S e l e c t e d S o l o E x h i b i t i o n s :
2024
After Hiroshima (Part 1), SAC Arts Gallery, Santa Ana, CA
After Hiroshima (Part 2), Santa Ana College Main Art Gallery, CA
Catharses / Antidotes, Yes We Cannibal Gallery, Baton Rouge, LA
2023
Atomic Index, Cerritos College Gallery, Norwalk, CA
Make Me a Summary of the World, THIS Gallery, Vancouver, BC, Canada thisgallery.org/project/elin-ohara-slavick/
2022
Dark Archive, Gallery of Contemporary Art, University of Colorado, Colorado Springs
www.dariamag.com/home/dark-archive
Catharses / Antidotes, Cerritos College Art Gallery, Norwalk, CA
2020
Hiroshima and Nagasaki 75, 13 billboards and a limited edition book, Holding History In Our Hand, 30th annual Peace Symposium, Peace Resource Center, Wilmington College, OH
All to Pieces, with Susanne Slavick, Ruffin Gallery, University of Virginia, Charlottesville
2019
After Hiroshima, Galerie Block C, Groningen, Netherlands
2018
Blue Traumas, Lord Hall Gallery, University of Maine, Orono
After Hiroshima, Nagasaki and Fukushima, New Image Gallery, Harrisonburg, VA
Workers Dreaming, Kenan Institute for Ethics, Duke University, Durham, NC
2017
Making the Invisible Visible, Staniar Gallery, Washington and Lee University, Lexington, VA
2016
Hiroshima > Nagasaki > Fukushima, Gallery G, Hiroshima, Japan
2015
Seventy Year Old Shadows of Hiroshima, Cohen Gallery, Los Angeles, CA
East to East: Maine to Japan, ICA at MECA / Institute for Contemporary Art at Maine College of Art, with Shane Smith, Portland, Maine
Hiroshima Skies, billboard project, North Carolina Museum of Art, Raleigh
70 Years After Hiroshima, Frederic Jameson Gallery, Duke University, Durham, NC
Ladders, Artifacts and Trees: Selected Works from Hiroshima, Vacant Gallery, Tokyo, Japan
2014
Heterotopias, Horace Williams House, Chapel Hill, NC
2013
Until What Has Disappeared Appears, Stephen Cohen Gallery, Los Angeles, CA
After Hiroshima, Daylight Project Space, Hillsborough, NC
2011
After Aftermath, The Former Imperial Bank, an A-Bombed building, Hiroshima, Japan
Hiroshima, Beland Galley, Essex Art Center, Lawrence, MA
2010
Aftermath, The Global Education Building, UNC, Chapel Hill, NC, with a lecture by Noam Chomsky
2009
Flags for Hiroshima, Cosign Projects, St. Louis, MO
Hiroshima: After Aftermath, Gallery 100, Golden Belt, Durham, NC
Flag for Hiroshima, Center for Documentary Studies, Durham, NC
2007
Oma Auma, The John Hope Franklin Center, Duke University, Durham, NC
2005
Road In Sight: Workers Dreaming, Center for Documentary Studies, Durham, NC
2003
Workers Dreaming and Mutter, Watkins College of Art and Design, Nashville, TN
2002
Workers Dreaming and Protesting Cartography, The Annex, New York, NY
Protesting Cartography, the John Hope Franklin Center, Duke University, Durham, NC
2000
New Frontiers IV, The Mint Museum, Charlotte, NC
1999
Workers Dreaming, Brewhouse Space 101, Pittsburgh, PA
S e l e c t e d G r o u p E x h i b i t i o n s :
2025
Family Tree, Sordoni Gallery, Wilkes University, Wilkes-Barre, PA; Martin Art Gallery, Muhlenberg College, Allentown, PA; Pearl Kennard Gallery, Ohio State University, Mansfield
Summary, 3-woman show, Southwestern College Art Gallery, Chula Vista, CA
2024
Pacific Standard Time: Art and Science Collide, Crossing Over: Art and Science at Caltech, curated by Claudia Bohn-Spector, Getty Museum / Caltech, Pasadena, California
Plutonium and Silver, Uranium Film Festival, CineWorks, Vancouver, Canada
Expand and Contract: Photography and Mixed Media, curated by Rotem Rozental, Los Angeles Center of Photography, CA
Tryst Art Fair, Torrance Art Museum, Torrance, CA
Biennial Means Necessary, curated by Raul Zamudio, Jane’s Room, New York, NY
Enter the Goddesses, Los Angeles Makery, California
Watching War in American Culture, Ackland Art Museum, Chapel Hill, NC
Wortbildsalat / word-image-salad, curated by Christiane Monarchi and Eva Eicker, Guest Room, Der Grief, https://dergreif.org/guest-room/christiane-monarchi--eva-eicker
Recent Acquisitions, Cerritos College Art Gallery, Norwalk, CA
2023
Family Tree, Erie Art Museum, PA
SWANS (Slow War Against the Nuclear State), Cerritos College Gallery, Norwalk, CA
Recent Acquisitions, Nasher Museum of Art, Duke University, Durham, NC nasher.duke.edu/exhibitions/recent-acquisitions-exhibition-2/
Balance / Imbalance, L.C. Bates Museum, Hinkley, Maine
Art That Matters to the Planet: Interconnectivity, Roger Tory Peterson Institute, Jamestown, NY
2022
Family Tree, Dowd Gallery, SUNY Cortland, NY
Ballots Not Bullets, White Box, New York, NY
Contemporary Works on Paper, Ackland Art Museum, Chapel Hill, NC
Lapdogs of War, The Empty Circle, Brooklyn, NY
Love Letters, Lump Projects, Raleigh, NC
Cutting Edge: Art of Collage, Pink Dog Gallery, Asheville, North Carolina
Immemory: On Covid-19, online collective archive
covid-immemory.com/pandemic-portraits
2021
Spectacle and Scaffolding, Vermont Center for Photography, Brattleboro
Family Tree Whakapapa,The Wallace Arts Trust, Auckland, New Zealand
2020
Family Tree Whakapapa, Aratoi Wairarapa Museum of Art and History, Masterton, New Zealand
Spectacle and Scaffolding, Media Arts Gallery, Robert Morris University, Pittsburgh, PA
75 Years of Nuclear Weapons, Peace Resource Center, Wilmington College, OH
The Future Challenges Us Now, LaborFest, San Francisco, CA
Art In Place, organized by Terrain and CNL Projects, art on 400 sites across the country during quarantine, Chapel Hill, NC
2019
Catastrophes,Artifacts and Narrative, Hiroshima City University Museum, Japan
Photo LA, The Barker Hangar, Santa Monica, CA
Arboreal, Bailey Contemporary, Pompano Beach, FL
Apocalypse Then and Now, Andrew and Anya Shiva Gallery,New York, NY
The Haunted Archive, Fort Worth Community Art Center, Texas
Dear Leader, Candela Gallery, Richmond, VA
Spectacle and Scaffolding, The Fine Arts Center, Greenville, SC
Gender, Sexuality, and Cartography, David Rumsey Map Center, Stanford University, CA
Liten, Bountiful Davis Art Center, Bountiful, Utah
Nuclear Visions: The Atomic Photographers Guild, Allcot Gallery, Chapel Hill, NC
2018
Marx@200, SPACE Gallery, Pittsburgh, PA
www.cmu.edu/dietrich/humanities-center/center-events/marx-at-200-art-exhibition.html
Atomic Traces, New York, NY
Mother Mother, Studio IX Gallery, Charlottesville, VA
Valediction, Ejecta Projects, Carlisle, PA
Analog, In Focus Gallery, Green Hill Center, Greensboro, NC
Feminine Spectrum, VAE (Visual Art Exchange), Raleigh, NC
Source Material, curated by Jon Feinstein, Humble Arts Foundation, online exhibition,
One Night Stand, Golden Belt, Durham, NC
2017
After Hiroshima, IoDeposito, B#S Gallery, Treviso and Punto Croce, Venice, Italy
Governors Island Art Fair, New York, NY
Hiroshima Nevermore, Centro Culturama, Goiânia, Brazil
Radeo Flyer: Artists Re-Imagine the Flyer, DAC Gallery, Los Angeles, CA
Spectacle and Scaffolding: Contemporary Photography Muses Hierarchy, Turchin Center for the Visual Arts, Appalachian State University, Boone, NC
Regard, Weems Gallery, Meredith College, Raleigh, North Carolina
The Nothing That Is, The Carnegie Center, Cincinnati, Ohio
100 Days Action, Southern Exposure, San Francisco, California
2016
The Last Four Years, Cohen's Gallery, Los Angeles, CA
Photo LA, Cohen Gallery booth, Los Angeles, CA
Playing in the Fukushima Forest, Tobito, Japan
Atomic Particles, Physicians for Social Responsibility, Mobius Gallery, Bothell, WA
2015
Camera Atomica, Art Gallery of Ontario, Toronto, Canada
Photography and the Scientific Spirit, John Michael Kohler Center, Sheboygan, WI
Photo LA, Cohen Gallery booth, Los Angeles, CA
Out of Rubble, Center for Art, Design and Visual Culture, University of Maryland Baltimore County
The Nothing That Is, Contemporary Art Museum, Raleigh, NC
Photo Basel, Cohen Gallery booth, Basel, Switzerland
Hiroshima / Nagasaki 70, Angrense dos Reis Society for Ecological Protection, Brazil
Nuclear Photographs, Concorde Hotel, Quebec City, Canada
Fall Out, Whitdel Arts, Detroit, MI
Atomic Photographers Guild, Bank of Japan, A-bombed Building, Hiroshima, Japan
Hiroshima Intersections, Gallery Ishiko-ya, Hiroshima, Japan
2014
Mt Rokko Photography Festival, Kobe, Japan
FotoFever, Photography Art Fair, Cohen Gallery, Carrousel du Louvre, Paris, France
Out of Rubble, UC Art Museum, Boulder, CO; Schmucker Art Gallery, Gettysburg College, PA; Jack Olson Gallery, DeKalb, IL
Close to Home, North Carolina Museum of Art, Raleigh
State of Emergency: Disasters, VanEvery Smith Gallery, Davidson College, NC
Photo LA, Cohen Gallery booth, Los Angeles, CA
Duplicates, New Image Gallery, James Madison University, Harrisonburg, VA
Highlights, Cohen Gallery, Los Angeles, CA
Women, An Exhibition, Detroit Contemporary, MI
Particles on the Wall, Gallery 4500, Seattle, WA
The Swap, online exhibition curated by Stuart Pilkington, UK
Washi, Muckenthaler Cultural Center, Fullerton, CA
Art on Paper, Weatherspoon Art Museum, Greensboro, NC
Occultisms, Humble Arts Foundation, New York, NY
2013
Jeonju Photography Festival, War and Memory, Jeonju, Korea
ORGANIX, Contemporary Artists from USA, curated by Diego Cortez for Luciano Benetton, Venice Biennale, Italy
Out of Rubble, Harris Art Gallery, University of La Verne, CA; String Room Gallery, Wells College, Aurora, NY
Particles on the Wall, Physicians for Social Repsonsibility, Washington State University's Tri-Cities Art Center, Seattle, WA
Risk and the Landscapes of Militarization, Rachel Carson Center for Environment and Society, Munich, Germany
2012
Out of Rubble, Bowling Green State University Gallery, OH; Miller Gallery, Kutztown University, PA
The Fire Does Not Go Out, Baron Gallery, Oberlin College, OH
Atomic Photographers, Form Gallery, Perth, Australia
The Plastic Propaganda Poster Project, Westminster College, Salt Lake City, UT
To What Purpose? Photography as Art and Document, Weatherspoon Art Museum, Greensboro, NC
Behind the Atom Curtain, Uranium Film Festival, Rio de Janiero, Brazil
The Atomic Photographers Guild, The Rocky Flats Cold War Museum, Arvada, CO; Good Shepherd Center, Seattle, WA
2011
Dark Matters: Shadow, Technology. Art, Whitworth Art Gallery, Manchester, UK
Vedute, URDLA, Lyon, France
Out of Rubble, SPACE Gallery, Pittsburgh, PA
Offrez l'art de demain (Offer the Art of Tomorrow), URDLA, Lyon, France
The Last Book, organized by Luis Camnitzer, New York Public Library, Aguilar Branch, NY
Mirror Image: Women Portraying Women, North Carolina Museum of Art, Raleigh
No Glory, Form and Content Gallery, Minneapolis, MN
Behind the Atom Curtain: Life and Death in the Nuclear Age, the Atomic Photographers Guild, Mednick Gallery, Philadelphia, PA; Sala Terrana, Heiligenkreuzehof, Vienna, Austria
2010
Atomic Photographers Guild, University of Basel, Switzerland; Cooper Union, New York, NY
The Last Book, organized by Luis Camnitzer, Zentral Bibliothek, Zurich, Switzerland
Race, Sex, Politics, Religion: 4 things not talk about in the South, organized by Larry Jens Anderson, Space One-Eleven, Birmingham, AL; Emory Visual Arts Gallery, Atlanta, GA
Delineate: an Invitational Exhibition of Drawings, McMaster Gallery, Columbia, SC
2009
Bad Moon Rising, Boots Contemporary Art Space, St. Louis, MO
Capitalism in Crisis, SOMArts Cultural Center, San Francisco, CA
A Book About Death, The Emily Harvey Foundation Gallery, New York, NY
Bail Out Biennial, Golden Belt, Durham, NC
Cool, Collected and In Context, The Weatherspoon Art Museum, Greensboro, NC
2,191 Days and Counting, Powerhouse Arena, Brooklyn, NY
Paper Politics, Ghostprint Gallery, Richmond, VA
Grassroots Cartography, Sea Change Gallery, Portland, OR
To Be or Not To Be: A Painter's Dilemma, Stedman Gallery, Rutgers University, Camden, NJ
Outside the Lines: New Directions in Drawing, A.D. Gallery, Pembroke, NC
2008
Mapping Cartography in Contemporary Art, Contemporary Art Center, Cincinnati, OH
Contemporary Art Photography from The Kinsey Institute, Indiana University Contemporary Gallery, Gary, Indiana
Art and Social Conscience: the Holocaust, Cameron Art Museum, Wilmington, NC
Paper Quilts, Essex Art Center, Lawrence, MA
2007
The Big Picture, Contemporary Photography, North Carolina Museum of Art, Raleigh
Paper Politics, Esplanade Loft Project Gallery, Montreal, Canada
2006
New Cartography, LeBot Gallery, Oakland, CA
Terror? Intersection for the Arts, San Francisco, CA
Paper Politics, Portland State University Gallery, OR; 5+5 Gallery, Brooklyn, NY
Restating Empire, Gallery 110, Seattle, WA
Bunker than Thou, the Bemis Center for Contemporary Art, Omaha, NE
Crosscurrents, Mint Museum of Art, Charlotte, North Carolina
2005
PatriART: Artists Defend Civil Liberties, Puffin Cultural Forum, Teaneck, NJ
Paper Politics, Phinney Gallery Center, Seattle, WA
Crosscurrents, North Carolina Museum of Art, Raleigh
Art / Work, Tufts University Gallery, Medford, MA
The Simnuke Project, Rx Gallery, San Francisco, CA
2004
News from Home, The Annex, New York, NY
Felix Variations, Play Space, California College for the Arts, San Francisco, CA
Women in the Middle, the University of Wisconsin in Milwaukee Union Art Gallery, Milwaukee, WI
Active Duty, Armed Artists of America, Studio 84, Williamsburg, Brooklyn, NY
The Art of Politics, Ashmore Gallery, Miami, FL
Toxic Landscapes, Long Beach Island Foundation Art Center, Loveladies, NJ
Hall of Portraits, Pinkard Gallery, Maryland Institute College of Art, Baltimore
2003
Les Fables de la Fontaine, The Jacob Lawrence Gallery, University of Washington, Seattle; The Meyerhoff Gallery, Maryland Institute College of Art, Baltimore, MD
The New Normal, Borofsky Gallery, Philadelphia, PA
Violent Violence, Arti et Amicitiae, Amsterdam, Holland
Bad Touch, Rose Art Museum, Boston, MA; Keith Talent Gallery, London, England
2002
Bad Touch 3, Ukrainian Institute of Modern Art, Chicago, IL
Art Basel / Miami, Art Positions, Miami, FL
Figurative Works, Armory Art Center, West Palm Beach, FL, catalogue
Toxic Landscapes: Artists Examine the Environment, Reino de este Mundo International Gallery, Biblioteca Nacional Jose Marti, Havana, Cuba; the Puffin Cultural Forum, Teaneck, NJ
Some Kind of Dream, Contemporary Art Museum, Raleigh, NC
Les Fables de la Fontaine, Temple University, Rome, Italy; Americain Universitaire, Aix-en-Provence, France
2001
Paradise in Search of a Future, CEPA, Buffalo, NY
Ladyfest, Arches Theatre, Glasgow, Scotland
A Social Event Archive, Hermetic Gallery, Milwaukee, WI
Toxic Landscapes, Associated Artists of Pittsburgh Gallery, PA
Homegrown, SECCA, Winston-Salem, NC
2000
Flesh and Blood V, John Batten Gallery, Hong Kong
Counter Productive Industries, 1926 Exhibition Space, Chicago, IL
Visual Artist Fellowship Exhibition, Weatherspoon Art Museum, Greensboro, NC
Flesh and Blood IV, 1708 Gallery, Richmond, VA
EDUCATION
The School of the Art Institute of Chicago, Illinois, USA
Master of Fine Arts 1991
