APG News

Mary Kavanagh: Daughters of Uranium



March 2, 2019 – April 28, 2019

Mary Kavanagh: Daughters of Uranium  solo exhibition at the Southern Alberta Art Gallery explores the legacy of the atomic age from the perspective of the sentient body and intergenerational trauma. While considering the ideological apparatus that has surrounded nuclearism since its inception, Mary Kavanagh’s new work has emerged from a longstanding interest in the body as a site of memory, violence, and inscription. Daughters of Uranium is a title redolent of both archaic chemical science and of generations born into an uncertain future. Citing the radioactive decay chain of Uranium 235, widely known for its use in the first atomic bomb, the elements in Uranium’s family tree are referred to as “daughters.” Kavanagh’s exhibition considers Promethean technologies in relation to accelerated environmental degradation and renewed global interest in nuclear armament. Cinematic projection, works on paper, artifacts, and a provocative series of structures using light, glass, sound, and lead are conceptualized as chapters that combine personal and political narratives organized around central themes and historic periods.

Co-curated by Christina Cuthbertson and Lindsey Sharman. Co-organized with the Founders’ Gallery. An exhibition publication with essays by Peter Van Wyck and Jayne Wilkinson will be launched in 2020.




BOMBHEAD is a thematic exhibition organized by guest curator John O’Brian that explores the emergence and impact of the nuclear age as represented by artists and their art. Strongly associated with obliteration and destruction, nuclear technologies have had a profound cultural and ecological impact since their development in the mid-20th century.

Encompassing the pre- and postwar period from the bombing of Hiroshima and Nagasaki in 1945 to the triple meltdown at Fukushima Daiichi in 2011, BOMBHEAD brings together paintings, drawings, prints, sculpture, photographs, film and video that deal with this often dark subject matter. The exhibition will address some of the most pressing issues of the postwar era. What has been the role of art in producing an image of the bomb and nuclear energy? Have nuclear art and images heightened or lessened anxieties about the atomic threat, or have they done both simultaneously? How should different expressive approaches to nuclear risk be understood? The themes explored in this exhibition will strongly resonate with the works on view in Takashi Murakami: The Octopus Eats Its Own Leg, which reflect Murakami’s own reckoning with the nuclear age.

Artists in the exhibition include: Carl Beam, Henry Busse, Blaine Campbell, Bruce Conner, Gregory Coyes, Robert Del Tredici, Wang Du, Harold Edgerton, Gathie Falk, Robert Filliou, Richard Finnie, Betty Goodwin, Adolph Gottlieb, Richard Harrington, David Hockney, Jenny Holzer, Robert Keziere, Roy Kiyooka, Bob Light and John Houston, Ishiuchi Miyako, Carel Moiseiwitsch, Andrea Pinheiro, Robert Rauschenberg, Mark Ruwedel, John Scott, Erin Siddall, Nancy Spero and Barbara Todd.


It is two minutes to midnight


May 11 – May 19, 2018

Opening Reception: May 11, 5 – 8PM

In partnership with the Bulletin of the Atomic Scientists, Weinberg/Newton Gallery presents a unique virtual reality experience by Ellen Sandor and (art)n artists Diana Torres, Azadeh Gholizadeh, and Chris Kemp. This VR was inspired by Martyl and produced in collaboration with Carolina Cruz-Neira and The Emerging Analytic Center at University of Arkansas at Little Rock. It Is Two Minutes to Midnight highlights recent heightened threats of nuclear warfare, growing tensions between nations, and climate change alongside scientific discoveries, like CRISPR genomic editing, that could improve healthcare and have other applications.

Ellen Sandor and (art)n artists Diana Torres, Azadeh Gholizadeh, and Chris Kemp in collaboration with Carolina Cruz-Neira


Terry Ownby presents at Geomedia 2017


Dr. Terry Ownby, Associate Professor of Photo Media at Idaho State University, presented a paper at the Geomedia 2017 international conference held at Karlstad University in Sweden. Ownby’s paper investigated the intersection of photographic, cartographic, and remote sensing methodologies used in the creation of his on-going nuclear photography series, “Hidden in Plain View: Human Contact with Nuclear Missiles.” The photographic series interrogates the interaction between tourists and citizens recreating and living within the boundaries of a U.S. National Park Service unit, which itself is within the boundaries of America’s first and still active Minuteman missile complex.

      Spaces of the In-Between, An Interdisciplinary International Conference   Karlstad, SWEDEN, 9-12 May 2017

From Trinity to Fukushima and Beyond : New Approaches to Nuclear Culture and the Nuclear Arts in the 20th and 21st Century


This is the site of the world’s first nuclear explosion.  It occurred on July 16, 1945, at 5:29:45 a.m. Mountain War Time on the Alamogordo Bombing and Gunnery Range of the White Sands Proving Ground in the Jornada del Muerto desert in New Mexico.  The 20 kiloton “Trinity” explosion was the birth of the Atomic Age.

Peter Goin: This is the site of the world’s first nuclear explosion. It occurred on July 16, 1945, at 5:29:45 a.m. Mountain War Time on the Alamogordo Bombing and Gunnery Range of the White Sands Proving Ground in the Jornada del Muerto desert in New Mexico. The 20 kiloton “Trinity” explosion was the birth of the Atomic Age.

Graduate and Emerging Scholars Symposium From Trinity to Fukushima and Beyond

Saturday March 10, 2016 University of Montreal

Organizing Committee : Amandine Davre, Livia Monnet, Suzanne Paquet, Mathieu Li-Goyette.

