https://www.susanneslavick.com/threadbare-1 daily 0.75 2019-07-02 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263026132-Y80QG637LXZT9ZD4358J/Threadbare+IV_2017%2C+96+x+40.5.jpg THREADBARE - THREADBARE IV, 2017 Oil, acrylic, dry pigment and glue on panel, 96 x 40.5 inches ———————————- The Shape of the World If the world were flat like a flying carpet, our sorrow would have a beginning and an end. If the world were square, we would lie low in a corner when the war plays "hide and seek." If the world were round, our dreams would take turns on the ferris wheel, and we would be equal. "The Shape of the World" by Dunya Mikhail from The Iraqi Nights forthcoming from New Directions, copyright 2013 by Dunya Mikhail. Listen to the poet read the poem here. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263026132-Y80QG637LXZT9ZD4358J/Threadbare+IV_2017%2C+96+x+40.5.jpg THREADBARE - THREADBARE IV, 2017 Oil, acrylic, dry pigment and glue on panel, 96 x 40.5 inches ———————————- The Shape of the World If the world were flat like a flying carpet, our sorrow would have a beginning and an end. If the world were square, we would lie low in a corner when the war plays "hide and seek." If the world were round, our dreams would take turns on the ferris wheel, and we would be equal. "The Shape of the World" by Dunya Mikhail from The Iraqi Nights forthcoming from New Directions, copyright 2013 by Dunya Mikhail. Listen to the poet read the poem here. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263040911-MIYPGG8ODY0EILY0YP7U/IMG_2296.jpg THREADBARE - THREADBARE IV, 2017 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263177525-4HDQLEBIAMQ6YVSJ3FMY/IMG_2297.JPG THREADBARE - THREADBARE IV, 2017 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263206671-WRO1UMHA1SYLUJ2DU2CI/IMG_2298.jpg THREADBARE - THREADBARE IV, 2017 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970675316-IZSAOOS5KZNJRRHIMW4X/Threadbare+II.jpg THREADBARE - THREADBARE II, 2015 Oil, acrylic, dry pigment and glue on panel, 56 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970664482-2VLHFPFUR7A14KCA4EBL/DSC08863.jpg THREADBARE - THREADBARE II, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970680824-6PY0BSE3AUK94C94UATH/DSC08861.JPG THREADBARE - THREADBARE II, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970670113-UDUOCSETB4M8UCCWP1EB/Deatail+Lotus+Carpet.jpg THREADBARE - THREADBARE II, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970707277-QHRIC1B9468ZZ4HA4W4F/Threadbare+III%2C2016%2C+72x48.jpg THREADBARE - THREADBARE III, 2015 Oil, acrylic, dry pigment and glue on panel, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970736066-EJ9FOWHS1B4EWIQ7NJT1/rope+detail.jpg THREADBARE - THREADBARE III, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970775997-EY2CLRGBAUQCXYOM8Y4A/DSC05033.JPG THREADBARE - THREADBARE III, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499979036064-D151O9L6U646ZRBNPR8O/Threadbare+I.jpg THREADBARE - THREADBARE I, 2015 Oil, acrylic, dry pigment and glue on panel, 60 x 60 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499979044427-0S16312MQ8KORUB38ZRW/DSC08852.jpg THREADBARE - THREADBARE I, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499979059982-QDOPJYVMRP9J3LSF6YTY/DSC08855.JPG THREADBARE - THREADBARE I, 2015, detail https://www.susanneslavick.com/cloud-realestate daily 0.75 2019-10-30 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1572472656301-YQ9DNG7IE45TQW5TRF76/Cloud+Circles.jpg CLOUD REAL ESTATE - NOTHING BUT BLUE SKIES, 2017 Acrylic and oil on canvas, 48 x 72 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1572472656301-YQ9DNG7IE45TQW5TRF76/Cloud+Circles.jpg