MFA in Photography; merit scholarship; Top Prize for Graduate Work: Raymond Traveling Fellowship; Teaching Fellowships for Color, Experimental and Advanced Photography, Ancient and Modern Art History Surveys, and Feminism and Film; studied with Carol Mavor, James Elkins, Mark Alice Durant, Lynn Book and Robert Loescher; co-founded and coedited the journal Lament
Sarah Lawrence College, Bronxville, NY, USA
Bachelor of Arts 1988
BA; merit scholarship; concentration in poetry, photography, film and art history; studied with Joel Sternfeld, Susan Jahoda, Jean Valentine, Tom Lux, Jane Cooper and Gil Perez
Semester Abroad 1987
Fall semester in Florence, Italy with a concentration in art history, drawing and Italian
Sarah Lawrence College, Florence, Italy
Tyler School of Art, Philadelphia, Pennsylvania, USA
Guest Year 1985
Dean’s List; merit scholarship; studied with Will Larson; tutored MFA students in writing; concentration in photography
ACADEMIC AND ADMINISTRATIVE APPOINTMENTS
University of California, Irvine, 2022-2025
Artist-in-Residence / Communications Specialist
CalTech, Pasadena, CA, 2022
Huntington Art and Research Fellowship, Visiting Lecturer
University of North Carolina, Chapel Hill 1994-present
Professor Emerita 2021 - present
Tenured Full Professor since 2002
Director of Graduate Studies for Studio Art, 2014-2017; 2004-2006
Advisory Board, Institute of Arts and Humanities 2010-2013
Glen Elder Distinguished Term Professor 2008-2012
Director of Undergraduate Studies for Studio Art 2006-2008
Associate Chair, Art and Art History Department 2004-2005
Tenured Associate Professor of Art 1999-2002
Tenure-Track Assistant Professor 1994-1999
CULTURAL SECTOR POSITIONS
Independent Curator 1994-present
Selected Curatorial Projects
2024 Viral Integration, 40 artists addressing health issues, College of Health Sciences, UC, Irvine, CA
2021 Betsy Kenyon; Migiwa Orimo; Ejecta Projects; Abraham Oghobase, Allcott Gallery, UNC, Chapel Hill
2020 Andre Leon Gray, Allcott Gallery, UNC, Chapel Hill
2019 Nuclear Visions; Kelly Popoff; Andrew Johnson; Angela Kelly, Allcott Gallery
2018 Anti-Nostalgia, Carrack, Durham, NC
2017 Materia: Heterotopia, Materialization; Dystopia, Dematerialization; Utopia, Rematerialization, MFA Seminar project in 3 locations, Chapel Hill, NC
The Anxious Condition, Anchorlight, Raleigh, NC
Cameras are Clocks for Seeing, Allcott Gallery, UNC, Chapel Hill
2016 We Stand. We Matter. Art Majors installation, Polk Place and forum, Wilson Library, UNC, Chapel Hill
2015 Beyond Cameras, Duke/UNC MFAs, Horace Williams House, Chapel Hill, NC
Neo-Pre-Proto-Anti-Para-Ultra-Contra-Post-Photography, Spectre Arts, Durham
2014 Anti-Precision, Visualizing Science seminar, Dan Ariely's Center for Advanced Hindsight, Duke University, Durham, NC; Liberty Arts, Durham, NC
2011 The Ground We Walk On, Local Histories, 523 Franklin Street, Chapel Hill, NC
Local Histories II, Orange County Historical Museum, Hillsborough, NC
2009 Bail Out Biennial, Golden Belt, Durham, NC
2008 Heroes, co-curator with Laura Sharp Wilson, LUMP Projects, Raleigh, NC
2005 Images That Matter: Us and Them, Honors Seminar, Ackland Museum, Chapel Hill, NC
2004 Loom 3: Labeler, co-curator, with Jeff Waites, Old Label Mill, Pittsboro, NC
2003 Violent Violence, Gallery Arti et Amicitiae, Amsterdam, Holland
Loom 2 and Loom 1, Old Label Mill, Pittsboro, NC
2001 Perpetuating History, student collaboration at Silent Sam, confederate soldier memorial, UNC, Chapel Hill
1997 Mother Smother Other Lover, Allcott Gallery, UNC, Chapel Hill
1994 Bodily Functions, Student Union Gallery, UNC, Chapel Hill
SELECTED LECTURES + PRESENTATIONS
2024 Artist Lecture, Santa Ana College, CA
Curator Exhibition Tour of Viral Integration, UC, Irvine, CA
Gallery Talk, Santa Ana College, CA
Visiting Artist Lecture: Louisiana State University, Baton Rouge
Poetry Reading, Los Angeles Makery, CA
2023 Artist Lecture, California State University San Marcos
Artist Lecture, University of Illinois, Chicago
Poetry Reading, University Hills Community Center, Irvine, CA
Artist Lecture, Atomic Photographers Guild
Artist Lecture, California State, Fullerton
Artist Lecture, Roger Tory Peterson Institute, Jamestown, NY
Artist Lecture, Cerritos College, Norwalk, CA
2022 Artist Lecture: University of Colorado, Colorado Springs
Artist Lecture: Sarah Lawrence College, Bronxville, New York
Artist Lecture: The University of Texas Rio Grande Valley
Artist Lecture: Lawrence University, Appleton, Wisconsin
Artist Lecture, Cerritos College, Norwalk, California
Gallery Talk, Dowd Gallery, SUNY, Cortland, New York
Artist Lecture: Claremont Graduate Seminar on Curating Art and Science, Caltech Archives, Pasadena, CA
WebEx Seminar, SUNY, Cortland, New York
2021 Artist Lecture: Lafayette College, Easton, Pennsylvania
Artist Webinar: University of Colorado, Colorado Springs
Museum Talk: Wallace Arts Trust, Auckland, New Zealand
Artist Lecture, Greenfield Community College, Massachusetts
2020 Museum Talk: Aratoi Wairarapa Museum of Art and History, Masterton, NZ Gallery Talk: University of Virginia, Charlottesville
Artist Lecture: Wilmington College, Ohio
Artist Lecture: Emory University Photographers Speaker Series, Atlanta, Georgie
Instagram Takeover, Art Is On The Line, May 24, Groningen, Netherlands
2019 Artist Lecture: University of Groningen, Netherlands
Gallery Talk: Candela Gallery, Richmond, Virginia
Gallery Talk: Galerie Block C, Groningen, Netherlands
Artist Lecture: Minerva Art Academie, Groningen, Netherlands
Presenter: Liberal Democracy and Social Practice panel, College Art Association Annual Conference, New York, NY
Presenter/ Workshop Leader: Visualizing the Archive, University of Groningen and Minerva Art Academie, Netherlands
2018 Artist Lecture: New Image Gallery, Harrisonburg, Virginia
Artist Lecture: James Madison University, Harrisonburg, Virginia
Artist Lecture: University of Maine, Orono, Maine
Artist Lecture: Institute for Ethics, Duke University, Durham, North Carolina
Presenter: Ethics and Representation, exhibition panel, James Madison University, Harrisonburg, Virginia
Presenter: Responses to Nuclear War, Forum for Scholars and Publics, Power Plant Gallery, Duke University, Durham, North Carolina
Poetry Reading, SurVision Books, Pearse Street Library, Dublin, Ireland
2017 Artist Lecture: Washington and Lee University, Lexington, Virginia
Artist Lecture: Temple University, Tokyo, Japan
Artist Lecture: Hiroshima City University, Japan
Artist Lecture: Turchin Center for the Arts, Appalachian State University, Boone, NC
Presenter: After Hiroshima, exhibition panel, Gallery B#S, Treviso and Punto Croce, Venice, Italy
2016 Keynote: Claremont McKenna College, Nuclear Policy Conference, Claremont, CA
Gallery Talk: Gallery G, Hiroshima, Japan
Presenter: PICTURE, magazine launch, MoMA / PS1, New York, NY
2015 Artist Lecture: Hiroshima City University, Japan
Gallery Talk: Vacant Gallery, Tokyo, Japan
Artist Lecture: North Carolina A+T State University, Greensboro
Gallery Talk: Cohen Gallery, Los Angeles, California
Gallery Talk: ICA, Portland, Maine
Gallery Talk: Duke University, Fredric Jameson Gallery, Durham, NC
Presenter: 70 Year After Hiroshima, Duke University, Durham, North Carolina
2014 Artist Lecture: Gettysburg College and Civil War Institute, Pennsylvania
Artist Lecture: Mt Rokko Photography Festival, Kobe, Japan
Presenter: Out of Rubble, Symposium, Gettysburg College, Civil War Institute, PA
2013 Artist Lecture: California College of Art, San Francisco, California
Artist Lecture: Hiroshima City University, Japan
Keynote: Wolfsonian Museum, Miami, Florida
Artist Lecture: Florida International University, Miami, Florida
Presenter: Visualizing Trauma, panel moderated by Fred Ritchin, Daylight Books, MoMA/ PS1, Long Island City, New York
Presenter: Book Launch, After Hiroshima, ICP, New York, NY
Keynote: Remembering Hiroshima/Witnessing Peace, Carnegie Mellon University, Pittsburgh, PA
2012 Artist Lecture: Western Carolina University, Cullowhee, North Carolina
Co-Convener: with Susanne Slavick, Out of Rubble panel, College Art Association Annual Conference, Los Angeles, California
Presenter: Fukushima, Lessons Learned panel, Oberlin College, Ohio
Convener: Metamorphs: Artists Spin Science, symposium, Institute for Arts and Humanties, UNC, Chapel Hill
2011 Artist Lecture: Hiroshima Peace Institute, Hiroshima City University, Japan
Artist Lecture: Whitworth Art Gallery, Manchester, UK
Artist Lecture: The University of the Arts, Philadelphia, Pennsylvania
Presenter: Surviving the Atomic Bomb, panel, Duke University, Durham, NC
2010 Distinguished Lecture: Humanities Seminar, University of Hartford, Connecticut
Distinguished Lecture, Coastal Carolina University, Conway, North Carolina
Presenter: Framing War, symposium, University of Hartford, Connecticut
2009 Artist Lecture: University of Manchester, Department of Art, UK
Artist Lecture: University of Northumbria, Newcastle upon Tyne, UK
Artist Lecture: Skowhegan School of Painting and Sculpture, Maine
Presenter: To Be or Not to Be, A Painter's Dilemma, symposium, Rutgers, New Jersey
2008 Artist Lecture: Eastern Carolina University, Greenville, North Carolina
Artist Lecture: University of Manchester, Department of Art and Visual Studies, UK
2007 Artist Lecture: The Museum of Fine Arts, Boston, Massachusetts
Artist Lecture: Washington University, St. Louis, Missouri
Artist Lecture: Art Institute of Boston, Massachusetts
Artist Lecture: Sarah Lawrence College, Bronxville, New York
Presenter: Political Photography, Sarah Lawrence College, Bronxville, New York
Presenter: Bomb After Bomb: A Violent Cartography, North American Cartographic Information Society (NACIS) Conference, St. Louis, MO
Presenter: Charta Books for Peace, with Howard Zinn, Cooper Union, New York, NY
2006 Presenter: Anthropology, Art and Activism: Wars Unfinished, U.S. Military Bases in Okinawa and Korea, Brown University, Providence, RI
2005 Artist Lecture: Brown University, Providence, RI
Artist Lecture: University of Alabama, Tuscaloosa
Artist Lecture: Ithaca College, Ithaca, NY
2004 Artist Lecture: School of Oriental and African Studies, University of London, UK
Artist Lecture: University of Buffalo, NY
2003 Artist Lecture: Watkins College of Art and Design, Nashville, TN
2002 Presenter, panel in conjunction with the group exhibition “Toxic Landscapes,” Jose Marti National Library, Havana, Cuba,
Artist Lecture: The Center for Advanced Art and Culture, Maryland Institute College of Art, Aix-en-Provence, France
2000 Gallery Talk: The Mint Museum, Charlotte, NC
1999 Artist Lecture: University of Miami, Florida
Gallery Talk: Art < > Audience, Green Hill Center for Art, Greensboro, NC
Co-Convener, with Jane Marsching, Local / Global Photographic Practices at the End of the Millennium, College Art Association Annual Conference, Los Angeles, CA
1998 Artist Lecture: Carnegie Mellon University, Pittsburgh, PA
Artist Lecture: Duke University, Durham, NC
1997 Presenter: The Index of Beauty, Society for Photographic Education: Los Angeles Contemporary Exhibits, CA
Keynote: Feminist Navigations, “Photographic Feminisms,” Chapel Hill, NC
Artist Lecture: The Rhetoric of Art, Censorship, and Public Funding, Claremont McKenna College, CA
1996 Presenter: Performance Studies Formations, “Maternity, Visuality, Performativity”, Northwestern, Chicago, IL
Artist Lecture: University of Alberta, Edmonton, Canada
Artist Lecture: DePauw University, Greencastle, IN
Artist Lecture: Banff Centre for the Arts, Alberta, Canada
Artist Lecture: Duke University, Durham, NC
1995 Artist Lecture: American Civil Liberties Union Annual Conference
1992 Artist Lecture: Rochester Institute of Technology, Rochester, NY
Artist Lecture: Syracuse University, NY
1991 Artist Lecture: Yale Summer School at Norfolk, CT
Artist Lecture: Sarah Lawrence College, Bronxville, NY
Artist Lecture: University of Maryland, Baltimore County
SELECTED PUBLICATIONS
SELECTED BOOKS
2024 De Gruyter Handbook of Drone Warfare, De Gruyter Contemporary Social Sciences Handbooks, edited by James Patton Rogers, Drone Imaginaries, Kathrin Maurer, pp.66-67, Walter de Gruyter GmbH, Berlin/Boston
Moderna SuperAÇÃO! Geografia - Volume 1, Editora Moderna Press, Brazil, forthcoming
2022 The Deconstruction of Sex, Jean-Luc Nancy and Irving Goh, cover image, Duke University Press, North Carolina, USA
Toxic Immanence: Decolonizing Nuclear Legacies and Futures, edited by Livia Monnet, image featured in “Lingering Radiation: On Violent Pasts and Open-Ended Futures,” Ruby De Vos, pp. 282-287; “Inheritance: Radiant Reflections from Hiroshima, Nagasaki, and Fukushima: 20 poems by Bo Jacobs for 20 Photographs by elin o’Hara slavick,” pp. 383-423, McGill-Queen’s University Press, Canada
2021 The War Lawyers, Craig Jones, cover image, Oxford University Press, UK,
Identity in Action: Applied Human and Social Sciences, vol. 4, Leandro Karnal, Moderna-Santillana Brazil Group, Brazil, color plate
Continuing Education for Geography Teachers 2, Rogata Soares del Gaudio and Alice de Eliano de Souza martins Freitas, Editora Moderna, Brazil, color plate
The International Encyclopedia of Geography, contributor to the new "nuclear geographies" definition, edited by Becky Alexia-Martin and Jonathan Turnbull, Figure 1, color plate, pp. 6-7, Wiley, USA
Drone Imaginaries: The Power of Remote Vision, edited by Andreas Immanuel Graae and Kathrin Maurer, Manchester University Press, UK, cover image and p. 32
2020 Family Tree Whakapapa, exhibition catalogue with essays by Katherine Guinness and Rawiri Smith, New Zealand,
Holding History in Our Hand, limited edition artist book from the Peace Resource Center Archive. on the occasion of the 75th memorial of Hiroshima and Nagasaki for Wilmington College’s Annual Westheimer Peace Symposium and Response Project, USA
2019 Insurgent Aesthetics: Security and the Queer Life of the Forever War, Ronak K. Kapadia, Duke University Press, Durham, NC, pp. 95-101; color plates 9-12, USA
2018 Cameramouth, chapbook of poetry, New Poetics, SurVision Books, Dublin, Ireland
2016 Photography in America, Miles Orvell, Oxford University Press, UK, pp. 200-201
2015 PICTURE magazine, Issue 1, edited by John Pilson and Matthew Booth, page 66, NY
Gut Feminism, Duke University Press, cover image, USA,
Disorder, teNeues Publishing, London, UK, pp. 74-75 + 127
War Power, Police Power, Marc Neocleous, cover image, Edinburgh University Press
2013 After Hiroshima, bilingual monograph of my work, essay by James Elkins, Daylight Books, NY
Arts of the Political: New Openings for the Left, Ash Amin and Nigel Thrift, Duke University Press, cover image, USA
Organix: Contemporary Artists from the USA, Edited by Diego Cortez, Benetton Corporation, Fabrika, Italy pp.506-507, 831
War + Memory: The 6th Jeonju Photo Festival, Korea, "War, Image and," pp.50-55
2012 Black and Blue: The Bruising Passion of Camera Lucida, La Jetee, Sans soleil, and Hiroshima mon amour, Carol Mavor, Duke Press, photograph, p. 160, text p. 52), USA
