Related Articles from the pages of Afterimage

“100 Suns and the Nuclear Sublime: An Interview with Michael Light” by Robert Hirsch (interview). 33.1, pp. 24-29. “The Abused Landscape: The Works of Young Israeli Photographers” by Jochai Rosen (feature). 35.1, pp. 23-26. “After 9/11” by Nathan Hogan (book noted: After 9/11 by Nathan Lyons). 31.2, pp. 14. “After the Fact” by Vincent Leo (exhibition review: “ 1983: Auschwitz, Majdanek, Treblinka” by James Friedman, Bertha Urdang Gallery, New York, NY and “Concerning a Personal Project: The Photographing of Nine Nazi Concentration Camps” by James Friedman, Purdue University Library, Lafayette, IN; Greater Rochester Jewish Community Center, Rochester, NY; Jewish Federation of Broome County, Binghamton, NY; Kingsbay YM-YWHA, Brooklyn, NY). 12.10, pp. 17-18. “Agnostic Witness” by Laura U. Marks (report: Human Rights Watch International Film Festival, New York, NY). 22.2, pp. 5-6. “‘All That is Solid Melts into Air’: Notes on the Logic of the Global Spectacle” by Jonathan Flatley (feature). 30.2, pp. 4-5. “Allegories of Palestine: An Interview with Michel Khleifi” by Coco Fusco (interview). 16.4, pp. 14-16. “A(na)esthetics” by Alan Gilbert (book review: Between Dog & Wolf: Essays on Art and Politics by David Levi Strauss). 28.5, p. 20. “Appointment with Berlin” by Jay Murphy (report: Berlinale, Berlin, Germany). 36.1, pp. 5-6. “Arabs Not the First to be Blown Away by the Movies” by James Marrison (essay). 31.5, p. 14. “Archaeological Digging in the June Gloom” by Roger Hallas (report: The 51st Robert Flaherty Seminar, Claremont, CA). 33.1, pp. 7-8. “Archive of the Forgotten: A Conversation About the Archive of Modern Conflict” by Paul Roberts (interview). 38.5, pp. 5-7. “Archival (Re)Collections” by Rembert Hueser (exhibition review: “Nancy Ann Coyne: Archiving Memory,” Iniversity of Minnesota, Elmer L. Anderson Library, Minneapolis, MN). 33.3, pp. 47-48. “Art, Gender, Power, and the F Word: An Interview with Coco Fusco” by Colette Copeland (interview). 35.5, pp. 4-6. “The Art of Mourning: Death and Photography” by David L. Jacobs (book review: Looking at Death by Barbara P. Norfleet, Secure the Shadow by Jay Ruby, Harm’s Way edited by Joel-Peter Witkin, Nagasaki Journey: The Photography of Yosuke Yamahata edited by Rupert Jenkins). 23.6 & 24.1, pp. 8-11. “Art of Peaceful Protest” by Anuradha Vikram (exhibition review: “One Day: A Collective Narrative of Tehran,” Intersection for the Arts, San Francisco, CA). 37.4, pp. 21-23. “The Art of War: Terminable and Interminable” by Rob Silberman (feature book review: Unwinding the Vietnam War—From War into Peace edited by Reese Williams. feature exhibition review: “War and Memory: In the Aftermath of Vietnam,” Washington Project for the Arts, Washington, D.C.). 16.2, pp. 10-13. “Art Under Occupation: Documentary, Archive, and the Radically Banal” by Ryan Watson (feature). 36.5, pp. 7-12. “Atomic Reactions” by Patricia Thomson (feature). 11.9, pp. 5-10. “Atrocious Images” by Alexandra Neel (exhibition review: “Picturing Atrocity: Photography in Crisis,” The Center for the Humanities at the Graduate Center, New York, NY). 33.5, pp. 38-39. “The Banality of Photography” by Jan Zita Grover (feature book review: The Auschwitz Album: A Book Based Upon an Album Discovered by Concentration Camp Survivor, Lili Meier text by Peter Hellman). 