CLOUD REAL ESTATE - NOTHING BUT BLUE SKIES, 2017 Acrylic and oil on canvas, 48 x 72 inches https://static1.squarespace.com/static/5967bb5b5016e138013d1a5f/5967c0d672af651391788703/5967c10646c3c43a80bdcba2/1499976749437/Cloud+Real+Estate.jpg CLOUD REAL ESTATE - CLOUD REAL ESTATE II, 2016 Acrylic and oil on “color reform” carpet, 36 x 61 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499975719357-X3SC10MIYTEVOTO1U3SJ/Cloud+Circles+detail.jpg CLOUD REAL ESTATE - NOTHING BUT BLUE SKIES, 2017, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499975774782-HYRXT2WQCI413WVIKZPV/Deatil+2.jpg CLOUD REAL ESTATE - NOTHING BUT BLUE SKIES, 2017, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499975772320-APKSIY6CXSVALIWPG769/Flower+detail.jpg CLOUD REAL ESTATE - NOTHING BUT BLUE SKIES, 2017, detail Oil and acrylic on panel, 48 x 72 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976769257-T5929GGQ7RGD20YUXOS5/Cloud+Real+Estate_white.jpg CLOUD REAL ESTATE - CLOUD REAL ESTATE II, 2016 Acrylic and oil on “color reform” carpet, 36 x 61 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976728022-9TWWON74LBPV9A43UNPO/Cloud+Real+Estate+II.jpg CLOUD REAL ESTATE - CLOUD REAL ESTATE I, 2016 Acrylic and oil on “color reform” carpet, 30 x 68 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976705039-6VM9AK42USK53ZADSYSO/Cloud+Real+Estate+II_+yellow+cloud+detail.jpg CLOUD REAL ESTATE - CLOUD REAL ESTATE I, 2016, detail Acrylic and oil on “color reform” carpet, 30 x 68 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976704813-X3882KY1OJN3FOMEBNTE/Cloud+Real+Estate+II_Detail+brown+cloud.jpg CLOUD REAL ESTATE - CLOUD REAL ESTATE I, 2016, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976752300-A6N2YZKDY9982E75Q9XA/Cloud+Real+Estate+II%2C+Detail+Blue+Cloud.jpg CLOUD REAL ESTATE - CLOUD REAL ESTATE I, 2016, detail https://www.susanneslavick.com/writ-large-1 daily 0.75 2018-11-28 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973485104-E08JOCSJH9CYB3HQV9GO/WRIT+LARGE+web+Trio.jpg WRIT LARGE - WRIT LARGE, 2014 Three archival inkjet print on Hahnemuhle paper, 68 x 44 inches each. Scroll down for single, more detailed images. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973485104-E08JOCSJH9CYB3HQV9GO/WRIT+LARGE+web+Trio.jpg WRIT LARGE - WRIT LARGE, 2014 Three archival inkjet print on Hahnemuhle paper, 68 x 44 inches each. Scroll down for single, more detailed images. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973368031-I9F1F00YQU9QQQED60U0/WRIT+LARGE+II+%28Myar%2913MB.jpg WRIT LARGE - WRIT LARGE II (Myar), 2014 Archival inkjet print on Hahnemuhle paper, 68 x 44 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973367991-1QNUOHNJGG3B4VGJS4WB/WRIT+LARGE+III+%28Mohammed%2913MB.jpg WRIT LARGE - WRIT LARGE III (Mohammed), 2014 Archival inkjet print on Hahnemuhle paper, 68 x 44 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973369418-SP6RYQZTOOOGGTP8NKW9/WRIT+LARGE+I+%28Abd+el+Khaleq%29+HI.jpg WRIT LARGE - WRIT LARGE I (Abd el Khaleq), 2014 Archival inkjet print on Hahnemuhle paper, 68 x 44 inches   https://www.susanneslavick.com/images daily 1.0 2025-11-15 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499971986409-RQSNZGP6UOPXTL8GOJPR/DSC08863.jpg IMAGES 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https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/2b2dd6c7-f5bb-4ad3-ac51-5a0cbee97f42/Entry%2C+2023%2C+Oil%2C+acrylic%2C+conte+crayon%2C+clay+and+glue+on+canvas%2C+72+x+72+inches.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/2559fb48-7f89-4cc2-8f89-b19e2115bb71/Revolution+II%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78x43+inches.