2011 Reconstructing Conflict: Integrating War and Post-War Geographies, edited by Scott Kirsch and Colin Flint, Ashgate Publishing, Farnham, UK, cover image,
Latinamericanism After 9/11, John Beverly, Duke Press, cover image, USA,
2010 Virilio Now: Current Perspectives in Virilio Studies, edited by John Armitage, Polity Press, Cambridge, UK, "Empathetic Vision: Aesthetics of Power and Loss," pp.115-144
America and the Misshaping of a New World Order, edited by Giles Gunn and Carl Gutiérrez-Jones, the University of California Press, cover image, USA
What I Keep, Photographs by Susan Mullally, "What I Keep So You Can See Me," Introduction by elin o'Hara slavick, Baylor University Press, USA
2009 Paper Politics: Socially Engaged Printmaking Today, edited by Josh McPhee, PM Press, Oakland, CA, pp. 8, 122 + 147
Fixing Sex, Intersex, Medical Authority, and Lived Experience, Katrina Karkazis, cover photograph, Duke University Press, Durham, North Carolina, USA
2008 Reading Boyishly, Roland Barthes, J.M. Barrie, Jacques Henri Lartigue, Marcel Proust, and D.W. Winnicott, Carol Mavor, Duke University Press, photographs, pp. 140 and 367, USA
Bombing Ourselves, winter, Extra! Extra! Pamphlet series #2, limited edition reprint of interview by Catherine Lutz from Bomb After Bomb: A Violent Cartography, Azul Editions, CT, USA
Against War: Views from the Underside of Modernity, Nelson Maldonado-Torres, Duke University Press, cover art, USA
2007 Bomb after Bomb: A Violent Cartography, monograph of my work with essays by Howard Zinn, Carol Mavor, and Catherine Lutz, Charta Art Books, Milan, Italy
2006 Fables of La Fontaine, Constantine and Koren Christofides, University of Washington Press, Seattle/London, page 68, USA
2003 Autobiographical Writing Across the Disciplines, Diana Freedman and Olivia Frey, editors, Duke University Press, cover photograph, USA
2001 Homefront: A Military City and the American Twentieth Century, Catherine Lutz, with photographs by elin o’Hara slavick, Beacon Press, USA
1999 The Untimely Present, Postdictatorial Latin American Fiction and the Task of Mourning, Idelber Avelar, Duke University Press, front cover photography, USA
SELECTED PERIODICALS
2024 Women’s Studies Quarterly, Unbearable Being(s), collage, forthcoming
Yes We Cannibal, 7” vinyl record cover, Helen Gillet’s experimental cello, Baton Rouge, LA
Citric Acid: An Online Orange County Literary Arts Quarterly, “Selections of Resistance: Viral Integration,” elin o’Hara slavick, Issue 9, March
Hyena, Surreal Feminism, journal edited by Cindy Rhem, Los Angeles, CA, forthcoming
2023 Colorado Nuclear Atlas, “Dark Archive,” elin o’Hara slavick, January 14
2022 TORCH, A Personal History of Home, edited by Dr. Jennifer Wong, collages by elin o’Hara slavick, The Oxford Research Centre in the Humanities, University of Oxford
A New Nothing, Sleeper Publications, Pittsburgh, PA and Durham, NC
The Brooklyn Rail, A Tribute to Diego Cortez (1946-2021), organized by Raymond Foye, September 1, “Poem to Diego,” elin o’Hara slavick
2020 A Manic Body Politic, “National Anathema,” Feb. 1, Yusef Sayed, UK
Mark Creegan Blog, “Pandemic Practice, Social Distance Studio Visit with elin o’Hara slavick,” May
Journal of Black Mountain College Studies, vol. 10, “Dance/Movement Collages by elin o’Hara slavick,” spring
Love In The Time of COVID, A Chronicle of a Pandemic, “Pandemic Portraits, Pandemic Poetry, with a Special Film about Art as Protest: elin o’Hara slavick,” Nov. 13, New Zealand; “Family Tree Whakapapa,” Dec. 25
2019 American Quarterly, “Grievability and Nuclear Memory,” Jessie Boylan, vol 71 no. 2, pp. 379-388
Cultural Politics, Duke University Press, “Marx on Earth,” Barbara McCloskey, pp 244-251
Artlines, Womens’ Caucus for Art, summer edition, NY
2018 White Hot Magazine, “Apocalypse: Then and Now” at the Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice,” Jonathan Goodman, April
Full Bleed, feature on my collages, MICA, Baltimore, Maryland, back cover and pp. 86-91
Afterimage, Vol. 45, No. 4, “Marx@200,” Benjamin Ogrodnik, pp 26-28
2017 Timeout New York, “Every Woman,” featuring my collage, June 21, p. 44
2015 The Asia-Pacific Journal, "Hiroshima Mon Amour," Vol. 13, Issue 32, No. 4, August 10
BLOW Photo, featured photographer, "After Hiroshima," May, Dublin, Ireland
Critical Military Studies, "Re-Imagining Hiroshima in Japan," Photograph, p.1, June, Taylor & Francis
Fisheye Magazine, "The Swap: portraits de photographes," Paris, France
The Volta, Evening Will Come, "Hiroshima mon Amour," August
Union of Maine Visual Artists Quarterly Journal, "The Mapping of the Incomprehensible," 8-page spread of collages and text
2014 Burnaway, "On Hiroshima: Q&A with elin o'Hara slavick," Amy White, August 4
2013 The Asia-Pacific Journal, "After Hiroshima: an interview with elin o'Hara slavick," Amy White, Volume 11, Issue 19 No. 3, May 13
Spectrum, journal of the Comprehensive Nuclear-Test-Ban Treaty Organization, Vienna, Austria
2012 The Journal of Cultural Studies, Routledge, Vol. 26, Numbers 1-6, cover images
2011 Hiroshima Research News, Hiroshima Peace Institute, "An American Artist in Hiroshima, Vol. 14, No. 2, Nov., page 4
2010 The Asia-Pacific Journal, “Art, Politics, Memory, and Language in A Measure of Remorse and Protesting Cartography – Places the U.S. has Bombed: A Conversation between Artists Hong-An Truong and elin o'Hara slavick
Public: Art, Culture, Ideas, Toronto, Canada, “Memorials in the After Aftermath: France and Japan,” photographic essay, January
Daylight Magazine, Online Daily, "Bernard Faucon: The Most Beautiful Day of My Youth," "Miyako Ishiuchi Exhibition at the Third Gallery Aya, Osaka, Japan," “URDLA: Assan Smati,” “Susan Mullally’s What I Keep,” “Ben Vautier: Strip Tease is Integral”
2009 The Asia-Pacific Journal, "Hiroshima: A Visual Record," elin o'Hara slavick, Vol. 30-3-09
Culture Work: A Periodic Broadside for Arts and Culture Workers, October, Vol. 13, No. 4, The Bailout Biennial, with María DeGuzmán
CounterPunch, "Flags for Hiroshima," Weekend Edition, front page, September 18
Art Papers, Atlanta, GA: "Ishiuchi Miyako, Hiroshima, Japan," Nov/Dec, p. 63
Visual Anthropology of Japan, "Hiroshima: A Visual Record," August 6
Journal of Critical Asian Studies, Routledge, "Hiroshima: After Aftermath," 41:2, 307-328
2008 Anthropology Today, London, UK, front, inside front and back cover photographs, October
2007 Red Pepper Magazine, London, UK, August, “Bomb After Bomb,” p. 51, inside back cover
2006 American Ethnologist, November, Issue 33(4), photographs
Daylight Magazine, Issue #5, Workers Dreaming, Chapel Hill, New York, London, pp. 54-59
Cultural Politics, July, Field Report – Protesting Cartography: Places the U.S. has Bombed, Oxford, UK, pp. 245-254
2005 Not In My Name: Silvia Velez, Adelaide, Australia, "Scraps of Hope for a Nameless Flag," catalogue essay, pp. 36-39
2002 American Anthropologist, New York, NY, Volume 104, Number 3, September, cover and photographs pp. 728 and 730
Southern Atlantic Quarterly, Durham, NC, spring, “Dissent from the Homeland: Essays after September 11,” photographs p. 289
The Independent, Durham, NC: “Pictured Southern: Contemporary Southern Photography from Walker Evans to Sally Mann,” cover story, January 2-8
Adbusters, Vancouver, BC, Canada, January, “Global Economy Postcard,” p.6
2001 Art Papers, Atlanta, GA, “Memories of Nature,” Sept/Oct., pp. 39-40
2000 The Progressive, Madison, WI, January, “A Doll for the Global Economy,” p. 15
1999 Printed Matter, Inc., NY, distribution of Post-Colonial Girl Paper Doll, booklet printed by Paper Crane Press, 10 pages
1994 Whitewalls, Chicago, IL, “A Wretch Like Me,” edited by Robert Blanchon, fall, p. 39
SELECTED BIBLIOGRAPHY
SELECTED BOOKS
2021 Hiroshima City Art Works, Kohei Hosogaya, exhibition catalogue featuring my work, Hiroshima City Culture Foundation, pp. 58-59
Out of Place: Artists, Pedagogy, and Purpose, edited by Tim Doud and Zoe Charlton, “Lauren Frances Adams, Maryland College of Art, Baltimore, MD,” Punctum Books, pp. 49 + 51
2019 Futureproof: Security Aesthetics and the Management of Life, edited by D. Asher Ghertner, Hudson McFann, Daniel Goldstein, Duke University Press, Foreword by Catherine Lutz, p. xii
2015 Camera Atomica, John O'Brien, Art Gallery of Ontario and Black Dog Publishing, p. 144
2013 Cartographer of sinister history, Monika Rydiger, "Cartographers of Other Spaces," International Cultural Centre Gallery, Krakow, Poland, pp. 58-63
Natural Disaster and Reconstruction in Asian Economies: A Global Synthesis of Shared Experiences, Edited by Yau Shuk-tung, Kinnia, “Bombs Bursting in Air: state and Citizen Responses to the U.S. Firebombing and Atomic Firebombing of Japan,” Mark Selden, Palgrave MacMillan, New York, pp. 79-110
2011 Art Critiques: A Guide, James Elkins, New Academia Publishing, pp. 130-134
Cities Under Siege: The New Military Urbanism, Stephen Graham, Verso Books, NY and London, p. 356
Envisioning Landscapes, Making Worlds, Geography and the Humanities First Edition, Edited by Stephen Daniels, Dydia DeLyser, J. Nicholas Entrikin, Doug Richardson, “Above the Dead Cities,” Derek Gregory, Routledge, London and New York
2010 Rethinking the Power of Maps, Denis Wood, Guilford Press, New York and London, page 224
2009 The Map as Art: Contemporary Artists explore Cartography, Katherine Harmon, Princeton Architectural Press, page 30
2004 Not Just Any Dress: Narratives of Memory, Body, and Identity, edited by Sandra Weber and Claudia Mitchell, Peter Lang USA, "Collecting Loss," Carol Mavor
1999 Becoming, Duke University Press, Carol Mavor, pp.135-173
1998 Media Performance Along the Border, Johannes Berringer, John Hopkins University Press, p. 246
SELECTED PERIODICALS
2024 The Democracy Chain, “After Hiroshima: Atomic-Bomb Influenced Photographic Work by Lifelong Peace Activist,” Liz Goldner, Issue #32, March
2022 Counterpunch, “The Bomb that Cracked an Island,” Jeffrey St. Clair, Sept. 23, Petrolia, CA
DARIA, Denver Art Review, Inquiry and Analysis, "Dark Archive," Jose Antonio Arellano, September 15, Colorado
Ithaca Times, “SUNY Cortland Hosts Sisters’ Family Tree,” Arthur Whitman, Nov. 30, pp. 12 +15
2021 Wairarapa Times-Age, “Family trees celebrated,” Gareth Winter, p. 25, Feb. 11, New Zealand
Carterton Crier, “Talk about trees,” p. 27, Feb 12, New Zealand
Regional News, “Humans and Trees,” #141, p. 31. Jan. 18, Wellington, New Zealand
Featherstone Phoenix, “Family Tree Whakapapa exhibition is a treasure,” Jen Olson, Vol XXVI, Issue 1, New Zealand
2020 American Quarterly, “On Violence, Seen Remotely,” Elspeth Iralu, vol. 72, no. 4, p. 1047-1055, Project Muse, John Hopkins University Press, Baltimore, MD
Spectator, The University of Southern California Journal of Film and Television Criticism, Virtualizing Memory, edited by Maria Zalewska, “Negative Hauntology and the Nuclear Sublime: On VR and Catastrophe,” Katherine Guinness, p. 31-39
Monday Artpost, “Family Tree Whakapapa,” Dec. 28, Ocean and Pounds Publication, Hong Kong
PhotoForum NZ, “Family Tree Whakapapa,” December 20, New Zealand
Graytown Grapevine, “Four Sisters Exhibit Together in Masterton and Auckland,” Masterton, New Zealand, November
Wairarapa Times-Age, “Family tree exhibition,” Becky Bateman, Nov. 3; “Family Tree Whakapapa,” Gay Butler, p. 14., Dec. 27, Masterton, New Zealand
Aratoi Museum Quarterly, “Summer at Aratoi,” Masterton, New Zealand
Wairarapa Midweek, Aratoi Voices, “Family Tree Whakapapa,” Dec. 16. Page 14, New Zealand
Surveillance and Society, “Review of Kapadia, Insurgent Aesthetics: Security and the Queer Life of the Forever War,” book review, Robert Heynen, Queens University, Canada, 18 (4), 559
2019 Dagblad Noorden, Groningen, Netherlands, “Vergeten atoombom weer actueel,” Illand Pietersma, September 6, cover and page 11
2018 Mediations, Journal of the Marxist Literary Group, “Mapping the Atomic Unconscious: Postcolonial Capital in Nuclear Glow,” Katherine Lawless, Volume 31, No. 2, Special issue: Materialism and the critique of Energy, spring
Winston-Salem Journal, “Innovation and tradition: Past and present approaches to photography,” Tom Patterson
Sublime Imperfections, “Autoradiographs in contemporary art.” Ruby de Vos, October 30, Amsterdam, Netherlands
The Chronicle, “Kenan ‘Workers Dreaming’ exhibit challenges popular notions of labor,” Alizeh Sheikh, October 24, Duke University, Durham, NC
2017 Giorno e Notte, La Tribuna, “72 Anni Dopo La Bomba Atomica,” Elena Grassi, front page, August 6, Treviso, Italy
Cultural Anthropology, “What Matters,” Catherine Lutz
Indy Week, “Materia – A Temporal Collaboration at Three Atypical Sites,” Brian Howe, p. 44; “The Anxious Condition,” Noah Rawlings, p. 33, Durham NC
2016 Axon, Creative Explorations, “Give back the human: poetic collaboration and hibakusha poems,” Cassandra Atherton, No. 10, University of Canberra, Australia
2015 Tokyo Times / Shimbun, November 27, page 26
Frieze, “The Nothing That Is: A Drawing Show in Five Parts,” Mimi Luse, Oct. 21, London, NY
Chigoku Daily, "International Artists Express Hiroshima," Hiroshima, Japan
Library of Congress, “Remembering Hiroshima in Photographs,” Barbara Orbach Natanson, August 6
CRAVE, "Seventy-Year-Old Shadows of Hiroshima," Nicole Borgenicht, August 26, LA
Portland Press Herald, "Far East and Down East on view at MECA Gallery," June 7, ME
Portland Phoenix, "Traces, transformations and trajectories: elin o'Hara slavick and Shane C. Smith," Britta Konau, July 2, p 30; "Be on the lookout for elin o'Hara slavick at ICA," June 5, p. 21, Maine
2014 Lens/cratch, "The Swap," Grant Gill, April 14
DC Sight Unseen, "The Other Side of Disaster," Adrian Muoio
Burnaway, " Artists Respond to States of Emergency," Nick Kahler, March 13
New Mexico Mercury, "Another Way of Seeing," Margaret Randall, March 28
On A White Wall, "The Swap," Stuart Pilkington, February 28
NECSUS, European Journal of Media Studies, “Photographed by the earth: War and media in light of nuclear events,” Thomas Pringle, pp. 131-154, Amsterdam, Dec. 4
2013 New York Times, Weekend Arts II, Paper Gallery, Dreamscapes, Abysses And Radiation, Dana Jennings, p. C24, August 23
Los Angeles Times, " Haunting residue of Hiroshima," Leah Ollman, October 24, page D14, print edition; online: "Review: elin o'Hara slavick evokes ghosts of Hiroshima," Leah Ollman
Los Angeles Times, Arts and Culture top story, "U.S. bombing seen through artist's eye in 'After Hiroshima' book," Liesl Bradner, Aug. 4, p. E3
San Francisco Chronicle, Books top mention, "After Hiroshima, by elin o'Hara slavick," Kenneth Baker, August 2
San Francisco Chronicle, "Fiery indelible images," Kenneth Baker, page F7
Times Higher Education, “Arts of the Political: New openings for the Left,” Ash Amin and Nigel Thrift, Fred Ingliss, book review featuring my book cover, July 11