9.9, pp. 5-7. “Behind the Front” by Jane Creighton (film review: La Decision de Vencer (Decision to Win) and Morazan by the Cero a la Izquierda Film Collective). 10.4, pp. 17-18. “Between the Eyes” by James Johnson (book review: Between the Eyes: Essays on Photography and Politics by David Levi Strauss). 31.5, p. 17. “Between the Lines” by Tina Wasserman (film review: Between the Lines by Yifat Kedar). 32.1, p. 14. “Beyond CNN” by Patricia R. Zimmermann (report: Asian Media Information and Communications Conference, Beijing, ). 33.2, pp. 15-16. “The Black Box of the Occupation Revisited: Photography, Responsibility, and the Israeli Occupation” by Simon Faulkner (feature). 35.3, pp. 13-16. “Blasting War” by Patricia R. Zimmermann (essay). 30.3 & 4, pp. 4-5. “Blindness and Insight: The Civil Rights Movement in Photographs and Text” by David A. Anderson (feature). 26.2, pp. 4-7. “Brady’s Nation” by Patricia Johnston and Joanne Lukitsh (book review: Mathew Brady and the Image of History by Mary Panzer. exhibition review: “Mathew Brady and the Image of History,” National Portrait Gallery, Smithsonian Institution, Washington, D.C.; Fogg Art Museum, Cambridge, MA; International Center for Photography/Midtown, New York, NY). 26.2, pp. 15. “Breaking the Wall of Silence” by Bruno Chalifour (book review: Infected Landscape: Israel: Broken Promised Land by Shai Kremer). 36.2, p\p. 33. “The ‘Brecht Effect’: Politics and American Postwar Art” by Philip Glahn (feature). 34.3, pp. 29- 32. “Capturing the Pain of Others” by Jung Joon Lee (exhibition review: “Flash Points: A Focus on Global Trauma: Photographs by Gilles Peress and Candace Scharsu,” Sidney Mishkin Gallery, New York, NY ). 34.5, pp. 31-32. “Clear Voices” by Kristy Krivitsky (exhibition review: “Portrait Narratives” by Jonathan Sharlin, Ganser Gallery, Millersville, PA). 27.1, p. 13 “Climate of War” by Janina A. Ciezadlo (exhibition review: “An-My Lê: Small Wars,” Museum of Contemporary Photography, Chicago, IL. “War Fare: Works by Ashley Gilbertson, Sean Hemmerle, Sarah Pickering, Martha Rosler, and Sean Snyder,” Museum of Contemporary Photography, Chicago, IL). 34.5, pp. 26-28. “Counting on Your Collective Silence: Notes on Activist Art as Collaborative Practice” by Gregory G. Sholette (feature). 27.3, pp. 18-20. “C/Overt Ideology: Two Images of Revolution” by Esther Parada (feature). 11.8, pp. 7-16. “Crisis in Africa” by Tina Wasserman (film review: Today the Hawk Takes One Chick by Jane Gillooly). 35.5, p. 28. “Culture Without a Country” by Ammiel Alcalay (exhibition review: “Uprising: Videotapes on the Palestinian Resistance,” Artists Space, New York, NY). 17.10, pp. 16-17. “The Death Business” by Bruce Jackson (feature). 2.2, pp. 2-3. “Distant Witnessing” by Andrea Liss (essay). 26.2, p. 3. “Documentaries from Post-Yugoslavia: Serbian War Discourse, 1999” by Navena Dakovic (feature). 28.4, pp. 16-18. “Documentary Against the Grain” by Edward Ball (news). 16.1, p. 3. “Dreams Decreed” by Noam Cohen (book review: Propaganda and Dreams: Photographing the 1930s in the USSR and the US by Leah Bendavid-Val and exhibition review: “Propaganda and Dreams: Photographing the 1930s in the USSR and the US,” The Corcoran Gallery of Art, Washington, D.C.; International Center of Photography, New York, NY). 