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.
Terry Ownby 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.
L Plutonium Production Reactor, Savannah River Site
Canadian Center for Architecture, 1920 rue Baile. Vernissage: 7:00 pm
November 16 to April 9, 2017.
A thought-provoking group exhibition providing a critical review of Canada’s policies on environmental issues.
Photographer Robert Del Tredici has 9 large photographic prints in the nuclear section of the show. Entitled “Glimpses of Nuclear Ontario”, his images depict nuclear reactors, uranium processing facilities, and nuclear waste sites throughout Ontario, with a special emphasis on the town of Port Hope one hour east of Toronto.
In addition to teaching The History of Animated Film at the Mel Hoppenheim School of Cinema, Robert Del Tredici has been engaged in documenting the nuclear age. He has exhibited widely and produced five books of photos and text on the US nuclear weapons complex and the accident at Three Mile Island. He has documented protests, test sites, waste sites, nuclear pioneers, down-winders, and nuclear commemorations in Hiroshima, Russia, Kazakhstan, the USA, and across Canada. He has of late been particularly interested in the charming town of Port Hope (population 18,000), which hosts one of the oldest and largest uranium processing plants in the world. Over time the town has become contaminated with radioactive materials from routine operations from the uranium plant, as well as from materials dumped in ditches, used as fill, and released into nearby Lake Ontario. Port Hope is currently engaged in a $1.2 billion radioactive cleanup – the biggest municipal cleanup in Canadian history. Del Tredici has made many trips to Port Hope; his images of the town at the Center for Architecture provide a glimpse of the elusive issues at play in slow-motion in Canada’s most nuclear town and province.
The APG has recently invited two new members to the Guild, Takashi Arai and Gordon Belray.
March 12, 2013. Koyu Abe, chief priest of Joen Temple, and barrels of radioactive soil stored in his private property, Yamaguchi, Fukushima
Takashi Aria has been using the classical photographic process of daguerrotypes since 2010 to record nuclear issues, which he finds far better for recording and transmitting interactions with his subjects than modern photography and which is evocative of the earliest photographs of Japan. Arai’s work has appeared in numerous exhibitions, at the Museum of Fine Arts, Boston, Mori Art Museum, the National Museum of Modern Art, Tokyo, among other international venues.
La Jornada del Muerto
Gordon Belray has been working with lens based archives since 2011 to create large narrative tableaux from hundreds of film stills and photographs reminiscent of history paintings. His image of the Trinity test, La Jornada del Muerto will be published this Spring by Manifest Gallery’s international annual on photography.
It is exactly twenty-five years to the day of the signing of the presidential decree ordering the unconditional closure of the Semipalatinsk nuclear weapon testing area. Nursultan Nazarbaev, the President of the Republic of Kazakhstan signed the decree into law on August 29, 1991.
A copy of that decree is provided in Juri Kuidin’s book Nuclear Tragedy of Kazakhstan.
“Annie’s Fury” David Wargowski 2016
The Nuclear Forum of the World Social Forum presents a photographic exhibition by Robert Del Tredici and The Atomic Photographers Guild, The Legacy of the Nuclear Age.
Monday August 8
Tuesday August 9
ESG UQAM Bldg / Room R-M140
315 St Catherine East
Wednesday August 10
Thursday August 11
Friday August 12
University / McConnell Engineering Bldg, Room 12
The Bendigo Magazine (Victoria, Australia) interviewed APG-er Jessie Boylan about her work. You can read it here: Nuclear Imaging – Bendigo Mag – Autumn 2016
“Sixty years after the black mist rained on Maralinga burning people and country, Australia’s nuclear history is being made visible through art.”
Writer: Sarah Harris – Photographer: David Field
“Jessie Boylan may just be proof of the adage that activists and artists are born rather than made, entering the world under not so much a star sign as a mushroom cloud of Cold War hostilities.