Images Magazine, Paris, France, #59, p. 91, "After Hiroshima," book review
Photo-eye Blog, Art Photography and Books, "Atomic Studies in Blue," Colin Pantall, July 25
FOAM, All about Photography, "Black Shadows: Photography and Forgetting," Esther Teichmann, May 30, Netherlands
Proceedings of the National Academy of Sciences of the United States of America, "Radiated Relics," David Harris and Rebecca Horne, vol. 110 no. 21, May 22
Fabrik: Art, Design, Architecture, "New Works by elin o'Hara slavick," September 18, LA
D.A.P. / Distributed Art Publishers Inc., featured image, Cory Reynolds, August 23
Artweek LA, elin o'Hara slavick: Until What Has Disappeared Appears, Vol. 136, Sept. 16
CARTA News, Florida International University, " Internationally renowned artist elin o'Hara slavick lectures to MFAS," Juan Brizuela, Nov. 6
The Independent Weekly, "Indy Pick: elin o'Hara slavick," Chris Vitiello, April 24
Actuphoto: Actualite Photographique, "elin o'Hara slavick presents After Hiroshima at the Daylight Project Space," April 19
CTBTO Spectrum Magazine, Comprehensive Nuclear-Test-Ban Treaty Organization, Issue 20, Front and back cover image, pp. 34-35, July, Vienna
2012 The Oberlin Review, "Art Exhibition Sheds Light on Nuclear Issue," Joelle Eliza Lingat, Ohio, March 9, pp. 10-13
Landscape Research, “Researching Militarized Landscapes,” Chris Pearson, Vol. 37, UK
Geographical Imaginations: War, Space and Security, "Seen/Seduced from Above," Derek Gregory, December 10, 2012
Pittsburgh City Paper, "Out of Rubble: An art exhibit asks what about what comes after war?" Christopher L. McGinnis, January 11
Cartographic Perspectives, “Function and Beauty (In Defense of Useless maps), Nat Case, pp. 17-22
Pittsburgh Tribune Review, "Images tell stories of consequences of war," Kurt Shaw, Jan. 15
Sarah Lawrence Magazine, "The Good Fight," Katharine Reece, spring, p. 26
Postcolonial Representations of Women, “Possibilities for Subverting the Dominant Visual Regime,” Rachel Bailey Jones, pp. 169-193, Springer
Chugoko Newspaper, "Accusation of A-Bombing through Art, An American Artist displays 50 works in Naka-ku," Doumen Masakazu, Hiroshima, Japan, September 21
Cultural Memories, “Doors into Nowhere: Dead Cities and the Natural History of Destruction,” Derek Gregory, pp. 249-283, Vol. 4, Springer Dordrecht
Frontline, India's National Magazine, February 26, 2011, "War is a Lie," Shelley Walia
Temporary Review, "Local Histories in Chapel Hill," Marya Roland, May 11, 2011
Hiroshima Peace Institute Newsletter, "Research Forum on September 15, Hiroshima: After Aftermath – An exhibition of work made in Hiroshima by elin o'Hara slavick"
The Chronicle, Duke University, "Hosokawa gives unique perspective on Hiroshima," Shane Daly, April 24
The Independent, Chris Vitiello, Durham, NC, "The Triangle's visual art scene expanded in 2011," Dec. 28; “Don't Be Intimidated by this Painting," Dec. 21; "Fast Face Forward, Self-Portraiture by – and curated by – students," Nov. 2, 1011, p. 27; "Mirror Image: Women Portraying Women at the NCMA," May 18; "Live here now: Chapel Hill show animates concepts of place," February 16, page 28
2010 Transactions of the Institute of British Geographers, New series 35- 2, “War and Peace,” Derek Gregory, page 175
The Herald Sun, Durham, NC, "Exhibit on Bombing," September 2; “Slavick revisits Hiroshima after the bomb," Blue Greenberg, January 1
Duke Magazine, Durham, NC, "The Map as Art: Contemporary Artists explore Cartography," Teka Selman, page 56
The Independent, David Fellerath, Durham, NC, "To the End of the World with Noam Chomsky and elin o'Hara slavick," October 6
2009 InJournalism Magazine, Alfie Wilkinson, March 15, University of Sunderland, UK
Independent, Durham, NC; “Radiant Art – elin o'Hara slavick' studies of aerial bombardment,” Brian Howe, Dec. 30, p. 21; "Eight Days a Week" + "Indy Pick" for Hiroshima: After Aftermath, Nov. 18, p. 25; "Gone to Croatoan, Group Show Durham tackles the troubles and hopes of the times," David Fellerath, January 28, cover image and pp. 22-23; "The Year in the Arts," Amy White, p. 15
The Herald Sun, Durham, NC, “Artists Take Shot at Bailout," Dawn Baumgartner Vaughan, January 30, "Budgetless political art show rich with ideas," Blue Greenberg, January 25
News and Observer, Raleigh, NC, "Bailout Tackles Economy," Michele Natale, February 8
2008 Mmegi, Gaborone, Botswana, “The Naiveté of Bombardiers,” Sheridan Griswold, August 22, p. A4; online “Bomb After Bomb, Book Review,” Sheridan Griswold, August 25
The Cincinnati Enquirer, Ohio, “They’ve Got the Whole World in Their Hands,” Sara Pearce, May 23
Cartographic Perspectives, Milwaukee, WI, Review of Bomb After Bomb: A Violent Cartography, Daniel G. Cole, Smithsonian Institution, pp. 67-68; Review of Bomb After Bomb: A Violent Cartography, Mark Denil, pp. 68 -70, Number 60, Spring
Zivil, Stuttgart, Germany, “Bomb After Bomb,” Werner Schulz, spring, pp. 3-4
Afterimage, the Journal of Media Arts and Cultural Criticism, NY, Book Review, “Judging War,” February, 2008, Jill Connor, Spring, 2008, pp. 26-27
2007 Independent, Durham, NC, “elin o'Hara slavick charts history's nightmares in Bomb After Bomb: A screaming comes across the sky,” Brian Howe, August 22
North Carolina Public Radio, The State of Things, with Frank Stasio, December 5
CounterPunch, “Bomb After Bomb,” Howard Zinn, December 15
Countercurrents.org, “Bomb After Bomb,” Howard Zinn, December 18
ArtUS, Los Angeles, CA, “Prosecuting the Cartography of Violence,” Ryan Griffis, pp. 62-63
Border Crossings, Toronto, Canada, Book Review, Andrea Fitzpatrick, winter, pp. 107-108
DOMUS, Contemporary Architecture, Design, Art, Milan, Italy, “Geography of War,” Nov.
Chapel Hill Herald, NC, “Lovely paintings show ugliness of war,” Rebecca Bailey, front page and p. 4, September 21
Big, Red and Shiny, Boston, MA, “Bomb After Bomb, a Book Review,” Matthew Nash, July 17; “Art and Activism,” Matthew Nash, April 8
The Miami Herald Street Weekly, Florida, "Call to Arts: Armed Artists of America Rally Against the War in Iraq with an Exhibit at Ashmore Gallery," Carlos Suarez de Jesus, October 29
News and Observer, Raleigh, NC: "Weaving Art Into an Archival Setting," Caitlin Cleary, May 23; "Art Fills Old Mill," Caitlin Cleary, May 21
The Herald-Sun, Durham, NC: "Snapshot: Best Bet in Arts, Loom 3: Labeler," May 21
Art Papers, Atlanta, GA: "Loom 3: Labeler," Ann Millett, Sept., pp. 44-45
2003 The Guardian, London, England, "Within These Walls," Craig Taylor, December 17
Volkskrant, Amsterdam, Netherlands, "Critical Art from America," Rutger Pontzen, July 19
2002 Independent, Durham, NC “The Anti-Warriors: In a year consumed by war, triangle peace activists helped keep debate and dissent alive” Jon Elliston, p. 22, November 27; “Protest Maps; slavick’s work maps the fatal seduction of distance,” Elizabeth Howie, November 13; “Zine Stream,” John Valentine, July 31; “Triangle Art Awards, elin o’Hara slavick, Artist/Activist,” June 25
La Provence, Aix-en-Provence, France, “Ces gens de la Fontaine,” Samir Heddar, April 13
Aix-en-Dialogue, Aix-en-Provence, France, “Les Fables de la Fontaine,” Jean-Francois Hubert
News and Observer, Raleigh, NC, “Dream Weavers,” Max Halperen, April 19
The Spectator, Raleigh, NC: “World on Its Head,” Lissa Brennan, June 22; “Documenting The Self,” Lissa Brennan, May 29, p. 28; “In Light of Recent Events,” Glenn Perkins, January 24
The Herald-Sun, Durham, NC, “Exhibit shows photo world upside down,” Eric Ferreri, May 27
Art Papers, “Some Kind of Dream,” Julia Ridley Smith, Sept., pp. 38-39
2001 Independent, Durham, NC “The Personal is Political,” Clancy Nolan, June 20, pp.28-29
Pittsburgh Tribune Review, PA, “Pair of shows comment on environmental issues facing our nation – and the world,” Kurt Shaw, November 16
The Boston Globe, MA, “New Art 2001,” July
Winston-Salem Journal, NC: “A Little like Home,” Tom Patterson, June 17
2000 Art Papers, “The Lyon Biennale,” Nov/Dec. pp. 55-56; “URDLA, Photography as a Form of Printmaking,” Sept/Oct., pp. 55-56; “Sarah Jones and Clementina Hawarden: Kindred Spirits of Photography,” Aug., pp. 47-48
New Frontiers IV, catalogue essay, Todd Smith, Curator of American Art, Mint Museum
South China Post, Hong Kong, “The Beauty of Flesh & Blood,” Fionnuala McHugh, January 9
Winston-Salem Journal, NC, “Art of the State,” Tom Patterson, May 21, Arts Section, front page, p. E1; “Pictures with Punch,” Tom Patterson, April 30, p. E5; “Art as Politics,” Tom Patterson, April 9, Arts Section front page, pp. E1-E2; “Eclectic Mix,” Tom Patterson, July 2; “Not in Mint Condition,” Tom Patterson, June 4
Ming Pao Daily, Hong Kong, “Four Faces, Daughters, Sisters, Nerves,” Carol Ying Kei, Jan. 29, p. 22
Art Papers, Atlanta, GA, “Flesh & Blood,” Dinah Ryan, Sept., pp. 43-44
1999 Winston-Salem Journal, NC, “Getting it to Make Sense,” Tom Patterson, October 24, p. E4
Flesh & Blood, exhibition catalogue essay, “Too Close to See”, Carol Mavor
New Art Examiner, Chicago, IL, “Requiem,” Cedric DeSouza, May, pp.61-62
Art Papers, “Requiem,” Jason Forrest, May
1998 Philadelphia Weekly, “Context,” Miriam Seidel, Sept. 2, pp. 37-38
Art Papers, Atlanta, GA, “Studio Visit with elin o’Hara slavick,” Linda Dougherty, March, pp.29-31; “Labor < > Leisure (Global Economy),” Linda Dougherty, Jan., p. 59
1997 Cultural Studies, Routledge/London, “Collecting Loss,” Carol Mavor, spring, pp. 113-137
Pittsburgh Post-Gazette, “Family weaves symbolism into exhibition,” Thomas, Dec. 13, p. B-8
Pittsburgh Tribune-Review, “Flesh and Blood has Chekhov Drama,” Shearing, Nov. 30, p. E6
Chapel Hill Herald, “Professor’s Presentation Sparks Discussion on Equality,” Fugate, Nov. 3
1996 Artistic Freedom Under Attack, People for the American Way, DC, “Case Studies,” Vol. 4, pp.20
1995 News and Observer, Raleigh, NC, “Students, Critics Praise Award-Winning Artist,” Twardy, Feb. 25
Art Papers, Atlanta, GA, “The Unhappiness of Gender,” Linda Dougherty, March 2
The Herald-Sun, Durham, NC, “Durham Artist Wins Right To Show,” J. Tew, March 3
Fiberarts, “BASF Fiber Show: Powerfully Disturbing,” Bill Alexander, pp. 60-62
New Art Examiner, Chicago, IL, “Artist Wins Censorship Fight in Raleigh,” Woody Holliman, May
Art Papers, Atlanta, GA, “The Pleasures of Gender,” Woody Holliman, July, pp. 58-59; “7th Annual Fiber Arts Exhibition,” Bill Alexander, March, pp. 50-51
Chapel Hill News, NC: “An upside-down World,” Dave Hart, cover story + p. A8; “Art Flap Spotlights Issues of Gender,” Vicky Jiggetts, March 1
National Public Radio, “Pleasures of Gender,” review by Joseph Covington, March 24
1994 Binocular, Australia, “From Dada to Mama: Feminism, The Ready-Made and Contemporary Practice,” Margaret Morgan, pp. 11-29
1992 New York Post, “The Dress off Her Back,” Jerry Tallmer, December 11
P-Form, Chicago, “Embodiment: Sharing Our Wounds,” Johannes Birringer, Issue 25
1991 New Art Examiner, Chicago, Il, “Sister Serpents,” Bill Stamets, April, p.35
SELECTED GRANTS, FELLOWSHIPS, AWARDS, RESIDENCIES
2022-2025 Artist-In-Residence, University of California, Irvine
2022 CalTech-Huntington Art and Research Residency, Pasadena, California
2020 Artist-in-Residence, Peace Resource Center, Wilmington College, Wilmington, Ohio
2015 Japan Society for the Promotion of Science Fellowship, Visiting Scholar at Hiroshima City University, Japan
Nominated for the Prix Pictet, Paris, France, by Curator Jean Wainwright, Tate Modern, UK
Artist-in-Residence, Hiroshima Peace Memorial Museum, Japan
2013 Artist-in-Residence, Peace Memorial Museum, Hiroshima, Japan
2011 Artist-in-Residence, Peace Memorial Museum, Hiroshima, Japan
2010 Artist-in-Residence, URDLA, Lyon, France
2008 Dean Research Award
Glen Elder Distinguished Term Professor (until June, 2012)
Artist-in-Residence, Peace Memorial Museum, Hiroshima, Japan
2006 North Carolina Arts Council Visual Artist Fellowship Artist Fellowship 2004 Kenan Faculty Fund, retention of promising and outstanding faculty in the face of unprecedented competition from peer institutions
2002 Triangle Art Award, The Independent Weekly, Durham, NC
1998 Philadelphia Exhibitions Initiative / Pew Charitable Trust Public Art Award
North Carolina Arts Council Visual Artists Fellowship
Tanner Award for Excellence in Undergraduate Teaching
1996 Artist-in-Residence,The Banff Centre for the Arts, Alberta, Canada, July
PROFESSIONAL AFFILIATIONS
Founder of SWANS (Slow War: Anti-Nuclear State), women artists addressing the nuclear condition, 2022
Founder and member of the Collaborative Collage Collective, 2019-present
Atomic Photographers Guild since 2010; Advisory Board since 2023
College Art Association since 1994
AAUP (American Association of University Professors) since 1999
Works in the Collections of
Queens Museum, NY
Deutsche Bank, Frankfurt am Main, Germany
UBS Bank, Basel, Switzerland
URDLA, International Center for Printmaking and Books, Lyon, France
The National Library of France, Paris
The Art Institute of Chicago, IL
Library of Congress, Washington DC
University of Maine Museum of Art, Bangor
The North Carolina Museum of Art, Raleigh, NC
The Museum of Modern Art Library, NY
The Los Angeles County Museum of Art Library, CA
John Hope Franklin Center, Duke University, Durham, NC
The Law School at the University of North Carolina at Chapel Hill
Institute for Contemporary Art Public Collection, Portland, Maine
Madison Art Collection, James Madison University, Harrisonburg, VA
Smith College Museum of Art, Northampton, MA
Turchin Center for the Visual Arts, Appalachian State University, Boone, NC
Nasher Museum of Art, Duke University, Durham, NC
Ackland Art Museum, UNC, Chapel Hill
Van Every Smith Gallery, Davidson College, Davidson, NC
Luciano Benetton / Benetton Corporation, Treviso Museum, Italy
The Archive of Modern Conflict, London, UK
The International Civil Rights Center and Museum, Greensboro, NC
Asian Studies, UNC, Chapel Hill
The Kinsey Institute, Bloomington, IN
The John M. Flaxman Library, School of the Art Institute of Chicago, IL
The Weatherspoon Art Gallery, University of North Carolina at Greensboro
The New York Lesbian, Gay, Bisexual, Transgender Community Center, NY
The Drawing Center, Viewing Program’s Artist Registry, New York, NY
Museum of Modern Art, Artist Files and Artists’ Books Archives, New York, NY
Franklin Furnace Artists’ Books Archive, NY
Daniel Solomon, Promised Gift to the National Gallery of Art, Washington DC
The Estate of Howard Zinn, Boston, MA
Sara M. Vance, SMV Media, Cincinnati, OH
CounterPunch, Petrolia, CA
Vacant Space, Tokyo, Japan
Galerie Block C / Marinus Augustijn and Agnes Scholte, Groningen, Netherlands
Ontological Museum of Collage, Sante Fe, NM
Temple University Libraries Special Collections Research Center, Philadelphia, PA
Peace Resource Center, Wilmington College, Wilmington, Ohio
Cerritos College Public Art Collection, Norwalk, CA
Erie Art Museum, Erie, Pennsylvania
