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Art Against Torture: Abu Ghraib and Artistic Depictions of Suffering
Robert Stenberg Contemporary Art in the Arab World Spring 2015 Art Against Torture: Abu Ghraib and Artistic Depictions of Suffering “Among all things that can be contemplated under the concavity of the heavens, nothing is seen that arouses the human spirit more, that ravishes the sense more, that horrifies more, that provokes more terror or admiration to a greater extent among creatures than the monsters, prodigies, and abominations through which we see the works of nature inverted, mutilated, and truncated.” - Pierre Boaistuau, Histoires prodigiueses, 1561 (Bataille 2013). Today, Abu Ghraib is remembered more or less as a darkness within a darkness – a house of horrors that was a nodal point seeming to encompass all that was wrong, and all that could go wrong, with the Iraq War. Located about twenty miles outside of Baghdad, Abu Ghraib had long been “one of the world’s most notorious prisons, with torture, weekly executions, and vile living conditions” (Hersh 2004), under regime of Saddam Hussein. After the 2003 invasion of Iraq, the United States military took over control of the facility for detention purposes and as a forward operating base (FOB) where it held suspected criminals, insurgents, and other persons of interest awaiting trial. At the height of its use in March 2004, the United States held 7,490 detainees at the facility (Inspector General [Army] 2004: 23-24). The news program 60 Minutes ran a story in April 2004 on reports of detainee abuse by U.S. soldiers, which included a selection of photographs taken of the prisoners at Abu Ghraib by their jailors. -
Moma Ps1 Presents Major Group Exhibition Exploring the Artistic Legacy of American Military Engagement in Iraq
MOMA PS1 PRESENTS MAJOR GROUP EXHIBITION EXPLORING THE ARTISTIC LEGACY OF AMERICAN MILITARY ENGAGEMENT IN IRAQ Theater of Operations: The Gulf Wars 1991–2011 November 3, 2019–March 1, 2020 MoMA PS1 LONG ISLAND CITY, New York, October 30, 2019—MoMA PS1 presents a large-scale group exhibition examining the legacies of American-led military engagement in Iraq beginning with the Gulf War in 1991. Through more than 250 works, Theater of Operations: The Gulf Wars 1991-2011 explores the effects of these wars on artists based in Iraq and its diasporas, as well as those responding to the war from the West. Featuring the work of over 80 artists and collectives, Theater of Operations will be on view across the entire MoMA PS1 building from November 3, 2019 through March 1, 2020. American-led military engagement in Iraq over the last 30 years has had an indelible impact on contemporary culture and the work of artists around the world. While brief, the 1991 Gulf War marked the start of a prolonged conflict with Iraq that led to more than a decade of sanctions and the 2003 Iraq War. These wars and their aftermaths have had devastating impacts on Iraq and its people, contributing to the destabilization of the broader Middle East. Conflict with Iraq has also become an enduring part of American life, influencing culture, politics, and identity. The artists in Theater of Operations were also impacted by significant cultural change during this period—including the advent of the 24-hour news cycle, the Internet, and new media and military technologies. -
A Letter to Paul Wolfowitz