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263026132-Y80QG637LXZT9ZD4358J/Threadbare+IV_2017%2C+96+x+40.5.jpg IMAGES - THREADBARE IV, 2017 Oil, acrylic, dry pigment and glue on panel, 96 x 40.5 inches ———————————- The Shape of the World If the world were flat like a flying carpet, our sorrow would have a beginning and an end. If the world were square, we would lie low in a corner when the war plays "hide and seek." If the world were round, our dreams would take turns on the ferris wheel, and we would be equal. "The Shape of the World" by Dunya Mikhail from The Iraqi Nights forthcoming from New Directions, copyright 2013 by Dunya Mikhail. Listen to the poet read the poem here. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263040911-MIYPGG8ODY0EILY0YP7U/IMG_2296.jpg IMAGES - THREADBARE IV, 2017 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263177525-4HDQLEBIAMQ6YVSJ3FMY/IMG_2297.JPG IMAGES - THREADBARE IV, 2017 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1526263206671-WRO1UMHA1SYLUJ2DU2CI/IMG_2298.jpg IMAGES - THREADBARE IV, 2017 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970675316-IZSAOOS5KZNJRRHIMW4X/Threadbare+II.jpg IMAGES - THREADBARE II, 2015 Oil, acrylic, dry pigment and glue on panel, 56 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970664482-2VLHFPFUR7A14KCA4EBL/DSC08863.jpg IMAGES - THREADBARE II, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970680824-6PY0BSE3AUK94C94UATH/DSC08861.JPG IMAGES - THREADBARE II, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970670113-UDUOCSETB4M8UCCWP1EB/Deatail+Lotus+Carpet.jpg IMAGES - THREADBARE II, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970707277-QHRIC1B9468ZZ4HA4W4F/Threadbare+III%2C2016%2C+72x48.jpg IMAGES - THREADBARE III, 2015 Oil, acrylic, dry pigment and glue on panel, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970736066-EJ9FOWHS1B4EWIQ7NJT1/rope+detail.jpg IMAGES - THREADBARE III, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499970775997-EY2CLRGBAUQCXYOM8Y4A/DSC05033.JPG IMAGES - THREADBARE III, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499979036064-D151O9L6U646ZRBNPR8O/Threadbare+I.jpg IMAGES - THREADBARE I, 2015 Oil, acrylic, dry pigment and glue on panel, 60 x 60 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499979044427-0S16312MQ8KORUB38ZRW/DSC08852.jpg IMAGES - THREADBARE I, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499979059982-QDOPJYVMRP9J3LSF6YTY/DSC08855.JPG IMAGES - THREADBARE I, 2015, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1572472656301-YQ9DNG7IE45TQW5TRF76/Cloud+Circles.jpg IMAGES - NOTHING BUT BLUE SKIES, 2017 Acrylic and oil on canvas, 48 x 72 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499975719357-X3SC10MIYTEVOTO1U3SJ/Cloud+Circles+detail.jpg IMAGES - NOTHING BUT BLUE SKIES, 2017, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499975774782-HYRXT2WQCI413WVIKZPV/Deatil+2.jpg IMAGES - NOTHING BUT BLUE SKIES, 2017, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499975772320-APKSIY6CXSVALIWPG769/Flower+detail.jpg IMAGES - NOTHING BUT BLUE SKIES, 2017, detail Oil and acrylic on panel, 48 x 72 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976769257-T5929GGQ7RGD20YUXOS5/Cloud+Real+Estate_white.jpg IMAGES - CLOUD REAL ESTATE II, 2016 Acrylic and oil on “color reform” carpet, 36 x 61 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976728022-9TWWON74LBPV9A43UNPO/Cloud+Real+Estate+II.jpg IMAGES - CLOUD REAL ESTATE I, 2016 Acrylic and oil on “color reform” carpet, 30 x 68 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976705039-6VM9AK42USK53ZADSYSO/Cloud+Real+Estate+II_+yellow+cloud+detail.jpg