27.4, pp. 16. “Duplicated Replications: The Interventions of Omer Fast” by Tina Wasserman (feature). 37.5, pp. 6-9. “Echoes of Atomic Wind” by Drew Snyder (exhibition review: “Madame Curie,” by Jennifer Steinkamp, Museum of Contemporary Art, San Diego, CA). 38.5, pp. 30-31. “Edward Said: 1935-2003” by Charadin Frank (obituary). 31.3, p. 2. “The Empire of Camps” by Nick Mirzoeff (feature). 30.2, pp. 11-12. “The Ethic of the Spectator: The Citizenry of Photography” by Ariella Azoulay (feature). 33.2, pp. 38-44. “Evidence of Blue” by Janet Koenig (book review: Witness: Perspectives on Police Violence by Bradley McCallum in collaboration with Jacqueline Tarry). 27.5, p. 12. “Exhibiting Tolerance” by Mark Alice Durant (report: opening of Belt Hashoah Museum of Tolerance, Los Angeles, CA). 21.3, pp. 12-14. “Exiles and Cosmopolitans” by Jacqueline S. Stoeckler (exhibition review: “Carnival in the Eye of the Storm: War/Art/New Technologies: Kosov@,” Pacific Northwest College of Art, Portland, OR). 28.4, pp. 36-37. “Failed Experiment” by O.Funmilayo Makarah (report). 21.5, pp. 4, 13. “The First Living-Room War: The Civil War in the Illustrated Press” by Jan Zita Grover (feature). 11.7, pp. 8-11. “Frames of Fear” by Jill Conner (exhibition review: “Permanent State of Emergency,” Eyebeam Art + Technology Center, New York, NY). 37.1, pp. 37-38. “From CNN to JFK: Paranoia, Melodrama, and American Mass Media in 1991” by W.J.T. Mitchell (feature). 19.10, pp. 13-17. “The Future’s Past: Re-Imaging the Cuban Revolution” by Jeffrey Skoller (feature). 26.5, pp. 13- 15. “Gaming for Social Change” by Lyell Davies (report: Games for Change Festival, New School for Social Research, New York, NY). 36.1, p. 4. “Grave Images” by Jen Saffron (exhibition review: “Purple Hearts” and “Grave and Deteriorating: Images of the War,” Pittsburgh Filmmakers Galleries, Pittsburgh, PA). 35.4, pp. 22-23. “History and Memory” by Janina A. Ciezadlo (film review: Burnt Oranges by Silvia Malagrino). 33.4, pp. 46-48. “Home Truths and Other Fictions: Geopolitics at the Film Festival” by Patricia Molloy (feature). 28.4, pp. 18-21. “I Miss You Already: A Phenomenological Understanding of Ken Jacobs’s Circling Zero: We See Absence” by Dana Anderson (feature). 36.2, pp. 18-19, 22-23. “Image Wars: Athens Riots as Dispotif and Event” by Sotirios Bahtsetzis (feature). 38.1, pp. 19- 24. “Imaging the Other: Representations of Vietnam in ‘60s Political Documentary” by Michael Renov (feature). 16.5, pp. 10-12. “Imagining Postmemory/Renegotiating History” by Marita Sturken (feature book review: Family Frames: Photography, Narrative, and Postmemory by Marianne Hirsch, Trespassing through Shadows: Memory, Photography & the Holocaust by Andrea Liss, Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory by Ernst van Alphen). 26.6, pp. 10-12. “The Impermanence of Memory” by Bill Kouwenhoven (report: Third Hamburg Photography Triennial, Hamburg, Germany). 33.1, pp. 9-10. “In True Colors” by Ammiel Alcalay (book review: Faithful Witnesses: Palestinian Children Recreate Their by Kamal Boullata). 19.3, p. 15. “Iran: Another View” photographs by Gilles Peress, text by Charles Hagen (feature). 8.1 & 2, pp. 16-25. “Judging War” by Jill Conner (book review: Never Coming Home by Andrew Lichtenstein, Bomb After Bomb: A Violent Cartography by Elin O’Hara Slavick, and Judge by Vincent Katz and Wayne Gonzales). 