MISCELLANY A LETTER TO PAU L WOLF OW ITZ Occasioned by the tenth anniversary of the Iraq war By Andrew J. Bacevich ear Paul, seemed to nd pre- DI have been mean- siding over SAIS ing to write to you for more bothersome some time, and the than it was fulll- tenth anniversary of ing. Given all that the beginning of the running the place Iraq war provides as entails—raising good an occasion as money, catering to any to do so. Distract- various constitu- ed by other, more re- encies, managing cent eruptions of vio- a cantankerous lence, the country and self-important has all but forgotten faculty—I’m not the war. But I won’t sure I blame you. and I expect you SAIS prepares peo- can’t, although our ple to exercise power. reasons for remem- That’s why the bering may differ. school exists. Yet you Twenty years ago, wielded less clout you became dean of the Johns Hopkins excel mostly in recycling bromides. than at any time during your previous School of Advanced International Stud- When it came to sustenance, the sand- two decades of government service. ies and hired me as a minor staff func- wiches were superior to the chitchat. So at Zbig’s luncheons, when you tionary. I never thanked you properly. I You were an exception, however. You riffed on some policy issue—the crisis in needed that job. Included in the benets had a knack for framing things cre- the Balkans, the threat posed by North package was the chance to hobnob with atively. -
Steve Mumford
STEVE MUMFORD Born 1960, Boston, Massachusetts Lives and works in New York City and Tenants Harbor, Maine EDUCATION 1994 School of Visual Arts, New York, NY, MFA in Fine Arts 1987 School of the Museum of Fine Arts, Boston, MA, Fifth Year Program Participant and Teaching Assistant to Freidel Dzubas 1986 School of the Museum of Fine Arts, Boston, MA, Diploma SOLO EXHIBITIONS 2020 Drawings from America’s Front Lines, Postmasters Gallery, New York, NY 2016 Recent Paintings, Postmasters Gallery, New York, NY 2014 War Journals, 2003 – 2013, Frist Center for the Visual Arts, Nashville, TN War Stories, William Holman Gallery, New York, NY 2013 The Snow Leopard, Postmasters Gallery, New York, NY 2011 Steve Mumford: Embedded—Recent Drawings from Iraq & Afghanistan, Center for Maine Contemporary Art, Rockford, MA 2010 Steve Mumford, Postmasters Gallery, New York, NY 2008 War Diaries Works by Steve Mumford, Kansas City Artist Coalition, Kansas City, MO 2007 Steve Mumford, ACA Gallery of Savannah College of Art and Design, Atlanta, GA [catalog] Steve Mumford: Baghdad Journal: An Artist in Occupied Iraq, Pritzker Military Academy Library, Chicago, IL 2006 The War in Iraq, New Paintings by Steve Mumford, Postmasters Gallery Steve Mumford: Baghdad and Beyond, Tufts University Art Gallery, Medford, MA 2005 Drawing from Life, Meadows Museum, Dallas, TX 2004 Steve Mumford: Drawings from Life in Iraq, University of Akron, OH; traveling to: Cranbrook Art Museum, Cranbrook, MI; The Moore Space, Miami, FL 2003 Steve Mumford in Iraq: Drawing from Life, Postmasters -
Steve Mumford
STEVE MUMFORD Born 1960, Boston, Massachusetts Lives and works in New York and Maine EDUCATION 1994 School of Visual Arts, New York, NY, MFA in Fine Arts 1987 School of the Museum of Fine Arts, Boston, MA, Fifth Year Program Participant and Teaching Assistant to Freidel Dzubas 1986 School of the Museum of Fine Arts, Boston, MA, Diploma SOLO EXHIBITIONS 2020 Drawings from America’s Front Lines, Postmasters Gallery, New York, NY 2016 Recent Paintings, Postmasters Gallery, New York, NY 2014 War Journals, 2003 – 2013, Frist Center for the Visual Arts, Nashville, TN War Stories, William Holman Gallery, New York, NY 2013 The Snow Leopard, Postmasters Gallery, New York, NY 2011 Steve Mumford: Embedded—Recent Drawings from Iraq & Afghanistan, Center for Maine Contemporary Art, Rockford, MA 2010 Steve Mumford, Postmasters Gallery, New York, NY 2008 War Diaries Works by Steve Mumford, Kansas City Artist Coalition, Kansas City, MO 2007 Steve Mumford, ACA Gallery of Savannah College of Art and Design, Atlanta, GA [catalog] Steve Mumford: Baghdad Journal: An Artist in Occupied Iraq, Pritzker Military Academy Library, Chicago, IL 2006 The War in Iraq, New Paintings by Steve Mumford, Postmasters Gallery Steve Mumford: Baghdad and Beyond, Tufts University Art Gallery, Medford, MA 2005 Drawing form Life, Meadows Museum, Dallas, TX 2004 Steve Mumford: Drawings from Life in Iraq, University of Akron, OH; traveling to: Cranbrook Art Museum, Cranbrook, MI; The Moore Space, Miami, FL 2003 Steve Mumford in Iraq: Drawing from Life, Postmasters Gallery, New York, -