Santa Ana Community College, California
2024
After Hiroshima (Part 1), SAC Arts Gallery, Santa Ana, CA
After Hiroshima (Part 2), Santa Ana College Main Art Gallery, CA
Catharses / Antidotes, Yes We Cannibal Gallery, Baton Rouge, LA
2023
Atomic Index, Cerritos College Gallery, Norwalk, CA
Make Me a Summary of the World, THIS Gallery, Vancouver, BC, Canada thisgallery.org/project/elin-ohara-slavick/
2022
Dark Archive, Gallery of Contemporary Art, University of Colorado, Colorado Springs
www.dariamag.com/home/dark-archive
Catharses / Antidotes, Cerritos College Art Gallery, Norwalk, CA
2020
Hiroshima and Nagasaki 75, 13 billboards and a limited edition book, Holding History In Our Hand, 30th annual Peace Symposium, Peace Resource Center, Wilmington College, OH
All to Pieces, with Susanne Slavick, Ruffin Gallery, University of Virginia, Charlottesville
2019
After Hiroshima, Galerie Block C, Groningen, Netherlands
2018
Blue Traumas, Lord Hall Gallery, University of Maine, Orono
After Hiroshima, Nagasaki and Fukushima, New Image Gallery, Harrisonburg, VA
Workers Dreaming, Kenan Institute for Ethics, Duke University, Durham, NC
2017
Making the Invisible Visible, Staniar Gallery, Washington and Lee University, Lexington, VA
2016
Hiroshima > Nagasaki > Fukushima, Gallery G, Hiroshima, Japan
2015
Seventy Year Old Shadows of Hiroshima, Cohen Gallery, Los Angeles, CA
East to East: Maine to Japan, ICA at MECA / Institute for Contemporary Art at Maine College of Art, with Shane Smith, Portland, Maine
Hiroshima Skies, billboard project, North Carolina Museum of Art, Raleigh
70 Years After Hiroshima, Frederic Jameson Gallery, Duke University, Durham, NC
Ladders, Artifacts and Trees: Selected Works from Hiroshima, Vacant Gallery, Tokyo, Japan
2014
Heterotopias, Horace Williams House, Chapel Hill, NC
2013
Until What Has Disappeared Appears, Stephen Cohen Gallery, Los Angeles, CA
After Hiroshima, Daylight Project Space, Hillsborough, NC
2011
After Aftermath, The Former Imperial Bank, an A-Bombed building, Hiroshima, Japan
Hiroshima, Beland Galley, Essex Art Center, Lawrence, MA
2010
Aftermath, The Global Education Building, UNC, Chapel Hill, NC, with a lecture by Noam Chomsky
2009
Flags for Hiroshima, Cosign Projects, St. Louis, MO
Hiroshima: After Aftermath, Gallery 100, Golden Belt, Durham, NC
Flag for Hiroshima, Center for Documentary Studies, Durham, NC
2007
Oma Auma, The John Hope Franklin Center, Duke University, Durham, NC
2005
Road In Sight: Workers Dreaming, Center for Documentary Studies, Durham, NC
2003
Workers Dreaming and Mutter, Watkins College of Art and Design, Nashville, TN
2002
Workers Dreaming and Protesting Cartography, The Annex, New York, NY
Protesting Cartography, the John Hope Franklin Center, Duke University, Durham, NC
2000
New Frontiers IV, The Mint Museum, Charlotte, NC
1999
Workers Dreaming, Brewhouse Space 101, Pittsburgh, PA
S e l e c t e d G r o u p E x h i b i t i o n s :
2025
Family Tree, Sordoni Gallery, Wilkes University, Wilkes-Barre, PA; Martin Art Gallery, Muhlenberg College, Allentown, PA; Pearl Kennard Gallery, Ohio State University, Mansfield
Summary, 3-woman show, Southwestern College Art Gallery, Chula Vista, CA
2024
Pacific Standard Time: Art and Science Collide, Crossing Over: Art and Science at Caltech, curated by Claudia Bohn-Spector, Getty Museum / Caltech, Pasadena, California
Plutonium and Silver, Uranium Film Festival, CineWorks, Vancouver, Canada
Expand and Contract: Photography and Mixed Media, curated by Rotem Rozental, Los Angeles Center of Photography, CA
Tryst Art Fair, Torrance Art Museum, Torrance, CA
Biennial Means Necessary, curated by Raul Zamudio, Jane’s Room, New York, NY
Enter the Goddesses, Los Angeles Makery, California
Watching War in American Culture, Ackland Art Museum, Chapel Hill, NC
Wortbildsalat / word-image-salad, curated by Christiane Monarchi and Eva Eicker, Guest Room, Der Grief, https://dergreif.org/guest-room/christiane-monarchi--eva-eicker
Recent Acquisitions, Cerritos College Art Gallery, Norwalk, CA
2023
Family Tree, Erie Art Museum, PA
SWANS (Slow War Against the Nuclear State), Cerritos College Gallery, Norwalk, CA
Recent Acquisitions, Nasher Museum of Art, Duke University, Durham, NC nasher.duke.edu/exhibitions/recent-acquisitions-exhibition-2/
Balance / Imbalance, L.C. Bates Museum, Hinkley, Maine
Art That Matters to the Planet: Interconnectivity, Roger Tory Peterson Institute, Jamestown, NY
2022
Family Tree, Dowd Gallery, SUNY Cortland, NY
Ballots Not Bullets, White Box, New York, NY
Contemporary Works on Paper, Ackland Art Museum, Chapel Hill, NC
Lapdogs of War, The Empty Circle, Brooklyn, NY
Love Letters, Lump Projects, Raleigh, NC
Cutting Edge: Art of Collage, Pink Dog Gallery, Asheville, North Carolina
Immemory: On Covid-19, online collective archive
covid-immemory.com/pandemic-portraits
2021
Spectacle and Scaffolding, Vermont Center for Photography, Brattleboro
Family Tree Whakapapa,The Wallace Arts Trust, Auckland, New Zealand
2020
Family Tree Whakapapa, Aratoi Wairarapa Museum of Art and History, Masterton, New Zealand
Spectacle and Scaffolding, Media Arts Gallery, Robert Morris University, Pittsburgh, PA
75 Years of Nuclear Weapons, Peace Resource Center, Wilmington College, OH
The Future Challenges Us Now, LaborFest, San Francisco, CA
Art In Place, organized by Terrain and CNL Projects, art on 400 sites across the country during quarantine, Chapel Hill, NC
2019
Catastrophes,Artifacts and Narrative, Hiroshima City University Museum, Japan
Photo LA, The Barker Hangar, Santa Monica, CA
Arboreal, Bailey Contemporary, Pompano Beach, FL
Apocalypse Then and Now, Andrew and Anya Shiva Gallery,New York, NY
The Haunted Archive, Fort Worth Community Art Center, Texas
Dear Leader, Candela Gallery, Richmond, VA
Spectacle and Scaffolding, The Fine Arts Center, Greenville, SC
Gender, Sexuality, and Cartography, David Rumsey Map Center, Stanford University, CA
Liten, Bountiful Davis Art Center, Bountiful, Utah
Nuclear Visions: The Atomic Photographers Guild, Allcot Gallery, Chapel Hill, NC
2018
Marx@200, SPACE Gallery, Pittsburgh, PA
www.cmu.edu/dietrich/humanities-center/center-events/marx-at-200-art-exhibition.html
Atomic Traces, New York, NY
Mother Mother, Studio IX Gallery, Charlottesville, VA
Valediction, Ejecta Projects, Carlisle, PA
Analog, In Focus Gallery, Green Hill Center, Greensboro, NC
Feminine Spectrum, VAE (Visual Art Exchange), Raleigh, NC
Source Material, curated by Jon Feinstein, Humble Arts Foundation, online exhibition,
One Night Stand, Golden Belt, Durham, NC
2017
After Hiroshima, IoDeposito, B#S Gallery, Treviso and Punto Croce, Venice, Italy
Governors Island Art Fair, New York, NY
Hiroshima Nevermore, Centro Culturama, Goiânia, Brazil
Radeo Flyer: Artists Re-Imagine the Flyer, DAC Gallery, Los Angeles, CA
Spectacle and Scaffolding: Contemporary Photography Muses Hierarchy, Turchin Center for the Visual Arts, Appalachian State University, Boone, NC
Regard, Weems Gallery, Meredith College, Raleigh, North Carolina
The Nothing That Is, The Carnegie Center, Cincinnati, Ohio
100 Days Action, Southern Exposure, San Francisco, California
2016
The Last Four Years, Cohen's Gallery, Los Angeles, CA
Photo LA, Cohen Gallery booth, Los Angeles, CA
Playing in the Fukushima Forest, Tobito, Japan
Atomic Particles, Physicians for Social Responsibility, Mobius Gallery, Bothell, WA
2015
Camera Atomica, Art Gallery of Ontario, Toronto, Canada
Photography and the Scientific Spirit, John Michael Kohler Center, Sheboygan, WI
Photo LA, Cohen Gallery booth, Los Angeles, CA
Out of Rubble, Center for Art, Design and Visual Culture, University of Maryland Baltimore County
The Nothing That Is, Contemporary Art Museum, Raleigh, NC
Photo Basel, Cohen Gallery booth, Basel, Switzerland
Hiroshima / Nagasaki 70, Angrense dos Reis Society for Ecological Protection, Brazil
Nuclear Photographs, Concorde Hotel, Quebec City, Canada
Fall Out, Whitdel Arts, Detroit, MI
Atomic Photographers Guild, Bank of Japan, A-bombed Building, Hiroshima, Japan
Hiroshima Intersections, Gallery Ishiko-ya, Hiroshima, Japan
2014
Mt Rokko Photography Festival, Kobe, Japan
FotoFever, Photography Art Fair, Cohen Gallery, Carrousel du Louvre, Paris, France
Out of Rubble, UC Art Museum, Boulder, CO; Schmucker Art Gallery, Gettysburg College, PA; Jack Olson Gallery, DeKalb, IL
Close to Home, North Carolina Museum of Art, Raleigh
State of Emergency: Disasters, VanEvery Smith Gallery, Davidson College, NC
Photo LA, Cohen Gallery booth, Los Angeles, CA
Duplicates, New Image Gallery, James Madison University, Harrisonburg, VA
Highlights, Cohen Gallery, Los Angeles, CA
Women, An Exhibition, Detroit Contemporary, MI
Particles on the Wall, Gallery 4500, Seattle, WA
The Swap, online exhibition curated by Stuart Pilkington, UK
Washi, Muckenthaler Cultural Center, Fullerton, CA
Art on Paper, Weatherspoon Art Museum, Greensboro, NC
Occultisms, Humble Arts Foundation, New York, NY
2013
Jeonju Photography Festival, War and Memory, Jeonju, Korea
ORGANIX, Contemporary Artists from USA, curated by Diego Cortez for Luciano Benetton, Venice Biennale, Italy
Out of Rubble, Harris Art Gallery, University of La Verne, CA; String Room Gallery, Wells College, Aurora, NY
Particles on the Wall, Physicians for Social Repsonsibility, Washington State University's Tri-Cities Art Center, Seattle, WA
Risk and the Landscapes of Militarization, Rachel Carson Center for Environment and Society, Munich, Germany
2012
Out of Rubble, Bowling Green State University Gallery, OH; Miller Gallery, Kutztown University, PA
The Fire Does Not Go Out, Baron Gallery, Oberlin College, OH
Atomic Photographers, Form Gallery, Perth, Australia
The Plastic Propaganda Poster Project, Westminster College, Salt Lake City, UT
To What Purpose? Photography as Art and Document, Weatherspoon Art Museum, Greensboro, NC
Behind the Atom Curtain, Uranium Film Festival, Rio de Janiero, Brazil
The Atomic Photographers Guild, The Rocky Flats Cold War Museum, Arvada, CO; Good Shepherd Center, Seattle, WA
2011
Dark Matters: Shadow, Technology. Art, Whitworth Art Gallery, Manchester, UK
Vedute, URDLA, Lyon, France
Out of Rubble, SPACE Gallery, Pittsburgh, PA
Offrez l'art de demain (Offer the Art of Tomorrow), URDLA, Lyon, France
The Last Book, organized by Luis Camnitzer, New York Public Library, Aguilar Branch, NY
Mirror Image: Women Portraying Women, North Carolina Museum of Art, Raleigh
No Glory, Form and Content Gallery, Minneapolis, MN
Behind the Atom Curtain: Life and Death in the Nuclear Age, the Atomic Photographers Guild, Mednick Gallery, Philadelphia, PA; Sala Terrana, Heiligenkreuzehof, Vienna, Austria
2010
Atomic Photographers Guild, University of Basel, Switzerland; Cooper Union, New York, NY
The Last Book, organized by Luis Camnitzer, Zentral Bibliothek, Zurich, Switzerland
Race, Sex, Politics, Religion: 4 things not talk about in the South, organized by Larry Jens Anderson, Space One-Eleven, Birmingham, AL; Emory Visual Arts Gallery, Atlanta, GA
Delineate: an Invitational Exhibition of Drawings, McMaster Gallery, Columbia, SC
2009
Bad Moon Rising, Boots Contemporary Art Space, St. Louis, MO
Capitalism in Crisis, SOMArts Cultural Center, San Francisco, CA
A Book About Death, The Emily Harvey Foundation Gallery, New York, NY
Bail Out Biennial, Golden Belt, Durham, NC
Cool, Collected and In Context, The Weatherspoon Art Museum, Greensboro, NC
2,191 Days and Counting, Powerhouse Arena, Brooklyn, NY
Paper Politics, Ghostprint Gallery, Richmond, VA
Grassroots Cartography, Sea Change Gallery, Portland, OR
To Be or Not To Be: A Painter's Dilemma, Stedman Gallery, Rutgers University, Camden, NJ
Outside the Lines: New Directions in Drawing, A.D. Gallery, Pembroke, NC
2008
Mapping Cartography in Contemporary Art, Contemporary Art Center, Cincinnati, OH
Contemporary Art Photography from The Kinsey Institute, Indiana University Contemporary Gallery, Gary, Indiana
Art and Social Conscience: the Holocaust, Cameron Art Museum, Wilmington, NC
Paper Quilts, Essex Art Center, Lawrence, MA
2007
The Big Picture, Contemporary Photography, North Carolina Museum of Art, Raleigh
Paper Politics, Esplanade Loft Project Gallery, Montreal, Canada
2006
New Cartography, LeBot Gallery, Oakland, CA
Terror? Intersection for the Arts, San Francisco, CA
Paper Politics, Portland State University Gallery, OR; 5+5 Gallery, Brooklyn, NY
Restating Empire, Gallery 110, Seattle, WA
Bunker than Thou, the Bemis Center for Contemporary Art, Omaha, NE
Crosscurrents, Mint Museum of Art, Charlotte, North Carolina
2005
PatriART: Artists Defend Civil Liberties, Puffin Cultural Forum, Teaneck, NJ
Paper Politics, Phinney Gallery Center, Seattle, WA
Crosscurrents, North Carolina Museum of Art, Raleigh
Art / Work, Tufts University Gallery, Medford, MA
The Simnuke Project, Rx Gallery, San Francisco, CA
2004
News from Home, The Annex, New York, NY
Felix Variations, Play Space, California College for the Arts, San Francisco, CA
Women in the Middle, the University of Wisconsin in Milwaukee Union Art Gallery, Milwaukee, WI
Active Duty, Armed Artists of America, Studio 84, Williamsburg, Brooklyn, NY
The Art of Politics, Ashmore Gallery, Miami, FL
Toxic Landscapes, Long Beach Island Foundation Art Center, Loveladies, NJ
Hall of Portraits, Pinkard Gallery, Maryland Institute College of Art, Baltimore
2003
Les Fables de la Fontaine, The Jacob Lawrence Gallery, University of Washington, Seattle; The Meyerhoff Gallery, Maryland Institute College of Art, Baltimore, MD
The New Normal, Borofsky Gallery, Philadelphia, PA
Violent Violence, Arti et Amicitiae, Amsterdam, Holland
Bad Touch, Rose Art Museum, Boston, MA; Keith Talent Gallery, London, England
2002
Bad Touch 3, Ukrainian Institute of Modern Art, Chicago, IL
Art Basel / Miami, Art Positions, Miami, FL
Figurative Works, Armory Art Center, West Palm Beach, FL, catalogue
Toxic Landscapes: Artists Examine the Environment, Reino de este Mundo International Gallery, Biblioteca Nacional Jose Marti, Havana, Cuba; the Puffin Cultural Forum, Teaneck, NJ
Some Kind of Dream, Contemporary Art Museum, Raleigh, NC
Les Fables de la Fontaine, Temple University, Rome, Italy; Americain Universitaire, Aix-en-Provence, France
2001
Paradise in Search of a Future, CEPA, Buffalo, NY
Ladyfest, Arches Theatre, Glasgow, Scotland
A Social Event Archive, Hermetic Gallery, Milwaukee, WI
Toxic Landscapes, Associated Artists of Pittsburgh Gallery, PA
Homegrown, SECCA, Winston-Salem, NC
2000
Flesh and Blood V, John Batten Gallery, Hong Kong
Counter Productive Industries, 1926 Exhibition Space, Chicago, IL
Visual Artist Fellowship Exhibition, Weatherspoon Art Museum, Greensboro, NC
Flesh and Blood IV, 1708 Gallery, Richmond, VA
EDUCATION
The School of the Art Institute of Chicago, Illinois, USA
Master of Fine Arts 1991