For information on the conference contact Livia Monnet


Conference keynote speaker Robert Del Tredici is a photographer and writer whose first encounter with the nuclear age occurred while documenting the 1979 reactor melt-down at Three Mile Island. He next travelled to Hiroshima and Nagasaki to meet and photograph survivors of the first atomic bombs. This was preparation for a six- year endeavour to document all twelve of the H-bomb factories throughout the United States. Along the way, he interviewed nuclear pioneers, atomic workers, radiation victims, and activists. He then tracked the Soviet Bomb, the attempted cleanup of the US nuclear weapons complex, Canadian uranium mines, and the site of the world’s oldest and largest uranium refinery, Port Hope, Ontario. He has published five books of photographs and text on the nuclear age.

His keynote presentation at the Nuclear Arts Conference will explore the concept of the Nuclear Uncanny — those shape-shifting, fleeting, everlasting, invisible, contradictory materials, energies, perceptions, and anxieties that permeate the nuclear age yet continually evade our grasp.  Del Tredici believes that the Nuclear Uncanny can be best captured in art.


Recent debates on the Anthropocene have proposed July 16, 1945 – the date of the Trinity nuclear test conducted in the Jornada del Muerto desert in New Mexico – as the official beginning of this human-induced geologic era. The Nuclear Age has produced a rich archive of nuclear-themed works and representations spanning all genres – post-apocalyptic dystopia, fantasy, horror, comedy, mystery fiction — and all media platforms, from the visual arts, literature, cinema, and television to comics, graphic novels, manga, and video games.

This graduate-and-emerging-scholars symposium proposes to examine some of the productions and mutations of the nuclear arts and cultures in the 20th and 21 centuries. The primary objective of the symposium is to establish a transnational network of young researchers and emerging scholars (MA, doctoral and postdoctoral students, junior scholars) working on the nuclear arts and nuclear culture in the US, Japan, India, France, UK, Germany, Australia, South and North Korea, China, Russia and elsewhere. The symposium also seeks to explore new approaches, theories, and methodologies for the analysis, interpretation, and reimagining of the global nuclear ecology in the arts and in popular culture – in particular in the current, post-Fukushima context when the danger of other nuclear accidents, and of nuclear proliferation in Asia seems imminent.

“Nuclear Families: From Trinity to Nagasaki”


Society for Photographic Education 2017 National Conference

Atomic Tourist: Kate

Atomic Tourist: Kate Henning, Santiago, California, 2014


Speakers: Claude Baillargeon, Mary Kavanagh, Mark Klett, and Katy McCormick (P)

Saturday, March 11 – 9:00AM to 10:45AM
Orange EF

The concept of the nuclear family can be understood metaphorically with reference to the atomic age, which intrinsically connects humanity as a transglobal family. This panel focuses on three early milestones. Joining 5,000 pilgrims to the Trinity Site, Mary Kavanagh explores the global phenomenon of nuclear tourism and the anxieties of the new age. The crumbling facilities of Utah’s Wendover Airfield, where the Enola Gay prepared for its combat mission, are the subject of Mark Klett’s plea for historic preservation. Haunted by the gaze of a Nagasaki teenager suffering catastrophic burns, Katy McCormick grapples with the ethics of hibakusha photography.

SPE site

Photographing the Nuclear Body


Maids of Muslyumovo, Chelyabinsk, Russia

Maids of Muslyumovo, Chelyabinsk, Russia

Photographer and Film Studies teacher Robert Del Tredici with curator John O’Brian will present images on the nuclear age at the Jarislowsky Institute (3rd floor, EV Bldg) on 16 February 2017, at 4:00 pm after a 2:00 tour of the Center for Contemporary Architecture exhibition “It’s All Happening So Fast.”

More information: https://www.concordia.ca/finearts/cinema/cunews/finearts/cinema/film-studies/2017/02/photographing-the-nuclear-body.html

Contact email: Marthalangford@sympatico.ca

elin o’Hara slavick: Illuminated Artifacts


Atomic Mask, cyanotype (sunprint) of a fragment of a steel beam from the A-Bomb Peace Dome, from the Hiroshima Peace Memorial Museum archives, Hiroshima, Japan, 2008

Atomic Mask, cyanotype (sunprint) of a fragment of a steel beam from the A-Bomb Peace Dome, from the Hiroshima Peace Memorial Museum archives, Hiroshima, Japan, 2008

Art Exhibit: elin o’Hara slavick: Illuminated Artifacts

January 9 – February 3, 2017

Wilson Hall/Staniar Gallery

Using alternative photographic processes such as 19th century techniques and contemporary digital technology, elin o’Hara slavick’s conceptual practice revolves around the idea of making visible what we often do not see.  This exhibition features photographic works from After Hiroshima, images of A-Bombed artifacts made in Japan, and Found Walking, an ongoing series based on objects collected on meditative walks.  Both bodies of work are records of loss and hope, decay and survival, revealing the effects of time and the spectacular beauty of mundane things.  An activist, educator, mother, poet, critic, curator and artist, slavick never separates form from function, theory from practice, or utopian concept from material reality.  She is a Distinguished Professor at UNC, Chapel Hill, where she built the photography program.  Her work has been exhibited internationally and she is the author/artist of two monographs – Bomb After Bomb: A Violent Cartography (Charta 2007) with a foreword by Howard Zinn and essay by Carol Mavor and After Hiroshima (Daylight, 2014) with an essay by James Elkins.


The APG welcomes Terry Ownby.


Terry OwnbyTE and TE Support Truck, Malmstrom AFB, Montana is associate professor of photo media, photo history, and visual culture at Idaho State University, USA. He holds a PhD in visual media studies, MA in media communication, and a BS in media/photography. His photography has been exhibited on the west and east coasts, along with numerous venues in the heartland. He has presented his research in Europe and the Middle East, with manuscripts in the library collections at Yale University. He is also a retired military veteran with nearly 23 years of service.