The Boston Globe 2/23/10 1:34 PM
An artist's view of war and remembrance - The Boston Globe 2/23/10 1:34 PM THIS STORY HAS BEEN FORMATTED FOR EASY PRINTING BEHIND THE SCENES An artist's view of war and remembrance By Dean Inouye, Globe Staff | August 27, 2006 From his vantage point in the streets of Iraq, Steve Mumford had what he believes is a unique perspective on the Iraqi war. ``If artists have dealt with the war in Iraq at all, it's been on strictly political terms from the comfort of their studios," said Mumford, who took four trips to Iraq in 2003 and 2004. ``My drawings are not overtly political. It's kind of a new thing for artists to put themselves in the eye of the storm and draw what they were looking at, rather than drawing to represent a polemic." Mumford, a Boston native who now paints in New York City, created about 500 drawings and watercolors in Iraq. About 40 of those works, along with eight watercolors of disabled Iraq War veterans at the Brooke Army Medical Center near San Antonio, will be displayed at the Tufts University Art Gallery, beginning next week. Most of the drawings show American soldiers performing their everyday tasks, often interacting with Iraqi civilians. Among the subjects are snipers at an observation post in Tikrit, soldiers hitting golf balls from one of Saddam Hussein's former palaces, and Baghdad children scrambling for candy tossed by soldiers on patrol. ``The thing that always struck me was how the situation in Iraq never seemed as bad on the ground as what I was reading in the news," said Mumford, who added that the military did not restrict his movements. -
ESAM AL-Azizawy PASHA 2005 – 2006 International Artist-In-Residence Bagdad, Republic of Iraq
INTERNATIONAL ARTIST-in-RESIDENCE PROGRAM – MAISON des ARTISTES NEW LONDON, CONNECTICUT USA ESAM AL-Azizawy PASHA 2005 – 2006 International Artist-in-Residence Bagdad, Republic of Iraq "The Throne" Date Acquired: 10/21/2005, Date Created: 2005 Framed Dimensions: Not Framed, Picture Dimensions: 30 x 24" Medium: Oil on Canvas INTERNATIONAL ARTIST-in-RESIDENCE PROGRAM – MAISON des ARTISTES NEW LONDON, CONNECTICUT USA Esam Al-azizawy PASHA 2005 – 2006 International Artist-in-Residence from Bagdad, Republic of Iraq . Iraq’s art hero Through dictatorship, war, occupation, insurgency, and counterinsurgency, Esam Pasha kept painting. BY GEOFFREY CRAIG / BROOKLYN, NEW YORK TUESDAY, AUGUST 8, 2006 On a warm afternoon in early March, I went to New London, Connecticut to visit Esam Pasha, a 30-year-old Iraqi artist. At the time, Esam lived in an apartment at the Sapphire House, a renovated mansion, owned by the Griffis Art Center, where he was an artist-in-residence. I had met Esam in January at a gallery in New York’s SoHo district, which had opened an exhibit featuring Esam and five others, billed as the first opportunity for Americans to view works by leading contemporary Iraqi artists. Only six months prior to the exhibit opening, Esam was still living in Iraq. The juxtaposition raised several questions. How did Esam become an artist in the first place? How did he end up in the United States? I also wondered how Esam’s experiences could serve as a window to view and understand Iraq’s past and present. INTERNATIONAL ARTIST-in-RESIDENCE PROGRAM – MAISON des ARTISTES NEW LONDON, CONNECTICUT USA Sitting in the living room of the Sapphire House, over coffee and countless cigarettes, we began talking.