|elin o'Hara slavick||
Hardcover, 9.5 X 9.5 In. / 128 Pages / 56 Color
“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.
Essay by James Elkins
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.