IMAGES - CLOUD REAL ESTATE I, 2016, detail Acrylic and oil on “color reform” carpet, 30 x 68 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976704813-X3882KY1OJN3FOMEBNTE/Cloud+Real+Estate+II_Detail+brown+cloud.jpg IMAGES - CLOUD REAL ESTATE I, 2016, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499976752300-A6N2YZKDY9982E75Q9XA/Cloud+Real+Estate+II%2C+Detail+Blue+Cloud.jpg IMAGES - CLOUD REAL ESTATE I, 2016, detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973485104-E08JOCSJH9CYB3HQV9GO/WRIT+LARGE+web+Trio.jpg IMAGES - WRIT LARGE, 2014 Three archival inkjet print on Hahnemuhle paper, 68 x 44 inches each. Scroll down for single, more detailed images. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973368031-I9F1F00YQU9QQQED60U0/WRIT+LARGE+II+%28Myar%2913MB.jpg IMAGES - WRIT LARGE II (Myar), 2014 Archival inkjet print on Hahnemuhle paper, 68 x 44 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973367991-1QNUOHNJGG3B4VGJS4WB/WRIT+LARGE+III+%28Mohammed%2913MB.jpg IMAGES - WRIT LARGE III (Mohammed), 2014 Archival inkjet print on Hahnemuhle paper, 68 x 44 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499973369418-SP6RYQZTOOOGGTP8NKW9/WRIT+LARGE+I+%28Abd+el+Khaleq%29+HI.jpg IMAGES - WRIT LARGE I (Abd el Khaleq), 2014 Archival inkjet print on Hahnemuhle paper, 68 x 44 inches   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042499130-5XSF3R7NA6N2HZB86ZC3/Net_Ornament.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1621355086266-G0EE18WE6ZUMN7BAJ14G/Antenna_Advertisement+under+20mb.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042499003-OCBATQT22UAQLSAGT7IG/Diversion_Devotion.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042498604-PAEDKSV4RQZWH6P3YD0T/Cages_Cartons.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042498899-0CEWP222B90B2TFIEIZI/Carcass_Cotton+candy.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123563885-5SBOY7W8ORM0GYJDQ59U/Alexandria+I+and+II.jpg IMAGES - SPRINGTIME IN ALEXANDRIA I and II, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 26.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123557655-85Q6OVNSXT1WKQXD3UQ4/Alexandria+I_BIG.jpg IMAGES - SPRINGTIME IN ALEXANDRIA I, 2011 Gouache on archival digital print/Hahnemühle paper, 28 x 21 inches actual size (26.5 x 21 inches cropped for pairing) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123575523-C68CTGZU8PGQ33FIQDZA/Alexandria_II_SUsanne+Slavick.jpg IMAGES - SPRINGTIME IN ALEXANDRIA II 2011 Gouache on archival digital print/Hahnemühle paper, 26.5 x 21 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123559581-5VR6E3HO0HF19RFG1OG0/Alexandria_II_bird+detail_pp.jpg IMAGES - Detail of SPRINGTIME IN ALEXANDRIA II Gouache on archival digital print/Hahnemühle paper https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123575603-T6C6D9DJE3ZXXZTJJZ2K/Alexandria_III_BIG.jpg IMAGES - SPRINGTIME IN ALEXANDRIA III, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123576300-Y34Q44WP0WAM27YH4FVW/Alexandria_III_detail_pp.jpg IMAGES - Detail, SPRINGTIME IN ALEXANDRIA III, 2011 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123586278-BSJBYUEB9OQXB62R0V0Y/Alexandria_IV_BIG.jpg IMAGES - SPRINGTIME IN ALEXANDRIA IV, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123576909-HCA09SO5DZ56D2O7EJDQ/Alexandria_IV_detail_pp.jpg IMAGES - Detail, SPRINGTIME IN ALEXANDRIA IV, 2011 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123587602-SZ0GJ5ESAHWLRYVN168B/Alexandria_V_BIG.jpg IMAGES - SPRINGTIME IN ALEXANDRIA V, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124096469-LGJCKORN74UAEDRNSY5M/Alexandria_V_detail_pp.jpg