All students:
click through Website for current show at Harvard, The Materiality of Mourning
Salcedo radio interview about her current show at Harvard
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Salcedo Cantos (Dayton and Ian)
SalcedoMelancholy Objects (Jake and Sarah)
SalcedoTanya Barson (Kyle and Gracie)
SalcedoTrace Memories (Allie and Michelle)
SalcedoTroubled Materiality (Langley and Schuyler)
Please come prepared to share the reading assigned to you in class. Some of the texts re-iterate Jaar’s lecture, but pay attention to how the authors write about the projects, which wording do they propose, which issues do they raise?
Freitas on Jaar Lament of the Images (Kyle)
Balken_AlfredoJaarLamentOfTheImages (Allie)
Alfredo Jaar Interview: The Responsibility of Privilege (Schuyler)
Jaar Folding Trauma (Ian)
Jaar_Haug Rwanda (Gracie)
A Sea of Griefs Is Not A Proscenium (David Levi-Strauss) (Dayton)
Balken_TheRwandaProject (Sarah)
Blocker_CemetaryofImages (Michelle)
Mary Jane Jacob_Intro (Langley)
Accatino_Strategies (Jake)
Quotes by artist on various projects
War Veteran Projection Vehicle, Denver
Bunker Hill Monument, Boston
The Tijuana Project (1 hr)
Art 21
Netflix has a new, five-part documentary out, based on the book by the film journalist Mark Harris, this series will cover five Hollywood directors — John Ford, William Wyler, John Huston, Frank Capra and George Stevens — and their experience filming at the front lines of World War II.
Review in Frieze Magazine, 2001
Orgreave revisited, 2016 (Financial Times)
Archive of the Battle of Orgreave
Documentary of the re-enactment (1 hr)
Interpreting Jeremy Deller’s The Battle of Orgreave
This weekend, please look into Claude Lanzmann’s 1985 film “Shoah,” which was ranked second of the “50 Greatest Documentaries of All Time” in a December 2015 poll by the British Film Institute. There are many snippets from this 9-hour film available on You Tube. I imagine if we all watch different ones, we can exchange on what we watched in class.
Here are some articles on Lanzmann:
2011, why his documentary still matters
Spectres of Shoah, 2016 HBO documentary on Lanzmann (on HBO).
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The 9/11 Memorial Museum promises to be provide an interactive experience. Check out this virtual tour.
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Also, if you have time to visit The Cell, right opposite the Denver Art Museum, your experience could enrich our discussion on Monday and Wednesday. The CELL is an acronym for Counterterrorism Education Learning Lab. They have a clear agenda, which I won’t reveal, and they rely on a very interactive strategy.
Please find sources yourself. Might also be a good idea to check out a book or two!
Allie: An-My Le, Small Wars
Michelle: An-My Le, 29 Palms
Jake: Omer Fast, 5000 Feet is the Best
Sarah: Omer Fast, Continuity
Langley: Omer Fast, The Casting
Dayton: Emily Jacir, Where We Come From and Personal Ads in Village Voice
Watch artist lecture by Emily Jacir at CU a number of years ago (available by streaming)
Schuyler: Emily Jacir, Material for a Film (Wael Zuaiter)
(maybe watch the movie “Munich” by Steven Spielberg)
Kyle: Walid Raad / The Atlas Group, To be Honest, the Weather Helped
Gracie: Walid Raad / The Atlas Group, My Neck is Thinner Than A Hair
Ian: Akram Zaatari, This Day
(don’t miss this interview)
Pick one war photographer (use sources in Readings) and research their the motivation, agenda and objective. Why are they doing what they are doing? Post 5-6 of their photographs to the blog that seem especially powerful and iconic to you. Research a little about the war that they are covering. Categorize as “War Photographer.”
Monday:
Schuyler
Langley
Sarah
Dayton
Gracie
Wednesday:
Jack
Ian
Allie
Michelle
Kyle
For next week, Jan. 30 and Feb. 1, read Francis Connelly’s Modern Art and the Grotesque; I uploaded it to the Readings page. Then look at Dix’s War etching portfolio from 1924, and Goya’s etchings “Disastres de la Guerra” and pick one work from each portfolio that exemplifies the grotesque. Post images of the two prints you picked to the blog and be prepared to explain how exactly they are grotesque, using Connelly’s definitions.
Here is a link to good reproductions of Goya’s prints.
And here a link to Dix’s portfolio. Here are some of the prints in a very high resolution.
Optional readings:
The Guardian: The First World War in German Art
The 2016 Photo of the Year is a haunting nighttime image of refugees climbing through razor wire over the the Hungarian-Serbian border, taken by photographer Warren Richardson.
Richardson: “I camped with the refugees for five days on the border. A group of about 200 people arrived, and they moved under the trees along the fence line. They sent women and children, then fathers and elderly men first. I must have been with this crew for about five hours and we played cat and mouse with the police the whole night. I was exhausted by the time I took the picture. It was around three o’clock in the morning and you can’t use a flash while the police are trying to find these people, because I would just give them away. So I had to use the moonlight alone.”
Art and War 