Impressions: Stretching the Limits of Representation
Notes Impressions: Stretching the Limits of Representation 1 . John Elderfield, Manet and the Execution of Maximilian (New York: The Museum of Modern Art, 2006). 2 . Ibid., p. 133. 3 . Derek Gregory, The Colonial Present: Afghanistan, Palestine, Iraq (Oxford: Blackwell, 2004), p. 199. 4 . This would not be unusual, as Janina Struk shows in Private Pictures: Soldiers’ Inside View of War (London and New York: I.B. Tauris, 2011). 5 . Elderfield, Manet , p. 82. 6 . Michael J. Shapiro, Cinematic Geopolitics (London and New York: Routledge, 2009), p. 33; Elderfield, Manet , pp. 17, 82. 7 . In addition to these paintings, Manet also produced a lithograph of the scene, owned by the Metropolitan Museum of Art, New York, and a small oil painting that can be seen at Ny Carlsberg Glyptotek, Copenhagen, Denmark. Only parts of the London painting have survived. 8 . Elderfield, Manet , pp. 69, 44, respectively. 9 . See Frank Möller, ‘The Implicated Spectator: From Manet to Botero’, in M. Hyvärinen and L. Muszynski (eds), Terror and the Arts: Artistic, Literary, and Political Interpretations of Violence from Dostoyevsky to Abu Ghraib (Houndmills: Palgrave Macmillan, 2008), pp. 25–9. 10 . Gregory, The Colonial Present . 11 . David Ebony, ‘Botero Abu Ghraib’, in Fernando Botero, Botero Abu Ghraib (Munich: Prestel, 2006), p. 10 (both quotations). 12 . Mark Danner, Torture and Truth: America, Abu Ghraib, and the War on Terror (New York: New York Review Books, 2004), p. 28 (both quotations). 13 . See Scott Sagan, The Limits of Safety: Organizations, Accidents, and Nuclear Weapons (Princeton: Princeton University Press, 1993), p. 208. 14 . David Simpson, 9/11: The Culture of Commemoration (Chicago and London: The University of Chicago Press, 2006), p.
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