35.4, pp. 26-27. “Left, Right, and Center: El Salvador on Film” by Pat Aufderheide (feature). 15.5, pp. 10-14. “Manufactured Landscapes: The Photographs of Edward Burtynsky” by Marnin Young (exhibition review: “Manufactured Landscapes: The Photographs of Edward Burtynsky,” National Gallery of Canada, Ottawa, Canada, Art Gallery of Ontario, Toronto, Canada, Brooklyn Museum of Art, New York, NY and “Confluence: Contemporary Canadian Photography,” Canadian Museum of Contemporary Photography, Ottawa, Canada). 30.6, pp. 8-9. “Matrixes of War” by Patricia R. Zimmermann (feature). 28.4, pp. 29-33. “Memoirs of Survivors” by Elizabeth Merena (book review: Contemporary Art from /Arte Contemporaneo desde Chile edited by Marguerite Feitlowitz, Geoffrey Fox and Daniel Jussim and exhibition review: “Contemporary Art from Chile/Arte Contemporaneo desde Chile,” Americas Society Art Gallery, New York, NY; Southeastern University, North Dartmouth, MA). 19.2, pp. 14-15. “Mind the Film: Photographs and Films with Lost Narratives” by Ana Peraica (essay). 37.2, pp. 45-48. “Mining the Beautiful” by Jill Conner (essay). 33.6, pp. 16-19. “The Missing Links: From Censorship to Access” by Janet Sorensen (feature). 19.6, pp. 14-16. “More Sour Than Sweet” by Karen vanMeenen (book review: Blood and Honey: A Balkan War Journal by and exhibition review: “Blood and Honey: A Balkan War Journal,” by Ron Haviv, SABA Gallery, New York, NY; National Gallery of Bosnia, Sarajevo, Bosnia-Herzegovina). 28.4, pp. 37-38. “Movement Cultures” by Daniel Tucker (book review: Signs of Change: Social Movement Cultures 1960s to Now by Dara Greenwald and Josh MacPhee in association with Exit Art and exhibition review: “Signs of Change: Social Movement Cultures 1960s to Now,” Exit Art, New York, NY). 38.5, pp. 29-30. “The Mushroom Cloud Photograph: From Fact to Symbol” by Vincent Leo (feature). 13.1 & 2, pp. 6-12. “The New Flesh” by Barbara L. Miller (essay). 26.5, pp. 6-7. “The New 1914 that Confronts Us: An Interview with Retort” by David Evans (interview). 34.4, pp. 17-20. “News From Nowhere” by Francis Frascina (report: Liverpool Biennial, Liverpool, England). 38.4, pp. 6-7. “Northern Lights” by Chuck Twardy (exhibition review: “Troubled: Photography, Film and Video from Northern Ireland,” The Light Factory, Charlotte, NC; The Tire Shop, Raleigh, NC, Manbites Dog Theater, Durham, NC; Center for Documentary Studies, Durham, NC; Wake Forest University, Winston-Salem, NC). 27.2, p. 12. “Not Good” by Ana Finel Honigman (exhibition review: “Mirroring Evil: Nazi Imagery/Recent Art,” The Jewish Museum, New York, NY). 30.1, p. 17. “Notions of Ecology” by Seth Thompson (report: Sarjah Biennial 8, Sarjah, United Arab Emirates). 35.1, pp. 4-5. “On Others’ Outlook” by William V. Ganis (exhibition review: “Persian Visions: Contemporary Photography from Iran,” Johnson Museum of Art, Ithaca, NY). 34.6, pp. 24-25. “On War and Peace: The Leipzig International Film Festival” by Jan-Christopher Horak (news). 13.7, p. 3. “Out of Conflict” by Jill Conner (exhibition review: “Assaf Shoshan: Home,” Galerie Polaris, Paris, ). 35.2, p. 27. “‘An Outpost of Strength’: The Los Angeles Times Performs Law and Order Versus Chaos During the Watts Rebellion of 1965” by Weena Perry (feature). 