent Cartography
Elin O'Hara Slavick: Bomb after Bomb, A Violent Cartography
Foreword by Howard Zinn. Text by Carol Mavor. Interviews by Catherine Lutz, includes 48 color plates of Slavick's drawing series Protesting Cartography: Places The United States Has Bombed. Working from military surveillance imagery, aerial photographs, battle plans, maps and mass media sources, using gouache, ink, watercolor, graphite and other media on paper, Slavick renders bombed sites as bleeding, poisoned, and destroyed, and as ceaseless targets. Each piece is accompanied by a title text including historical information--a heartbreaking mini-history lesson. Art historian Carol Mavor's poetic essay positions the project in a larger art historical, political, cinematic and photographic context, and Slavick's conversation with anthropologist Catherine Lutz illuminates the formal and conceptual processes behind her work, along with issues of propaganda, activism, history, the ethics of representation and the toxic residue of war.