APG News

The APG welcomes new members Takashi Arai and Gordon Belray

by

The APG has recently invited two new members to the Guild, Takashi Arai and Gordon Belray.

2013年3月12日、常円寺住職・阿部光裕と私有地に集められた汚染土、福島市山口 March 12, 2013. Koyu Abe, chief priest of Joen Temple, and barrels of radioactive soil stored in his private propaty, Yamaguchi, Fukushima

2013年3月12日、常円寺住職・阿部光裕と私有地に集められた汚染土、福島市山口
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

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.

Semipalatinsk nuclear weapon testing area closed 25 years ago today

by

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.

Closure of Semipalatinsk

The Legacy of the Nuclear Age

by

Annie’s Fury“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
3484 University

Nuclear Imaging

by

The Bendigo Magazine (Victoria, Australia) interviewed APG-er Jessie Boylan about her work. You can read it here: Nuclear Imaging – Bendigo Mag – Autumn 2016

160712_roxby_7_010

“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…”

After Hiroshima

by

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

ah_492055_origHer 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

by

nuclear-light“Nuclear Light,” The Inventions of Light / Les Inventions de la Lumiere
http://www.imagearts.ryerson.ca/torontomontreallille/#program
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.

Nuclear Light
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
Katy McCormick

Through Post-Atomic Eyes

Postcard-1024x683Through 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.

From Trinity to Hiroshima and Beyond

From Trinity to Hiroshima and Beyond: the Nuclear Age Through the Eyes of the Atomic Photographers Guild

Hiroshima_2015

On July 16, 1945, the first test of the atomic bomb (Trinity Test) was conducted in Alamogordo, New Mexico. Twenty-one days after that on August 6th, an atomic bomb was dropped on Hiroshima. Seventy years has passed since then.

From October 6-16, the Atomic Photographers Guild will have an exhibition in the Hiroshima Bank Building, a robust building in the hypo-center that survived the a-bomb. The Bank is now an Arts Center with minimal funding.

We will exhibit 50 selected photos of a variety of subjects ranging from nuclear facilities to Hibakusha. All the photos are selected by the APG, an organisation of photographers from America, Canada, Germany, Australia and Japan.

We also show another 40 works called Nuclear Enchantment by Patrick Nagatani, a Japanaese American and member of the Guild. Patrick has his origins in Hiroshima. His brother Scott, a musician from Los Angeles, will come to wish for peace by playing an atomic-bombed piano.

Another project is to make a new “Trinity Site Monument @ Hiroshima 2015” – visitors to the exhibition will be asked to take part in erecting the monument. Also, there will be a slide show projected on a screen made of recycled paper cranes. We want to send a message of peace from Hiroshima, city of International Peace Culture.

October 6 – 15
10am-5pm
Old Bank of Japan, Hiroshima Branch
trinity.hiroshima2015@gmail.com

 

Camera Atomica: Art Gallery of Ontario

Several members of the Atomic Photographers Guild are a part of “Camera Atomica” at the Art Gallery of Ontario from July 8 – November 15, 2015.

P-10-Camera-Atomica-660Photographs have played a crucial role in shaping perceptions of nuclear weapons and nuclear energy. Camera Atomica — guest-curated by writer, curator and art historian John O’Brian — is the first substantial exhibition of nuclear photography to encompass the entire postwar period from the bombings of Hiroshima and Nagasaki in 1945 to the triple meltdown at Fukushima Daiichi in 2011.

 

The election of President Ronald Reagan in 1980 accompanied an intensification of the Cold War, and artists and photographers responded in large numbers to the escalating risk of a nuclear confrontation. The politics of the Cold War also coincided with a cultural debate around photography and its claims to represent what is “true” or “real.” Much post-1980 nuclear photography reflects altered understandings of the limitations of photography and the dangers of the nuclear arms race.

Camera Atomica addresses pressing issues in the post-war era – nuclear weapons proliferation, toxic waste disposal and climate change – as they are represented in photography. Organized thematically, it brings together vintage and contemporary photographs, press and fine arts photographs, scientific and touristic images and advertisements and propaganda from a wide range of sources. A discussion room, designed to evoke a fallout shelter, concludes the exhibition, replete with posters, articles and details about local engagement with atomic energy.

Beginning with Wilhelm Röntgen’s discovery of the X-ray in 1895, the exhibition includes more than 200 works, including an installation by Ken + Julia Yonetani, Ken Domon and Shomei Tomatsu’s photographs of hibakusha (survivors of Hiroshima and Nagasaki), David McMillan’s photographs at Chernobyl Nuclear Power Plant and Sandy Skoglund’s darkly humorous Radioactive Cats, as well as works by Nancy Burson, Edward Burtynsky, Philippe Chancel, Carol Condé and Karl Beveridge, Bruce Conner, Robert Del Tredici, Carole Gallagher, Blake Fitzpatrick, Kenji Higuchi, Michael Light, Dean Loomis, Richard Misrach, Ishiuchi Miyako, Barbara Norfleet, Andrea Pinheiro, Shimpei Takeda, Donald Weber, Garry Winogrand and official U.S. Army and press photographs from the AGO’s collection. Also featured is a recently acquired work by James Welling, from his series The Glass House.

This exhibition is included with general admission.

Organized by the Art Gallery of Ontario.

Camera Atomica catalogue cover

A 304-page soft-cover catalogue accompanies the exhibition and will be for sale in shopAGO. Co-published by the Art Gallery of Ontario and Black Dog Press, Camera Atomica includes more than 250 illustrations as well as essays by John O’Brian, Hiromitsu Toyosaki, Julia Bryan-Wilson, Blake Fitzpatrick, Susan Schuppli, Iain Boal, Gene Ray and Douglas Coupland

Atomic Amnesia: photographs and nuclear memory

Atomic photographer, Jessie Boylan (Australia), has just had her essay ‘Atomic Amnesia: photographs and nuclear memory’ published in the Journal of Global Change, Peace and Security. This paper addresses the ways in which photography can illuminate that which is unfathomable, such as nuclear catastrophe. It discusses how chronicling the nuclear era through art can allow us to break free of our atomic amnesia and urge us to imagine possible alternative futures free of nuclear disaster. It examines the ways in which members of the Atomic Photographers Guild have sharply focused on all aspects of the nuclear age and its fallout.

Link: Atomic Amnesia: photographs and nuclear memory

Matsushige_hiroshima3