33.1, pp. 32-37. “Orgy of Looking: The Construction of the L.A. Rebellion in the British Press” by David Bate (feature). 22.3, pp. 7-9. “Palestinian Identity: The Work of Tarek Al-Ghoussein” by Seth Thompson (feature). 34.5, pp. 10-12. “Pathos at Abu Ghraib” by David Evans (book review: The Abu Ghraib Effect by Stephen F. Eisenman). 34.6, p. 35. “Patriotic Gore” by Steve Cagan (book review: Deeds of War by . exhibition review: “Deeds of War,” by James Nachtwey, International Center of Photography, New York, NY). 17.8, pp. 20-21. “Philosophical Maneuvers in a Photogenic War” by Jan Zita Grover (feature book review: The Image of War: 1861–1865 edited by William C. Davis). 10.9, pp. 4-6. “Photography and Propaganda: Richard Cross and John Hoagland in Central America and in the News” by David Levi Strauss (feature). 15.9, pp. 12-16. “Photography, Power, and Representation” by Geoffrey Batchen (feature book review: The Burden of Representation: Essays on Photographies and Histories by John Tagg). 16.4, pp. 7-9. “Picturing Apartheid” by Nadine McGann (feature book review: Soweto: The Fruit of Fear by Peter Magubane, Lifetimes: Under Apartheid by Nadine Gordimer and David Goldblatt, South Africa: The Cordoned Heart edited by Omar Badsha, South Africa: A Different Kind of War: From Soweto to Pretoria by Julie Frederikse). 15.4, pp. 16-19. “Playing It Straight” by Lindsay Caplan (exhibition review: “Deadpan: Photography, History, Politics,” Amie and Tony James Gallery, New York, NY). 36.2, p. 24. “Political Packaging” by Diane Neumaier (book review: Nicaragua by Susan Meiselas, Visions of China by Marc Riboud, Police Work by Leonard Freed). 9.5, pp. 19-20. “Politics in Motion” by Babak Elahi (book review: Masters & Masterpieces of Iranian Cinema by Hamid Dabashi, Displaced Allegories: Post-Revolutionary Iranian Cinema by Negar Mottahedeh, Iranian Cinema: A Political History by Hamid Reza Sadr). 37.5 , pp. 35-36. “Portraits of Outrage” by Ryan Holmberg (exhibition review: “Picturing Atrocity: Photography in Crisis,” City University of New York, New York, NY). 33.5, pp. 37-38. “Present Past,” by Mitra Abbaspour (book review: Susan Meiselas: In History by Caroline Brothers, et al., exhibition review: “Susan Meiselas: In History,” International Center of Photography, New York, NY). 36.4, pp. 31-32. “Processing Trauma: The Media Art of Daniel Reeves” by Patricia R. Zimmerman (book review: Obsessive Becoming by Daniel Reeves and exhibition review: “The Hand That Holds Up All This Falling: The Works of Daniel Reeves,” Handwerker Gallery, Ithaca, NY). 26.2, pp. 11-13. “Quiet Spectacle: An Interview with Chris Hondros” by Jen Saffron (interview). 35.6, pp. 15-18. “Reconstructing Berlin” by Jeffrey Skoller (film review: Persistence by Daniel Eisenberg). 26.1, pp. 12-13. “The Red Badge of Authenticity” by Peter Wohlheim (book review: Regarding the Pain of Others by Susan Sontag). 32.4, pp. 8-9. “Reflections of War” by Jane A. Black (book review: Sarajevo Self-portrait: The View from Inside, Umbrage Editions and exhibition review: “Sarajevo Self-portrait: The View from Inside,” The Dayton Art Institute, Dayton, OH, Museet for Fotokunst, Odense, ). 28.4, pp. 35-36. “Reflections on Violence” by Jonathan Garlock (feature). 