MFA in Photography; merit scholarship; Top Prize for Graduate Work: Raymond Traveling Fellowship; Teaching Fellowships for Color, Experimental and Advanced Photography, Ancient and Modern Art History Surveys, and Feminism and Film; studied with Carol Mavor, James Elkins, Mark Alice Durant, Lynn Book and Robert Loescher; co-founded and coedited the journal Lament
Sarah Lawrence College, Bronxville, NY, USA
Bachelor of Arts 1988
BA; merit scholarship; concentration in poetry, photography, film and art history; studied with Joel Sternfeld, Susan Jahoda, Jean Valentine, Tom Lux, Jane Cooper and Gil Perez
Semester Abroad 1987
Fall semester in Florence, Italy with a concentration in art history, drawing and Italian
Sarah Lawrence College, Florence, Italy
Tyler School of Art, Philadelphia, Pennsylvania, USA
Guest Year 1985
Dean’s List; merit scholarship; studied with Will Larson; tutored MFA students in writing; concentration in photography
ACADEMIC AND ADMINISTRATIVE APPOINTMENTS
University of California, Irvine, 2022-2025
Artist-in-Residence / Communications Specialist
CalTech, Pasadena, CA, 2022
Huntington Art and Research Fellowship, Visiting Lecturer
University of North Carolina, Chapel Hill 1994-present
Professor Emerita 2021 - present
Tenured Full Professor since 2002
Director of Graduate Studies for Studio Art, 2014-2017; 2004-2006
Advisory Board, Institute of Arts and Humanities 2010-2013
Glen Elder Distinguished Term Professor 2008-2012
Director of Undergraduate Studies for Studio Art 2006-2008
Associate Chair, Art and Art History Department 2004-2005
Tenured Associate Professor of Art 1999-2002
Tenure-Track Assistant Professor 1994-1999
CULTURAL SECTOR POSITIONS
Independent Curator 1994-present
Selected Curatorial Projects
2024 Viral Integration, 40 artists addressing health issues, College of Health Sciences, UC, Irvine, CA
2021 Betsy Kenyon; Migiwa Orimo; Ejecta Projects; Abraham Oghobase, Allcott Gallery, UNC, Chapel Hill
2020 Andre Leon Gray, Allcott Gallery, UNC, Chapel Hill
2019 Nuclear Visions; Kelly Popoff; Andrew Johnson; Angela Kelly, Allcott Gallery
2018 Anti-Nostalgia, Carrack, Durham, NC
2017 Materia: Heterotopia, Materialization; Dystopia, Dematerialization; Utopia, Rematerialization, MFA Seminar project in 3 locations, Chapel Hill, NC
The Anxious Condition, Anchorlight, Raleigh, NC
Cameras are Clocks for Seeing, Allcott Gallery, UNC, Chapel Hill
2016 We Stand. We Matter. Art Majors installation, Polk Place and forum, Wilson Library, UNC, Chapel Hill
2015 Beyond Cameras, Duke/UNC MFAs, Horace Williams House, Chapel Hill, NC
Neo-Pre-Proto-Anti-Para-Ultra-Contra-Post-Photography, Spectre Arts, Durham
2014 Anti-Precision, Visualizing Science seminar, Dan Ariely's Center for Advanced Hindsight, Duke University, Durham, NC; Liberty Arts, Durham, NC
2011 The Ground We Walk On, Local Histories, 523 Franklin Street, Chapel Hill, NC
Local Histories II, Orange County Historical Museum, Hillsborough, NC
2009 Bail Out Biennial, Golden Belt, Durham, NC
2008 Heroes, co-curator with Laura Sharp Wilson, LUMP Projects, Raleigh, NC
2005 Images That Matter: Us and Them, Honors Seminar, Ackland Museum, Chapel Hill, NC
2004 Loom 3: Labeler, co-curator, with Jeff Waites, Old Label Mill, Pittsboro, NC
2003 Violent Violence, Gallery Arti et Amicitiae, Amsterdam, Holland
Loom 2 and Loom 1, Old Label Mill, Pittsboro, NC
2001 Perpetuating History, student collaboration at Silent Sam, confederate soldier memorial, UNC, Chapel Hill
1997 Mother Smother Other Lover, Allcott Gallery, UNC, Chapel Hill
1994 Bodily Functions, Student Union Gallery, UNC, Chapel Hill
SELECTED LECTURES + PRESENTATIONS
2024 Artist Lecture, Santa Ana College, CA
Curator Exhibition Tour of Viral Integration, UC, Irvine, CA
Gallery Talk, Santa Ana College, CA
Visiting Artist Lecture: Louisiana State University, Baton Rouge
Poetry Reading, Los Angeles Makery, CA
2023 Artist Lecture, California State University San Marcos
Artist Lecture, University of Illinois, Chicago
Poetry Reading, University Hills Community Center, Irvine, CA
Artist Lecture, Atomic Photographers Guild
Artist Lecture, California State, Fullerton
Artist Lecture, Roger Tory Peterson Institute, Jamestown, NY
Artist Lecture, Cerritos College, Norwalk, CA
2022 Artist Lecture: University of Colorado, Colorado Springs
Artist Lecture: Sarah Lawrence College, Bronxville, New York
Artist Lecture: The University of Texas Rio Grande Valley
Artist Lecture: Lawrence University, Appleton, Wisconsin
Artist Lecture, Cerritos College, Norwalk, California
Gallery Talk, Dowd Gallery, SUNY, Cortland, New York
Artist Lecture: Claremont Graduate Seminar on Curating Art and Science, Caltech Archives, Pasadena, CA
WebEx Seminar, SUNY, Cortland, New York
2021 Artist Lecture: Lafayette College, Easton, Pennsylvania
Artist Webinar: University of Colorado, Colorado Springs
Museum Talk: Wallace Arts Trust, Auckland, New Zealand
Artist Lecture, Greenfield Community College, Massachusetts
2020 Museum Talk: Aratoi Wairarapa Museum of Art and History, Masterton, NZ Gallery Talk: University of Virginia, Charlottesville
Artist Lecture: Wilmington College, Ohio
Artist Lecture: Emory University Photographers Speaker Series, Atlanta, Georgie
Instagram Takeover, Art Is On The Line, May 24, Groningen, Netherlands
2019 Artist Lecture: University of Groningen, Netherlands
Gallery Talk: Candela Gallery, Richmond, Virginia
Gallery Talk: Galerie Block C, Groningen, Netherlands
Artist Lecture: Minerva Art Academie, Groningen, Netherlands
Presenter: Liberal Democracy and Social Practice panel, College Art Association Annual Conference, New York, NY
Presenter/ Workshop Leader: Visualizing the Archive, University of Groningen and Minerva Art Academie, Netherlands
2018 Artist Lecture: New Image Gallery, Harrisonburg, Virginia
Artist Lecture: James Madison University, Harrisonburg, Virginia
Artist Lecture: University of Maine, Orono, Maine
Artist Lecture: Institute for Ethics, Duke University, Durham, North Carolina
Presenter: Ethics and Representation, exhibition panel, James Madison University, Harrisonburg, Virginia
Presenter: Responses to Nuclear War, Forum for Scholars and Publics, Power Plant Gallery, Duke University, Durham, North Carolina
Poetry Reading, SurVision Books, Pearse Street Library, Dublin, Ireland
2017 Artist Lecture: Washington and Lee University, Lexington, Virginia
Artist Lecture: Temple University, Tokyo, Japan
Artist Lecture: Hiroshima City University, Japan
Artist Lecture: Turchin Center for the Arts, Appalachian State University, Boone, NC
Presenter: After Hiroshima, exhibition panel, Gallery B#S, Treviso and Punto Croce, Venice, Italy
2016 Keynote: Claremont McKenna College, Nuclear Policy Conference, Claremont, CA
Gallery Talk: Gallery G, Hiroshima, Japan
Presenter: PICTURE, magazine launch, MoMA / PS1, New York, NY
2015 Artist Lecture: Hiroshima City University, Japan
Gallery Talk: Vacant Gallery, Tokyo, Japan
Artist Lecture: North Carolina A+T State University, Greensboro
Gallery Talk: Cohen Gallery, Los Angeles, California
Gallery Talk: ICA, Portland, Maine
Gallery Talk: Duke University, Fredric Jameson Gallery, Durham, NC
Presenter: 70 Year After Hiroshima, Duke University, Durham, North Carolina
2014 Artist Lecture: Gettysburg College and Civil War Institute, Pennsylvania
Artist Lecture: Mt Rokko Photography Festival, Kobe, Japan
Presenter: Out of Rubble, Symposium, Gettysburg College, Civil War Institute, PA
2013 Artist Lecture: California College of Art, San Francisco, California
Artist Lecture: Hiroshima City University, Japan
Keynote: Wolfsonian Museum, Miami, Florida
Artist Lecture: Florida International University, Miami, Florida
Presenter: Visualizing Trauma, panel moderated by Fred Ritchin, Daylight Books, MoMA/ PS1, Long Island City, New York
Presenter: Book Launch, After Hiroshima, ICP, New York, NY
Keynote: Remembering Hiroshima/Witnessing Peace, Carnegie Mellon University, Pittsburgh, PA
2012 Artist Lecture: Western Carolina University, Cullowhee, North Carolina
Co-Convener: with Susanne Slavick, Out of Rubble panel, College Art Association Annual Conference, Los Angeles, California
Presenter: Fukushima, Lessons Learned panel, Oberlin College, Ohio
Convener: Metamorphs: Artists Spin Science, symposium, Institute for Arts and Humanties, UNC, Chapel Hill
2011 Artist Lecture: Hiroshima Peace Institute, Hiroshima City University, Japan
Artist Lecture: Whitworth Art Gallery, Manchester, UK
Artist Lecture: The University of the Arts, Philadelphia, Pennsylvania
Presenter: Surviving the Atomic Bomb, panel, Duke University, Durham, NC
2010 Distinguished Lecture: Humanities Seminar, University of Hartford, Connecticut
Distinguished Lecture, Coastal Carolina University, Conway, North Carolina
Presenter: Framing War, symposium, University of Hartford, Connecticut
2009 Artist Lecture: University of Manchester, Department of Art, UK
Artist Lecture: University of Northumbria, Newcastle upon Tyne, UK
Artist Lecture: Skowhegan School of Painting and Sculpture, Maine
Presenter: To Be or Not to Be, A Painter's Dilemma, symposium, Rutgers, New Jersey
2008 Artist Lecture: Eastern Carolina University, Greenville, North Carolina
Artist Lecture: University of Manchester, Department of Art and Visual Studies, UK
2007 Artist Lecture: The Museum of Fine Arts, Boston, Massachusetts
Artist Lecture: Washington University, St. Louis, Missouri
Artist Lecture: Art Institute of Boston, Massachusetts
Artist Lecture: Sarah Lawrence College, Bronxville, New York
Presenter: Political Photography, Sarah Lawrence College, Bronxville, New York
Presenter: Bomb After Bomb: A Violent Cartography, North American Cartographic Information Society (NACIS) Conference, St. Louis, MO
Presenter: Charta Books for Peace, with Howard Zinn, Cooper Union, New York, NY
2006 Presenter: Anthropology, Art and Activism: Wars Unfinished, U.S. Military Bases in Okinawa and Korea, Brown University, Providence, RI
2005 Artist Lecture: Brown University, Providence, RI
Artist Lecture: University of Alabama, Tuscaloosa
Artist Lecture: Ithaca College, Ithaca, NY
2004 Artist Lecture: School of Oriental and African Studies, University of London, UK
Artist Lecture: University of Buffalo, NY
2003 Artist Lecture: Watkins College of Art and Design, Nashville, TN
2002 Presenter, panel in conjunction with the group exhibition “Toxic Landscapes,” Jose Marti National Library, Havana, Cuba,
Artist Lecture: The Center for Advanced Art and Culture, Maryland Institute College of Art, Aix-en-Provence, France
2000 Gallery Talk: The Mint Museum, Charlotte, NC
1999 Artist Lecture: University of Miami, Florida
Gallery Talk: Art < > Audience, Green Hill Center for Art, Greensboro, NC
Co-Convener, with Jane Marsching, Local / Global Photographic Practices at the End of the Millennium, College Art Association Annual Conference, Los Angeles, CA
1998 Artist Lecture: Carnegie Mellon University, Pittsburgh, PA
Artist Lecture: Duke University, Durham, NC
1997 Presenter: The Index of Beauty, Society for Photographic Education: Los Angeles Contemporary Exhibits, CA
Keynote: Feminist Navigations, “Photographic Feminisms,” Chapel Hill, NC
Artist Lecture: The Rhetoric of Art, Censorship, and Public Funding, Claremont McKenna College, CA
1996 Presenter: Performance Studies Formations, “Maternity, Visuality, Performativity”, Northwestern, Chicago, IL
Artist Lecture: University of Alberta, Edmonton, Canada
Artist Lecture: DePauw University, Greencastle, IN
Artist Lecture: Banff Centre for the Arts, Alberta, Canada
Artist Lecture: Duke University, Durham, NC
1995 Artist Lecture: American Civil Liberties Union Annual Conference
1992 Artist Lecture: Rochester Institute of Technology, Rochester, NY
Artist Lecture: Syracuse University, NY
1991 Artist Lecture: Yale Summer School at Norfolk, CT
Artist Lecture: Sarah Lawrence College, Bronxville, NY
Artist Lecture: University of Maryland, Baltimore County
SELECTED PUBLICATIONS
SELECTED BOOKS
2024 De Gruyter Handbook of Drone Warfare, De Gruyter Contemporary Social Sciences Handbooks, edited by James Patton Rogers, Drone Imaginaries, Kathrin Maurer, pp.66-67, Walter de Gruyter GmbH, Berlin/Boston
Moderna SuperAÇÃO! Geografia - Volume 1, Editora Moderna Press, Brazil, forthcoming
2022 The Deconstruction of Sex, Jean-Luc Nancy and Irving Goh, cover image, Duke University Press, North Carolina, USA
Toxic Immanence: Decolonizing Nuclear Legacies and Futures, edited by Livia Monnet, image featured in “Lingering Radiation: On Violent Pasts and Open-Ended Futures,” Ruby De Vos, pp. 282-287; “Inheritance: Radiant Reflections from Hiroshima, Nagasaki, and Fukushima: 20 poems by Bo Jacobs for 20 Photographs by elin o’Hara slavick,” pp. 383-423, McGill-Queen’s University Press, Canada
2021 The War Lawyers, Craig Jones, cover image, Oxford University Press, UK,
Identity in Action: Applied Human and Social Sciences, vol. 4, Leandro Karnal, Moderna-Santillana Brazil Group, Brazil, color plate
Continuing Education for Geography Teachers 2, Rogata Soares del Gaudio and Alice de Eliano de Souza martins Freitas, Editora Moderna, Brazil, color plate
The International Encyclopedia of Geography, contributor to the new "nuclear geographies" definition, edited by Becky Alexia-Martin and Jonathan Turnbull, Figure 1, color plate, pp. 6-7, Wiley, USA
Drone Imaginaries: The Power of Remote Vision, edited by Andreas Immanuel Graae and Kathrin Maurer, Manchester University Press, UK, cover image and p. 32
2020 Family Tree Whakapapa, exhibition catalogue with essays by Katherine Guinness and Rawiri Smith, New Zealand,
Holding History in Our Hand, limited edition artist book from the Peace Resource Center Archive. on the occasion of the 75th memorial of Hiroshima and Nagasaki for Wilmington College’s Annual Westheimer Peace Symposium and Response Project, USA
2019 Insurgent Aesthetics: Security and the Queer Life of the Forever War, Ronak K. Kapadia, Duke University Press, Durham, NC, pp. 95-101; color plates 9-12, USA
2018 Cameramouth, chapbook of poetry, New Poetics, SurVision Books, Dublin, Ireland
2016 Photography in America, Miles Orvell, Oxford University Press, UK, pp. 200-201
2015 PICTURE magazine, Issue 1, edited by John Pilson and Matthew Booth, page 66, NY
Gut Feminism, Duke University Press, cover image, USA,
Disorder, teNeues Publishing, London, UK, pp. 74-75 + 127
War Power, Police Power, Marc Neocleous, cover image, Edinburgh University Press
2013 After Hiroshima, bilingual monograph of my work, essay by James Elkins, Daylight Books, NY
Arts of the Political: New Openings for the Left, Ash Amin and Nigel Thrift, Duke University Press, cover image, USA
Organix: Contemporary Artists from the USA, Edited by Diego Cortez, Benetton Corporation, Fabrika, Italy pp.506-507, 831
War + Memory: The 6th Jeonju Photo Festival, Korea, "War, Image and," pp.50-55
2012 Black and Blue: The Bruising Passion of Camera Lucida, La Jetee, Sans soleil, and Hiroshima mon amour, Carol Mavor, Duke Press, photograph, p. 160, text p. 52), USA