The global nuclear arsenal reached its peak of 65,056 weapons in her birth year when she was delivered of a pregnancy literally book-ended by the sinking of the Rainbow Warrior and the Chernobyl nuclear meltdown.
Now aged 30, the multi award-winning photomedia artist finds herself at the forefront of documenting the Australian anti-nuclear movement with its inextricable threads to war, mining, social and environmental justice as the Doomsday clock, once again, shows three minutes to midnight.
The Castlemaine-based mum-of-two is one of more than 36 (indigenous and non-indigenous) artists and two locals (the other, Montalto Sculpture Prize-winning master founder Craig MacDonald) whose works will feature in a major two-year national touring exhibition to commemorate the 60th anniversary of the atomic test series at Maralinga in South Australia, starting in September.
Black Mist Burnt Country spans seven nuclear decades from the apocalyptic bombing of Hiroshima, the post-war testing in the central desert, through the protests against Pacific testing in the ‘80s to the present day…”
Atomic Photographer/Artist elin o’Hara slavick has upcoming exhibitions of her work ‘After Hiroshima’.
Hiroshima > Nagasaki > Fukushima, Gallery G, Hiroshima, Japan, 2016
Making the Invisible Visible, Staniar Gallery, Washington and Lee University, Lexington, VA, 2017
Her recent book: After Hiroshima was published by Daylight Books: with an essay by James Elkins
These photographic images of Hiroshima, Japan, are attempts to visually, poetically, and historically address the magnitude of what disappeared as a result of and what remains after the dropping of the A-bomb in 1945. They are images of loss and survival, fragments and lives, architecture and skin, surfaces and invisible things, like radiation. Exposure is at the core of this photographic project: exposure to radiation, to the sun, to light, to history, and exposures made from radiation, the sun, light and historical artifacts from the Peace Memorial Museum’s collection. After Hiroshima engages ethical seeing, visually registers warfare, and addresses the irreconcilable paradox of making visible the most barbaric as witness, artist, and viewer.
“Nuclear Light,” The Inventions of Light / Les Inventions de la Lumiere
School of Image Arts, Ryerson University, Toronto, Canada
February 24 – 26, 2016
Part of the bilingual conference, The Inventions of Light / Les Inventions de la Lumiere, “Nuclear Light” brings together a panel of APG members, Robert Del Tredici, Mary Kavanagh and Katy McCormick. Each panelist discusses the concept of nuclear light through the lens of their own work. Moderated by Blake Fitzpatrick.
This conference is the 6th edition of the Toronto/Montreal/Lille biennial of artistic exchange, and focuses on what light makes possible in the parallel realms of perception and creative imagination. The overall goal of the three-day conference is to explore the “inventions of light” collectively and to develop an interdisciplinary approach to the many inventions that light has generated in painting, photography, cinema, animation and digital arts.
Moderator: Blake Fitzpatrick (Ryerson University)
Fiat Lux: The Reign of Nuclear Light
Robert Del Tredici (independent artist)
Atomic Tourist: Trinity
Mary Kavanagh (University of Lethbridge)
Nagasaki, 11:02 – Land of the Second Sun
Through Post-Atomic Eyes brings together an interdisciplinary group of artists and scholars to explore the complex legacy of the atomic age in contemporary art and culture. In what ways do photography and other lens-based art practices shed light on this legacy in the 21st century, and how has atomic culture shaped contemporary intersections of photography, nuclear industries, and military techno-cultures? Join us as we explore some of the most urgent issues of our time, from climate change and the Anthropocene to surveillance culture and the advent of drone warfare, through a post-atomic lens.
Through Post-Atomic Eyes is scheduled to coincide with John O’Brian’s groundbreaking exhibition, Camera Atomica, the first substantial exhibition of nuclear photography to encompass the postwar period from the bombings of Hiroshima and Nagasaki in 1945 to the meltdown at Fukushima in 2011. Now on view at the Art Gallery of Ontario (until November 15, 2015).
October 23-25, 2015 at the Art Gallery of Ontario.