11.8, pp. 5-6. “Re-Negotiated Territory: The Politics of Place, Space and Landscape in Irish Photography” by Justin Carville (feature). 29.1, pp. 5-9 “Representations of the Unreal: Bush’s Orwellian Newspeak” by Henry Giroux (feature). 33.3, pp. 18-27. “Resistance to Erasure” by Maria Antonella Pelizzari (book review: Kurdistan: In the Shadow of History by Susan Meiselas). 26.5, p. 17. “Requiem” by Geoffrey Batchen (essay). 29.4, p. 5. “Return Engagements” by Andrew S. Weiner (book review: Making Memory Matter: Strategies of Remembrance in Contemporary Art by Lisa Saltzman). 35.6, p. 28. “Revolution or Revelation?” by Johannes Bockwoldt (film review: Iran: A Cinematographic Revolution by Nader Takmil Homayoun). 35.2, p. 33. “Revulsion and Pathos: Covering the War in ” by Mark Durden (feature). 29.5, pp. 5-6. “Roots of the Grotesque” by A.D. Coleman (feature). 5.5, pp. 4-6. “Sacred Gestures: Images from Our Holy War” by W.J.T. Mitchell (feature). 34.3, pp. 18-23. “Satellite Skirmishes: An Interview with Paper Tiger West’s Jesse Drew” by Douglas Kahn (interview). 20.10, pp. 9-11. “September 11: Photographic Representations and the Archival Character of Modern Memory” by Francis Frascina (feature). 37.3, pp. 13-18. “Social Studies” by Nancy Bless (film review: Teaching Tolerance produced by the Southern Poverty and Law Center). 22.2, pp. 11-12. “Soldiers Speak” by Jody Zellen (exhibition review: “. . . Out of Here: The Veterans Project,” Institute of Contemporary Art, Boston, MA). 37.4, pp. 25-26. “Soviet Life” by Bob Rogers (book review: Early Soviet Photographers by Daniela Mrazkova and Vladimir Remes, Pioneers of Soviet Photography by Grigory Shudakov with Olga Suslova and Lilya Ukhtomskaya. exhibition review: “Pioneers of Russian Photography: 1917–1941,” “Soviet Photography of World War II: 1941-1945,” International Center for Photography, New York, NY; Williams College Museum of Art, Williamstown, MA). 13.7, pp. 18-19. “Smart Bombs, Foolish Strategies” by Simon Penny (book review: War in the Age of Intelligent Machines by Manuel De Landa). 19.9, pp. 14-15. “Spectral Evidence: The Photography of Trauma” by Paul Tebbs (book noted: Spectral Evidence: The Photography of Trauma by Ulrich Baer). 30.2, p. 16. “Spinning Out of Control” by Karen vanMeenen (film review: War Made Easy: How Presidents & Pundits Keep Spinning Us to Death by Loretta Alper and Jeremy Earp). 35.4, pp. 31- 32. “Spyware” by Robert Moeller (book review: Prague Through the Lens of the Secret Police by Institute for the Study of Totalitarian Regimes). 38.1, p. 34. “Star Wars: The Photographer as Polemicist in Vietnam” by Jan Zita Grover (feature). 11.1 & 2, pp. 20-24. “States of Emergency” by Laura Salmon (book review: A Tale of Two Cities: Belfast/Beirut edited by Gary Nickard and Geno Rodriguez and exhibition review: “A Tale of Two Cities: Belfast/Beirut,” the Alternative Museum, New York, NY). 17.10, pp. 18-19. “Surveillance in Suburbia” by Judith Parker (exhibition review: “High Value Targets,” by Cheryl Pagurek, Patrick Mikhail Gallery, Ottawa, Canada). 37.6, pp. 27-28. “Tabletop History” by Michael Costello (book review: Hitler Moves East: A Graphic Chronicle, 1941-43 by David Levinthal and Garry Trudeau). 5.10, pp. 18-19. “Tell Me a Story” by Lisa Hunter (report: 10th Mois De La Photo, Montréal, Canada). 