2011 Reconstructing Conflict: Integrating War and Post-War Geographies, edited by Scott Kirsch and Colin Flint, Ashgate Publishing, Farnham, UK, cover image,
Latinamericanism After 9/11, John Beverly, Duke Press, cover image, USA,
2010 Virilio Now: Current Perspectives in Virilio Studies, edited by John Armitage, Polity Press, Cambridge, UK, "Empathetic Vision: Aesthetics of Power and Loss," pp.115-144
America and the Misshaping of a New World Order, edited by Giles Gunn and Carl Gutiérrez-Jones, the University of California Press, cover image, USA
What I Keep, Photographs by Susan Mullally, "What I Keep So You Can See Me," Introduction by elin o'Hara slavick, Baylor University Press, USA
2009 Paper Politics: Socially Engaged Printmaking Today, edited by Josh McPhee, PM Press, Oakland, CA, pp. 8, 122 + 147
Fixing Sex, Intersex, Medical Authority, and Lived Experience, Katrina Karkazis, cover photograph, Duke University Press, Durham, North Carolina, USA
2008 Reading Boyishly, Roland Barthes, J.M. Barrie, Jacques Henri Lartigue, Marcel Proust, and D.W. Winnicott, Carol Mavor, Duke University Press, photographs, pp. 140 and 367, USA
Bombing Ourselves, winter, Extra! Extra! Pamphlet series #2, limited edition reprint of interview by Catherine Lutz from Bomb After Bomb: A Violent Cartography, Azul Editions, CT, USA
Against War: Views from the Underside of Modernity, Nelson Maldonado-Torres, Duke University Press, cover art, USA
2007 Bomb after Bomb: A Violent Cartography, monograph of my work with essays by Howard Zinn, Carol Mavor, and Catherine Lutz, Charta Art Books, Milan, Italy
2006 Fables of La Fontaine, Constantine and Koren Christofides, University of Washington Press, Seattle/London, page 68, USA
2003 Autobiographical Writing Across the Disciplines, Diana Freedman and Olivia Frey, editors, Duke University Press, cover photograph, USA
2001 Homefront: A Military City and the American Twentieth Century, Catherine Lutz, with photographs by elin o’Hara slavick, Beacon Press, USA
1999 The Untimely Present, Postdictatorial Latin American Fiction and the Task of Mourning, Idelber Avelar, Duke University Press, front cover photography, USA
SELECTED PERIODICALS
2024 Women’s Studies Quarterly, Unbearable Being(s), collage, forthcoming
Yes We Cannibal, 7” vinyl record cover, Helen Gillet’s experimental cello, Baton Rouge, LA
Citric Acid: An Online Orange County Literary Arts Quarterly, “Selections of Resistance: Viral Integration,” elin o’Hara slavick, Issue 9, March
Hyena, Surreal Feminism, journal edited by Cindy Rhem, Los Angeles, CA, forthcoming
2023 Colorado Nuclear Atlas, “Dark Archive,” elin o’Hara slavick, January 14
2022 TORCH, A Personal History of Home, edited by Dr. Jennifer Wong, collages by elin o’Hara slavick, The Oxford Research Centre in the Humanities, University of Oxford
A New Nothing, Sleeper Publications, Pittsburgh, PA and Durham, NC
The Brooklyn Rail, A Tribute to Diego Cortez (1946-2021), organized by Raymond Foye, September 1, “Poem to Diego,” elin o’Hara slavick
2020 A Manic Body Politic, “National Anathema,” Feb. 1, Yusef Sayed, UK
Mark Creegan Blog, “Pandemic Practice, Social Distance Studio Visit with elin o’Hara slavick,” May
Journal of Black Mountain College Studies, vol. 10, “Dance/Movement Collages by elin o’Hara slavick,” spring
Love In The Time of COVID, A Chronicle of a Pandemic, “Pandemic Portraits, Pandemic Poetry, with a Special Film about Art as Protest: elin o’Hara slavick,” Nov. 13, New Zealand; “Family Tree Whakapapa,” Dec. 25
2019 American Quarterly, “Grievability and Nuclear Memory,” Jessie Boylan, vol 71 no. 2, pp. 379-388
Cultural Politics, Duke University Press, “Marx on Earth,” Barbara McCloskey, pp 244-251
Artlines, Womens’ Caucus for Art, summer edition, NY
2018 White Hot Magazine, “Apocalypse: Then and Now” at the Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice,” Jonathan Goodman, April
Full Bleed, feature on my collages, MICA, Baltimore, Maryland, back cover and pp. 86-91
Afterimage, Vol. 45, No. 4, “Marx@200,” Benjamin Ogrodnik, pp 26-28
2017 Timeout New York, “Every Woman,” featuring my collage, June 21, p. 44
2015 The Asia-Pacific Journal, "Hiroshima Mon Amour," Vol. 13, Issue 32, No. 4, August 10
BLOW Photo, featured photographer, "After Hiroshima," May, Dublin, Ireland
Critical Military Studies, "Re-Imagining Hiroshima in Japan," Photograph, p.1, June, Taylor & Francis
Fisheye Magazine, "The Swap: portraits de photographes," Paris, France
The Volta, Evening Will Come, "Hiroshima mon Amour," August
Union of Maine Visual Artists Quarterly Journal, "The Mapping of the Incomprehensible," 8-page spread of collages and text
2014 Burnaway, "On Hiroshima: Q&A with elin o'Hara slavick," Amy White, August 4
2013 The Asia-Pacific Journal, "After Hiroshima: an interview with elin o'Hara slavick," Amy White, Volume 11, Issue 19 No. 3, May 13
Spectrum, journal of the Comprehensive Nuclear-Test-Ban Treaty Organization, Vienna, Austria
2012 The Journal of Cultural Studies, Routledge, Vol. 26, Numbers 1-6, cover images
2011 Hiroshima Research News, Hiroshima Peace Institute, "An American Artist in Hiroshima, Vol. 14, No. 2, Nov., page 4
2010 The Asia-Pacific Journal, “Art, Politics, Memory, and Language in A Measure of Remorse and Protesting Cartography – Places the U.S. has Bombed: A Conversation between Artists Hong-An Truong and elin o'Hara slavick
Public: Art, Culture, Ideas, Toronto, Canada, “Memorials in the After Aftermath: France and Japan,” photographic essay, January
Daylight Magazine, Online Daily, "Bernard Faucon: The Most Beautiful Day of My Youth," "Miyako Ishiuchi Exhibition at the Third Gallery Aya, Osaka, Japan," “URDLA: Assan Smati,” “Susan Mullally’s What I Keep,” “Ben Vautier: Strip Tease is Integral”
2009 The Asia-Pacific Journal, "Hiroshima: A Visual Record," elin o'Hara slavick, Vol. 30-3-09
Culture Work: A Periodic Broadside for Arts and Culture Workers, October, Vol. 13, No. 4, The Bailout Biennial, with María DeGuzmán
CounterPunch, "Flags for Hiroshima," Weekend Edition, front page, September 18
Art Papers, Atlanta, GA: "Ishiuchi Miyako, Hiroshima, Japan," Nov/Dec, p. 63
Visual Anthropology of Japan, "Hiroshima: A Visual Record," August 6
Journal of Critical Asian Studies, Routledge, "Hiroshima: After Aftermath," 41:2, 307-328
2008 Anthropology Today, London, UK, front, inside front and back cover photographs, October
2007 Red Pepper Magazine, London, UK, August, “Bomb After Bomb,” p. 51, inside back cover
2006 American Ethnologist, November, Issue 33(4), photographs
Daylight Magazine, Issue #5, Workers Dreaming, Chapel Hill, New York, London, pp. 54-59
Cultural Politics, July, Field Report – Protesting Cartography: Places the U.S. has Bombed, Oxford, UK, pp. 245-254
2005 Not In My Name: Silvia Velez, Adelaide, Australia, "Scraps of Hope for a Nameless Flag," catalogue essay, pp. 36-39
2002 American Anthropologist, New York, NY, Volume 104, Number 3, September, cover and photographs pp. 728 and 730
Southern Atlantic Quarterly, Durham, NC, spring, “Dissent from the Homeland: Essays after September 11,” photographs p. 289
The Independent, Durham, NC: “Pictured Southern: Contemporary Southern Photography from Walker Evans to Sally Mann,” cover story, January 2-8
Adbusters, Vancouver, BC, Canada, January, “Global Economy Postcard,” p.6
2001 Art Papers, Atlanta, GA, “Memories of Nature,” Sept/Oct., pp. 39-40
2000 The Progressive, Madison, WI, January, “A Doll for the Global Economy,” p. 15
1999 Printed Matter, Inc., NY, distribution of Post-Colonial Girl Paper Doll, booklet printed by Paper Crane Press, 10 pages
1994 Whitewalls, Chicago, IL, “A Wretch Like Me,” edited by Robert Blanchon, fall, p. 39
SELECTED BIBLIOGRAPHY
SELECTED BOOKS
2021 Hiroshima City Art Works, Kohei Hosogaya, exhibition catalogue featuring my work, Hiroshima City Culture Foundation, pp. 58-59
Out of Place: Artists, Pedagogy, and Purpose, edited by Tim Doud and Zoe Charlton, “Lauren Frances Adams, Maryland College of Art, Baltimore, MD,” Punctum Books, pp. 49 + 51
2019 Futureproof: Security Aesthetics and the Management of Life, edited by D. Asher Ghertner, Hudson McFann, Daniel Goldstein, Duke University Press, Foreword by Catherine Lutz, p. xii
2015 Camera Atomica, John O'Brien, Art Gallery of Ontario and Black Dog Publishing, p. 144
2013 Cartographer of sinister history, Monika Rydiger, "Cartographers of Other Spaces," International Cultural Centre Gallery, Krakow, Poland, pp. 58-63
Natural Disaster and Reconstruction in Asian Economies: A Global Synthesis of Shared Experiences, Edited by Yau Shuk-tung, Kinnia, “Bombs Bursting in Air: state and Citizen Responses to the U.S. Firebombing and Atomic Firebombing of Japan,” Mark Selden, Palgrave MacMillan, New York, pp. 79-110
2011 Art Critiques: A Guide, James Elkins, New Academia Publishing, pp. 130-134
Cities Under Siege: The New Military Urbanism, Stephen Graham, Verso Books, NY and London, p. 356
Envisioning Landscapes, Making Worlds, Geography and the Humanities First Edition, Edited by Stephen Daniels, Dydia DeLyser, J. Nicholas Entrikin, Doug Richardson, “Above the Dead Cities,” Derek Gregory, Routledge, London and New York
2010 Rethinking the Power of Maps, Denis Wood, Guilford Press, New York and London, page 224
2009 The Map as Art: Contemporary Artists explore Cartography, Katherine Harmon, Princeton Architectural Press, page 30
2004 Not Just Any Dress: Narratives of Memory, Body, and Identity, edited by Sandra Weber and Claudia Mitchell, Peter Lang USA, "Collecting Loss," Carol Mavor
1999 Becoming, Duke University Press, Carol Mavor, pp.135-173
1998 Media Performance Along the Border, Johannes Berringer, John Hopkins University Press, p. 246
SELECTED PERIODICALS
2024 The Democracy Chain, “After Hiroshima: Atomic-Bomb Influenced Photographic Work by Lifelong Peace Activist,” Liz Goldner, Issue #32, March
2022 Counterpunch, “The Bomb that Cracked an Island,” Jeffrey St. Clair, Sept. 23, Petrolia, CA
DARIA, Denver Art Review, Inquiry and Analysis, "Dark Archive," Jose Antonio Arellano, September 15, Colorado
Ithaca Times, “SUNY Cortland Hosts Sisters’ Family Tree,” Arthur Whitman, Nov. 30, pp. 12 +15
2021 Wairarapa Times-Age, “Family trees celebrated,” Gareth Winter, p. 25, Feb. 11, New Zealand
Carterton Crier, “Talk about trees,” p. 27, Feb 12, New Zealand
Regional News, “Humans and Trees,” #141, p. 31. Jan. 18, Wellington, New Zealand
Featherstone Phoenix, “Family Tree Whakapapa exhibition is a treasure,” Jen Olson, Vol XXVI, Issue 1, New Zealand
2020 American Quarterly, “On Violence, Seen Remotely,” Elspeth Iralu, vol. 72, no. 4, p. 1047-1055, Project Muse, John Hopkins University Press, Baltimore, MD
Spectator, The University of Southern California Journal of Film and Television Criticism, Virtualizing Memory, edited by Maria Zalewska, “Negative Hauntology and the Nuclear Sublime: On VR and Catastrophe,” Katherine Guinness, p. 31-39
Monday Artpost, “Family Tree Whakapapa,” Dec. 28, Ocean and Pounds Publication, Hong Kong
PhotoForum NZ, “Family Tree Whakapapa,” December 20, New Zealand
Graytown Grapevine, “Four Sisters Exhibit Together in Masterton and Auckland,” Masterton, New Zealand, November
Wairarapa Times-Age, “Family tree exhibition,” Becky Bateman, Nov. 3; “Family Tree Whakapapa,” Gay Butler, p. 14., Dec. 27, Masterton, New Zealand
Aratoi Museum Quarterly, “Summer at Aratoi,” Masterton, New Zealand
Wairarapa Midweek, Aratoi Voices, “Family Tree Whakapapa,” Dec. 16. Page 14, New Zealand
Surveillance and Society, “Review of Kapadia, Insurgent Aesthetics: Security and the Queer Life of the Forever War,” book review, Robert Heynen, Queens University, Canada, 18 (4), 559
2019 Dagblad Noorden, Groningen, Netherlands, “Vergeten atoombom weer actueel,” Illand Pietersma, September 6, cover and page 11
2018 Mediations, Journal of the Marxist Literary Group, “Mapping the Atomic Unconscious: Postcolonial Capital in Nuclear Glow,” Katherine Lawless, Volume 31, No. 2, Special issue: Materialism and the critique of Energy, spring
Winston-Salem Journal, “Innovation and tradition: Past and present approaches to photography,” Tom Patterson
Sublime Imperfections, “Autoradiographs in contemporary art.” Ruby de Vos, October 30, Amsterdam, Netherlands
The Chronicle, “Kenan ‘Workers Dreaming’ exhibit challenges popular notions of labor,” Alizeh Sheikh, October 24, Duke University, Durham, NC
2017 Giorno e Notte, La Tribuna, “72 Anni Dopo La Bomba Atomica,” Elena Grassi, front page, August 6, Treviso, Italy
Cultural Anthropology, “What Matters,” Catherine Lutz
Indy Week, “Materia – A Temporal Collaboration at Three Atypical Sites,” Brian Howe, p. 44; “The Anxious Condition,” Noah Rawlings, p. 33, Durham NC
2016 Axon, Creative Explorations, “Give back the human: poetic collaboration and hibakusha poems,” Cassandra Atherton, No. 10, University of Canberra, Australia
2015 Tokyo Times / Shimbun, November 27, page 26
Frieze, “The Nothing That Is: A Drawing Show in Five Parts,” Mimi Luse, Oct. 21, London, NY
Chigoku Daily, "International Artists Express Hiroshima," Hiroshima, Japan
Library of Congress, “Remembering Hiroshima in Photographs,” Barbara Orbach Natanson, August 6
CRAVE, "Seventy-Year-Old Shadows of Hiroshima," Nicole Borgenicht, August 26, LA
Portland Press Herald, "Far East and Down East on view at MECA Gallery," June 7, ME
Portland Phoenix, "Traces, transformations and trajectories: elin o'Hara slavick and Shane C. Smith," Britta Konau, July 2, p 30; "Be on the lookout for elin o'Hara slavick at ICA," June 5, p. 21, Maine
2014 Lens/cratch, "The Swap," Grant Gill, April 14
DC Sight Unseen, "The Other Side of Disaster," Adrian Muoio
Burnaway, " Artists Respond to States of Emergency," Nick Kahler, March 13
New Mexico Mercury, "Another Way of Seeing," Margaret Randall, March 28
On A White Wall, "The Swap," Stuart Pilkington, February 28
NECSUS, European Journal of Media Studies, “Photographed by the earth: War and media in light of nuclear events,” Thomas Pringle, pp. 131-154, Amsterdam, Dec. 4
2013 New York Times, Weekend Arts II, Paper Gallery, Dreamscapes, Abysses And Radiation, Dana Jennings, p. C24, August 23
Los Angeles Times, " Haunting residue of Hiroshima," Leah Ollman, October 24, page D14, print edition; online: "Review: elin o'Hara slavick evokes ghosts of Hiroshima," Leah Ollman
Los Angeles Times, Arts and Culture top story, "U.S. bombing seen through artist's eye in 'After Hiroshima' book," Liesl Bradner, Aug. 4, p. E3
San Francisco Chronicle, Books top mention, "After Hiroshima, by elin o'Hara slavick," Kenneth Baker, August 2
San Francisco Chronicle, "Fiery indelible images," Kenneth Baker, page F7
Times Higher Education, “Arts of the Political: New openings for the Left,” Ash Amin and Nigel Thrift, Fred Ingliss, book review featuring my book cover, July 11
Images Magazine, Paris, France, #59, p. 91, "After Hiroshima," book review