35.4, pp. 2- 3. “Terrorism, Incorporated” by Helen Shortal (exhibition review: “Beyond Glory: Re-Presenting Terrorism,” curated by David Brown and Nina Felshin, Maryland Institute College of Art, Baltimore, MD). 19.8, p. 16. “This Ain’t No Heartland: An Interview with Andreas Horvath” by Claire Sykes (interview). 32.3, pp. 4-7. “‘Too Young and Vibrant for Ruins’: Ground Zero Photography and the Problem of Contemporary Ruin” by Weena Perry (feature). 36.3, pp. 8-12. “Toronto With a Dash of Diop” by Laura U. Marks (report: Toronto International Film Festival). 27.4, p. 8. “Tragedies of Disaster” by Jill Conner (exhibition review: “Haiti: 12 January 2010,” by Ron Haviv, VII Photo Agency, Brooklyn, NY). 38.1, pp. 25-26. “Trauma and Agitation: Video Games in a Time of War” by Claudia Costa Pederson (feature). 38.2, pp. 9-13. “Troubled Landscapes” by Gary Nickard (exhibition review: “Willie Doherty,” Tom Cugliani Gallery, New York, NY). 18.9, pp. 14-15. “True Crime: Forensic Aesthetics on Display” by Giovanni Intra (book review: Scene of the Crime by Ralph Rugoff, Police Pictures: The Photograph as Evidence essays by Sandra S. Phillips, Mark Haworth-Booth, and Carol Squires and exhibition review: “Scene of the Crime,” University of California, Los Angeles; Armand Hammer Museum of Art and Cultural Center, Los Angeles, CA; and “Police Pictures: The Photograph as Evidence,” San Francisco Museum of Modern Art, San Francisco CA; Grey Art Gallery and Study Center at , New York, NY). 25.5, pp. 12-14. “True Lives” by Nadine L. McGann (report: The Margaret Mead Film and Video Festival, New York, NY, The Ties that Bind: Re/Viewing Kin and Communities, New York, NY). 22.5, pp. 4-5. “An Uneasy Witness” by Andrea Liss (exhibition review: “19.9.41, A Day in the Warsaw Ghetto: A Birthday Trip in Hell,” organized by Yad Vashem, Israel and circulated in the United States by The Smithsonian Institution Traveling Exhibition Service, Washington, D.C., The Martyrs’ Memorial and Museum of the Holocaust, Los Angeles, CA). 19.5, 15-16. “Waiting in Silence” by Sarah Stanley (exhibition review: “Bart Michiels: The Course of History,” Foley Gallery, New York, NY). 33.1, pp. 41-42. “The Wall of Palestine” by Bruno Chalifour (book review: No Man’s Land by Larry Towell and exhibition review: “Larry Towell: No Man’s Land” Stephen Bulger Gallery, Toronto, Canada; Henri Cartier-Bresson Foundation, Paris, France). 33.1, pp. 44-45. “War Artist: Steve McQueen and Postproduction Art” by David Evans (feature). 35.2, pp. 17-20. “What Are You Afraid Of?” by Erin Garcia (exhibition review: “Terror?,” Intersection for the Arts, San Francisco, CA). 34.4, pp. 28-29. “What is Waiting Out There” by Francis Frascina (report: 6th Berlin Biennale for Contemporary Art, Berlin, Germany). 38.2, pp. 2-3.

Art & Activism: A Special Issue 34.1 & 2 “Activating the Future: Political Documentaries and Media Activism” by Sharon Lin Tay (essay), pp. 46-47. “Bringing to Light” by James Glisson (book review: Jenny Holzer: Redaction Paintings, essay by Robert Storr and exhibition review: “Jenny Holzer: Archive,” Cheim & Read and Yvon Lambert, New York, NY), p. 76. “Capturing the Movement: Antiwar Art, Activism, and Affect” by Kirsty Robertson (feature), pp. 27-30. “Cartography of Resistance” by Ariella Azoulay (book review: Palestinian Art by Gannit Ankori), pp. 80-81. “Domestic Politics, Activist