Photo-eye Blog, Art Photography and Books, "Atomic Studies in Blue," Colin Pantall, July 25
FOAM, All about Photography, "Black Shadows: Photography and Forgetting," Esther Teichmann, May 30, Netherlands
Proceedings of the National Academy of Sciences of the United States of America, "Radiated Relics," David Harris and Rebecca Horne, vol. 110 no. 21, May 22
Fabrik: Art, Design, Architecture, "New Works by elin o'Hara slavick," September 18, LA
D.A.P. / Distributed Art Publishers Inc., featured image, Cory Reynolds, August 23
Artweek LA, elin o'Hara slavick: Until What Has Disappeared Appears, Vol. 136, Sept. 16
CARTA News, Florida International University, " Internationally renowned artist elin o'Hara slavick lectures to MFAS," Juan Brizuela, Nov. 6
The Independent Weekly, "Indy Pick: elin o'Hara slavick," Chris Vitiello, April 24
Actuphoto: Actualite Photographique, "elin o'Hara slavick presents After Hiroshima at the Daylight Project Space," April 19
CTBTO Spectrum Magazine, Comprehensive Nuclear-Test-Ban Treaty Organization, Issue 20, Front and back cover image, pp. 34-35, July, Vienna
2012 The Oberlin Review, "Art Exhibition Sheds Light on Nuclear Issue," Joelle Eliza Lingat, Ohio, March 9, pp. 10-13
Landscape Research, “Researching Militarized Landscapes,” Chris Pearson, Vol. 37, UK
Geographical Imaginations: War, Space and Security, "Seen/Seduced from Above," Derek Gregory, December 10, 2012
Pittsburgh City Paper, "Out of Rubble: An art exhibit asks what about what comes after war?" Christopher L. McGinnis, January 11
Cartographic Perspectives, “Function and Beauty (In Defense of Useless maps), Nat Case, pp. 17-22
Pittsburgh Tribune Review, "Images tell stories of consequences of war," Kurt Shaw, Jan. 15
Sarah Lawrence Magazine, "The Good Fight," Katharine Reece, spring, p. 26
Postcolonial Representations of Women, “Possibilities for Subverting the Dominant Visual Regime,” Rachel Bailey Jones, pp. 169-193, Springer
Chugoko Newspaper, "Accusation of A-Bombing through Art, An American Artist displays 50 works in Naka-ku," Doumen Masakazu, Hiroshima, Japan, September 21
Cultural Memories, “Doors into Nowhere: Dead Cities and the Natural History of Destruction,” Derek Gregory, pp. 249-283, Vol. 4, Springer Dordrecht
Frontline, India's National Magazine, February 26, 2011, "War is a Lie," Shelley Walia
Temporary Review, "Local Histories in Chapel Hill," Marya Roland, May 11, 2011
Hiroshima Peace Institute Newsletter, "Research Forum on September 15, Hiroshima: After Aftermath – An exhibition of work made in Hiroshima by elin o'Hara slavick"
The Chronicle, Duke University, "Hosokawa gives unique perspective on Hiroshima," Shane Daly, April 24
The Independent, Chris Vitiello, Durham, NC, "The Triangle's visual art scene expanded in 2011," Dec. 28; “Don't Be Intimidated by this Painting," Dec. 21; "Fast Face Forward, Self-Portraiture by – and curated by – students," Nov. 2, 1011, p. 27; "Mirror Image: Women Portraying Women at the NCMA," May 18; "Live here now: Chapel Hill show animates concepts of place," February 16, page 28
2010 Transactions of the Institute of British Geographers, New series 35- 2, “War and Peace,” Derek Gregory, page 175
The Herald Sun, Durham, NC, "Exhibit on Bombing," September 2; “Slavick revisits Hiroshima after the bomb," Blue Greenberg, January 1
Duke Magazine, Durham, NC, "The Map as Art: Contemporary Artists explore Cartography," Teka Selman, page 56
The Independent, David Fellerath, Durham, NC, "To the End of the World with Noam Chomsky and elin o'Hara slavick," October 6
2009 InJournalism Magazine, Alfie Wilkinson, March 15, University of Sunderland, UK
Independent, Durham, NC; “Radiant Art – elin o'Hara slavick' studies of aerial bombardment,” Brian Howe, Dec. 30, p. 21; "Eight Days a Week" + "Indy Pick" for Hiroshima: After Aftermath, Nov. 18, p. 25; "Gone to Croatoan, Group Show Durham tackles the troubles and hopes of the times," David Fellerath, January 28, cover image and pp. 22-23; "The Year in the Arts," Amy White, p. 15
The Herald Sun, Durham, NC, “Artists Take Shot at Bailout," Dawn Baumgartner Vaughan, January 30, "Budgetless political art show rich with ideas," Blue Greenberg, January 25
News and Observer, Raleigh, NC, "Bailout Tackles Economy," Michele Natale, February 8
2008 Mmegi, Gaborone, Botswana, “The Naiveté of Bombardiers,” Sheridan Griswold, August 22, p. A4; online “Bomb After Bomb, Book Review,” Sheridan Griswold, August 25
The Cincinnati Enquirer, Ohio, “They’ve Got the Whole World in Their Hands,” Sara Pearce, May 23
Cartographic Perspectives, Milwaukee, WI, Review of Bomb After Bomb: A Violent Cartography, Daniel G. Cole, Smithsonian Institution, pp. 67-68; Review of Bomb After Bomb: A Violent Cartography, Mark Denil, pp. 68 -70, Number 60, Spring
Zivil, Stuttgart, Germany, “Bomb After Bomb,” Werner Schulz, spring, pp. 3-4
Afterimage, the Journal of Media Arts and Cultural Criticism, NY, Book Review, “Judging War,” February, 2008, Jill Connor, Spring, 2008, pp. 26-27
2007 Independent, Durham, NC, “elin o'Hara slavick charts history's nightmares in Bomb After Bomb: A screaming comes across the sky,” Brian Howe, August 22
North Carolina Public Radio, The State of Things, with Frank Stasio, December 5
CounterPunch, “Bomb After Bomb,” Howard Zinn, December 15
Countercurrents.org, “Bomb After Bomb,” Howard Zinn, December 18
ArtUS, Los Angeles, CA, “Prosecuting the Cartography of Violence,” Ryan Griffis, pp. 62-63
Border Crossings, Toronto, Canada, Book Review, Andrea Fitzpatrick, winter, pp. 107-108
DOMUS, Contemporary Architecture, Design, Art, Milan, Italy, “Geography of War,” Nov.
Chapel Hill Herald, NC, “Lovely paintings show ugliness of war,” Rebecca Bailey, front page and p. 4, September 21
Big, Red and Shiny, Boston, MA, “Bomb After Bomb, a Book Review,” Matthew Nash, July 17; “Art and Activism,” Matthew Nash, April 8
The Miami Herald Street Weekly, Florida, "Call to Arts: Armed Artists of America Rally Against the War in Iraq with an Exhibit at Ashmore Gallery," Carlos Suarez de Jesus, October 29
News and Observer, Raleigh, NC: "Weaving Art Into an Archival Setting," Caitlin Cleary, May 23; "Art Fills Old Mill," Caitlin Cleary, May 21
The Herald-Sun, Durham, NC: "Snapshot: Best Bet in Arts, Loom 3: Labeler," May 21
Art Papers, Atlanta, GA: "Loom 3: Labeler," Ann Millett, Sept., pp. 44-45
2003 The Guardian, London, England, "Within These Walls," Craig Taylor, December 17
Volkskrant, Amsterdam, Netherlands, "Critical Art from America," Rutger Pontzen, July 19
2002 Independent, Durham, NC “The Anti-Warriors: In a year consumed by war, triangle peace activists helped keep debate and dissent alive” Jon Elliston, p. 22, November 27; “Protest Maps; slavick’s work maps the fatal seduction of distance,” Elizabeth Howie, November 13; “Zine Stream,” John Valentine, July 31; “Triangle Art Awards, elin o’Hara slavick, Artist/Activist,” June 25
La Provence, Aix-en-Provence, France, “Ces gens de la Fontaine,” Samir Heddar, April 13
Aix-en-Dialogue, Aix-en-Provence, France, “Les Fables de la Fontaine,” Jean-Francois Hubert
News and Observer, Raleigh, NC, “Dream Weavers,” Max Halperen, April 19
The Spectator, Raleigh, NC: “World on Its Head,” Lissa Brennan, June 22; “Documenting The Self,” Lissa Brennan, May 29, p. 28; “In Light of Recent Events,” Glenn Perkins, January 24
The Herald-Sun, Durham, NC, “Exhibit shows photo world upside down,” Eric Ferreri, May 27
Art Papers, “Some Kind of Dream,” Julia Ridley Smith, Sept., pp. 38-39
2001 Independent, Durham, NC “The Personal is Political,” Clancy Nolan, June 20, pp.28-29
Pittsburgh Tribune Review, PA, “Pair of shows comment on environmental issues facing our nation – and the world,” Kurt Shaw, November 16
The Boston Globe, MA, “New Art 2001,” July
Winston-Salem Journal, NC: “A Little like Home,” Tom Patterson, June 17
2000 Art Papers, “The Lyon Biennale,” Nov/Dec. pp. 55-56; “URDLA, Photography as a Form of Printmaking,” Sept/Oct., pp. 55-56; “Sarah Jones and Clementina Hawarden: Kindred Spirits of Photography,” Aug., pp. 47-48
New Frontiers IV, catalogue essay, Todd Smith, Curator of American Art, Mint Museum
South China Post, Hong Kong, “The Beauty of Flesh & Blood,” Fionnuala McHugh, January 9
Winston-Salem Journal, NC, “Art of the State,” Tom Patterson, May 21, Arts Section, front page, p. E1; “Pictures with Punch,” Tom Patterson, April 30, p. E5; “Art as Politics,” Tom Patterson, April 9, Arts Section front page, pp. E1-E2; “Eclectic Mix,” Tom Patterson, July 2; “Not in Mint Condition,” Tom Patterson, June 4
Ming Pao Daily, Hong Kong, “Four Faces, Daughters, Sisters, Nerves,” Carol Ying Kei, Jan. 29, p. 22
Art Papers, Atlanta, GA, “Flesh & Blood,” Dinah Ryan, Sept., pp. 43-44
1999 Winston-Salem Journal, NC, “Getting it to Make Sense,” Tom Patterson, October 24, p. E4
Flesh & Blood, exhibition catalogue essay, “Too Close to See”, Carol Mavor
New Art Examiner, Chicago, IL, “Requiem,” Cedric DeSouza, May, pp.61-62
Art Papers, “Requiem,” Jason Forrest, May
1998 Philadelphia Weekly, “Context,” Miriam Seidel, Sept. 2, pp. 37-38
Art Papers, Atlanta, GA, “Studio Visit with elin o’Hara slavick,” Linda Dougherty, March, pp.29-31; “Labor < > Leisure (Global Economy),” Linda Dougherty, Jan., p. 59
1997 Cultural Studies, Routledge/London, “Collecting Loss,” Carol Mavor, spring, pp. 113-137
Pittsburgh Post-Gazette, “Family weaves symbolism into exhibition,” Thomas, Dec. 13, p. B-8
Pittsburgh Tribune-Review, “Flesh and Blood has Chekhov Drama,” Shearing, Nov. 30, p. E6
Chapel Hill Herald, “Professor’s Presentation Sparks Discussion on Equality,” Fugate, Nov. 3
1996 Artistic Freedom Under Attack, People for the American Way, DC, “Case Studies,” Vol. 4, pp.20
1995 News and Observer, Raleigh, NC, “Students, Critics Praise Award-Winning Artist,” Twardy, Feb. 25
Art Papers, Atlanta, GA, “The Unhappiness of Gender,” Linda Dougherty, March 2
The Herald-Sun, Durham, NC, “Durham Artist Wins Right To Show,” J. Tew, March 3
Fiberarts, “BASF Fiber Show: Powerfully Disturbing,” Bill Alexander, pp. 60-62
New Art Examiner, Chicago, IL, “Artist Wins Censorship Fight in Raleigh,” Woody Holliman, May
Art Papers, Atlanta, GA, “The Pleasures of Gender,” Woody Holliman, July, pp. 58-59; “7th Annual Fiber Arts Exhibition,” Bill Alexander, March, pp. 50-51
Chapel Hill News, NC: “An upside-down World,” Dave Hart, cover story + p. A8; “Art Flap Spotlights Issues of Gender,” Vicky Jiggetts, March 1
National Public Radio, “Pleasures of Gender,” review by Joseph Covington, March 24
1994 Binocular, Australia, “From Dada to Mama: Feminism, The Ready-Made and Contemporary Practice,” Margaret Morgan, pp. 11-29
1992 New York Post, “The Dress off Her Back,” Jerry Tallmer, December 11
P-Form, Chicago, “Embodiment: Sharing Our Wounds,” Johannes Birringer, Issue 25
1991 New Art Examiner, Chicago, Il, “Sister Serpents,” Bill Stamets, April, p.35
SELECTED GRANTS, FELLOWSHIPS, AWARDS, RESIDENCIES
2022-2025 Artist-In-Residence, University of California, Irvine
2022 CalTech-Huntington Art and Research Residency, Pasadena, California
2020 Artist-in-Residence, Peace Resource Center, Wilmington College, Wilmington, Ohio
2015 Japan Society for the Promotion of Science Fellowship, Visiting Scholar at Hiroshima City University, Japan
Nominated for the Prix Pictet, Paris, France, by Curator Jean Wainwright, Tate Modern, UK
Artist-in-Residence, Hiroshima Peace Memorial Museum, Japan
2013 Artist-in-Residence, Peace Memorial Museum, Hiroshima, Japan
2011 Artist-in-Residence, Peace Memorial Museum, Hiroshima, Japan
2010 Artist-in-Residence, URDLA, Lyon, France
2008 Dean Research Award
Glen Elder Distinguished Term Professor (until June, 2012)
Artist-in-Residence, Peace Memorial Museum, Hiroshima, Japan
2006 North Carolina Arts Council Visual Artist Fellowship Artist Fellowship 2004 Kenan Faculty Fund, retention of promising and outstanding faculty in the face of unprecedented competition from peer institutions
2002 Triangle Art Award, The Independent Weekly, Durham, NC
1998 Philadelphia Exhibitions Initiative / Pew Charitable Trust Public Art Award
North Carolina Arts Council Visual Artists Fellowship
Tanner Award for Excellence in Undergraduate Teaching
1996 Artist-in-Residence,The Banff Centre for the Arts, Alberta, Canada, July
PROFESSIONAL AFFILIATIONS
Founder of SWANS (Slow War: Anti-Nuclear State), women artists addressing the nuclear condition, 2022
Founder and member of the Collaborative Collage Collective, 2019-present
Atomic Photographers Guild since 2010; Advisory Board since 2023
College Art Association since 1994
AAUP (American Association of University Professors) since 1999
Works in the Collections of
Queens Museum, NY
Deutsche Bank, Frankfurt am Main, Germany
UBS Bank, Basel, Switzerland
URDLA, International Center for Printmaking and Books, Lyon, France
The National Library of France, Paris
The Art Institute of Chicago, IL
Library of Congress, Washington DC
University of Maine Museum of Art, Bangor
The North Carolina Museum of Art, Raleigh, NC
The Museum of Modern Art Library, NY
The Los Angeles County Museum of Art Library, CA
John Hope Franklin Center, Duke University, Durham, NC
The Law School at the University of North Carolina at Chapel Hill
Institute for Contemporary Art Public Collection, Portland, Maine
Madison Art Collection, James Madison University, Harrisonburg, VA
Smith College Museum of Art, Northampton, MA
Turchin Center for the Visual Arts, Appalachian State University, Boone, NC
Nasher Museum of Art, Duke University, Durham, NC
Ackland Art Museum, UNC, Chapel Hill
Van Every Smith Gallery, Davidson College, Davidson, NC
Luciano Benetton / Benetton Corporation, Treviso Museum, Italy
The Archive of Modern Conflict, London, UK
The International Civil Rights Center and Museum, Greensboro, NC
Asian Studies, UNC, Chapel Hill
The Kinsey Institute, Bloomington, IN
The John M. Flaxman Library, School of the Art Institute of Chicago, IL
The Weatherspoon Art Gallery, University of North Carolina at Greensboro
The New York Lesbian, Gay, Bisexual, Transgender Community Center, NY
The Drawing Center, Viewing Program’s Artist Registry, New York, NY
Museum of Modern Art, Artist Files and Artists’ Books Archives, New York, NY
Franklin Furnace Artists’ Books Archive, NY
Daniel Solomon, Promised Gift to the National Gallery of Art, Washington DC
The Estate of Howard Zinn, Boston, MA
Sara M. Vance, SMV Media, Cincinnati, OH
CounterPunch, Petrolia, CA
Vacant Space, Tokyo, Japan
Galerie Block C / Marinus Augustijn and Agnes Scholte, Groningen, Netherlands
Ontological Museum of Collage, Sante Fe, NM
Temple University Libraries Special Collections Research Center, Philadelphia, PA
Peace Resource Center, Wilmington College, Wilmington, Ohio
Cerritos College Public Art Collection, Norwalk, CA
Erie Art Museum, Erie, Pennsylvania
Santa Ana Community College, California