Graphics” by Johanna Drucker (book review: The Flag Project by Maureen Cummins), pp. 79-80. “Existence and the Other: Borders of Identity in Light of the Israeli/Palestinian Conflict” by Adi Louria-Hayon (feature), pp. 22-25. “Framing Art as Action: Rethinking Refusal in Contemporary Israeli Art” by Noa Roei (feature), pp. 38-42. “Political Art, Distracted” by Emily Kuenstler (exhibition review: “Thomas Hirschhorn: Utopia, Utopia=One World, One War, One Army, One Dress,” CCA Wattis Institute for Contemporary Arts, San Francisco, CA ), pp. 77-78. “Power of Mercy” by Yulia Tikhonova (exhibition review: “Blessed are the Merciful,” Feigen Contemporary, New York, NY), pp. 78-79. “Report from Beirut: Days of Culture, Days of Siege” by Rasha Salti and Gregory Sholette (feature), pp. 10-13. “Reverse Engineering: Dismantling and Customizing for the New Global Media Ecology” by Patricia R. Zimmermann (feature), pp. 66-72. “Toward Activist Photography” by Vered Maimon (book review: The Body at Risk: Photography of Disorder, Illness, and Healing by Carol Squiers and exhibition review: “The Body at Risk: Photography of Disorder, Illness, and Healing,” International Center of Photography, New York, NY), pp. 76-77.

War and Photography: A Special Issue 31.6 “Against Photography: Susan Sontag and the Violent Image” by Sue Sorensen (essay), pp. 16-17. “Agent Orange” by Bruno Chalifour (book noted: “Collateral Damage” in Viet Nam by Philip Jones Griffiths), p. 22. “Alexandra Boulat–VII” by Joanna Heatwole (interview), p. 8. “Anthony Suau on War” by Johanna Heatwole (interview), p. 11. “Baghdad Blues” by Bruno Chalifour (book noted: A War Diary by David Turnley), p. 22. “Casualty of War” by Scott Stamper (book noted: The Bush Administration’s Assault on a Free Press by David Dadge), p. 22. “Chris Steele-Perkins: From Survival Programmes to Magnum” by Bruno Chalifour (interview), p. 12. “Finding Refuge: Fazal Sheikh’s Three Projects” by Kristen Miller (feature), p. 9. “Hidden” by Bruno Chalifour (book noted: Hidden by Paul Seawright), p. 23. “Lager Nordhausen: A Soldier’s Point of View” by Betsy Phillips (essay), p. 6. “‘Manufactured Landscapes’: the Photographs of Edward Burtynsky” by Kristin Miller (exhibition review: “Manufactured Landscapes,” Art Gallery of Ontario, Toronto, Canada), p. 13. “On Ethics and Censorship” by Alexandra Boulat (essay), p. 8. “On James Natchwey and VII: From Inferno to War: A Few Considerations on James Natchwey, VII, and War Photography” by Bruno Chalifour (feature), p. 4-5. “Paul Shambroom: Face to Face with the Bomb” by Robert Hirsch (interview), p. 10-11. “Shooting Under Fire” by Bruno Chalifour (book review: The World of the War Photographer by Peter Howe), p. 17. “Unconscionable or Communicable: The Transference of Holocaust Photography in Cyber Space” by Brian Delevie and Isshaela Ingham (essay), p. 7. “‘War in Iraq: The Coordinates of Conflict’: Photographs by VII” by Jill Conner (exhibition review: “War in Iraq: The Coordinates of Conflict,” by VII, International Center of Photography, New York, NY), pp. 12-13. “‘War in Iraq: The Coordinates of Conflict’: An Exhibition of Photographs by VII. A Second Opinion” by Sarah Stanley (exhibition review: “War in Iraq: The Coordinates of Conflict,” by VII, International Center of Photography, New York, NY), p. 19.