IMAGES - Detail, SPRINGTIME IN ALEXANDRIA V, 2011 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124949391-NBANFD392MES9O2PHDJO/01_Standing+on+the+Bones_Rwanda.jpg IMAGES - STANDING ON THE BONES, RWANDA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124949392-IF3VBDY48CALSN5SNVPV/02_Standing+On+the+Bones_Choeung+Ek_Cambodia.jpg IMAGES - STANDING ON THE BONES, CHOEUNG EK CAMBODIA , 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124950281-NVO31UNGUXMC01GJ8Y8Q/03_Standing+on+the+Bones_Nordhausen%2C+Germany.jpg IMAGES - NORDHAUSEN, GERMANY Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124950331-KOIVCUSHABOGNJL92WS4/04_Standing+on+the+Bones_Subatan%2C+Armenia.jpg IMAGES - STANDING ON THE BONES, SUBATAN, ARMENIA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124950730-GXT4TWLACL6M98WBLG4S/05_Standing+on+the+Bones_Srebrenica%2C+Bosnia.jpg IMAGES - STANDING ON THE BONES, SREBRENICA, BOSNIA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154780495-4QCLO0C8ZYIOSZ3U7EBE/1_BIG_Equus_KandaharWithAlexandertheGreat.jpg IMAGES - Equus: Kandahar with Alexander the Great, 2009 Sources: FLICKR_moab1123_Kandahar_VBIED with silhouette of Alexander the Great at Thessaloniki (1974) by Evangelos Moustakas. FLICKR moab1123 Alexander III created one of the largest empires in ancient history, conquering the Persians and spreading Greek culture to the east. He became the measure against which generals, even to this day, compare themselves, and his tactical exploits are still taught in military academies throughout the world. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154767286-D94BTZS8TJRFVKVVQWZN/2_BIG_Equus_IraqtruckBombwithFrederikV.jpg IMAGES - Equus: Iraq Truck Bomb with Frederik V, 2009 Sources: From photos from The War in Iraq by David Leeson, SPC Ben Ballard, Columbus Ledger and Romeo Gacad with silhouette of King Frederik V in bronze by Jacques-Francois-Joseph Saly in front of Amalienborg Palace, Copenhagen. Frederik V founded the Royal Danish Academy of Art and purchased the Danish West Indies in 1754. His last words were reportedly: "It is a great consolation to me in my last hour that I have never willfully offended anyone and that there is not a drop of blood on my hands."   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154764808-CIICO6OE5BK10YCECJXC/3_BIG_Equus_IraqCarBombwithBishopAbsalon.jpg IMAGES - Equus: Iraq Car Bomb with Bishop Absalon, 2009 Sources: Iraq Car Bomb http://www.troopsneedyou.com/press.php with silhouette of the 1902 statue of Bishop Absalon in Copenhagen. Bishop Absalon founded the city of Copenhagen. His bronze statue, erected in 1902, was created by sculptor Vilhelm Bissen (1836-1913). The plinth is made of granite, with an engraved belt praising Absalon as a mighty brave warrior. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154789665-6CQG9QXUJR0PBOU9SSY3/4_BIG_Equus_SuicideBombSitewithJuandeOnate.jpg IMAGES - Equus: Suicide Bomb Site with Juan de Onate, 2009 Sources: pmcleary with silhouette of Juan de Onate by John Houser. Juan de Onate was the colonial governor of Mexico and founder of settlements in the southwest USA. In a conflict with the Acoma tribe, his soldiers killed 800 villagers. They enslaved the remaining 500 women and children, and by Don Juan’s decree, amputated the left foot of every Acoma man over the age of twenty-five. Eighty men had their left foot amputated.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154780821-6I0WL08FRMJMQ3BGG4ZG/5_BIG_Equus_IraqCarBombwithBolivar.jpg IMAGES - Equus: Iraq Car Bomb with Bolivar, 2009 Sources: Iraq Car Bomb http://www.troopsneedyou.com/press.phpwith silhouette of Simón Bolívar in the Unted Nations Plaza of San Francisco. Bolívar, aka The Liberator, contributed decisively to the independence of the present-day countries of Venezuela, Colombia, Ecuador, Panama and Peru where he is revered as a national hero. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500164047169-S0I24F6A1K49QSW85WUA/EQUUS_BIG_SET_web.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386263523-251JX0HSL87EMCQZF2NG/Slavick_Replenish_2010_10x14_24.7MB.jpg IMAGES - REPLENISH 2010 Gouache on archival digital print/Hahnemühle paper,10 x 14 inches. 17 x 20.625 inches framed. 43 x 52.3cm Horse derived from Khusraw discovers Shirin bathing in a pool from a Khamseh (Quintet) by Nizami, mid 16th century Safavid dynasty from Shiraz, Iran. Smithsonian, Gift of Charles Lang Freer, F1908.262a-b. Photo source of bridge in Mosel, Iraq: FLICKR, JamesDale10. A thirsty horse from a 16th century Persian painting stands on the edge of a crater of a bombed bridge in Mosel, Iraq. Its empty saddle suggests a fallen warrior; its tail flows into the cavity like a river of blood. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500385888633-FFBCN2ACVYIZU1J71GK8/P47_Roam_RidingOnRemorse.jpg IMAGES - ROAM: Riding on Remorse 2008 Gouache on archival digital print/Hahnemühle paper, 6 x 10 inches Collection of Mary Lou Arscott, Pittsburgh PA. Camels by Bihzâd for Nizâmî’s Layli and Manjûn in 1493 Khamseh, British Library; photo: Carlos Osorio, Toronto Star Windows of a car bomb frame a caravan of camels derived from a 15th c. painting by Bihzâd, the master of Persian miniatures. It contrasts vehicles both ancient and contemporary that move people—or massacre them. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500385980757-X6IXS2PDA2GSNYQP446L/Tug_of_War_09_12x14.jpg IMAGES - TUG OF WAR, 2009 Gouache on archival digital print/Hahnemühle paper, 12 x 14 inches. Photo source by JamesDale10 on FLICKR of Uday Saddam Hussein’s Ferrari. Horsemen derived from the Combat of Rustam and Kâmus in Shah Tahmãsp’s Shãhnãmeh, fol.271a, attributed to “Abd al-Vahhãb, c.1530. Tehran Museum of Contemporary Art. Uday Saddam Hussein and his brother Qusay were killed by a TOW missile strike conducted by US Special Operations and 101st Airborne Division on July 22, 2003. Uday had an extensive exotic car collection. Tug of War includes an image of his Ferrari 500 Maranello, purportedly destroyed by our armed forces as well. It provides the set for a “tug of war” of more ancient warriors in all their finery, speaking to the sad continuity and ritual of war. From the innocent game involving only a rope to complex operations involving Tube-launched, Optically-tracked, Wire-guided (TOW) anti-tank missiles, Tug of War reveals our preoccupation with war, from cradle to grave. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500388731720-74QLQGH816U33AEFH7E6/Rebirth+Eve%27s+Escort16x24.jpg IMAGES - REBIRTH: EVE'S ESCORT 2007 Gouache on archival digital print/Hahnemühle paper, 16 x 24 inches. Peacock from Adam and Eve in the Falnameh of Ja’far al-Sâdiq, Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., S1986.251; photo from Mike Shiley’s film Inside Iraq: The Untold Story Rebirth: Eve’s Escort refers to the dragon and peacock that respectively bore Adam and Eve. The mythical peacock that bore Eve is a feminine, living counterpart juxtaposed with the inanimate masculine vehicle. Radiating beauty behind a burning automobile, Eve (even if absent) and her bird represent a generative life force that persists despite the surrounding devastation. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386365490-WHGZFI8QCJ3SADFB0GV4/Savick_RockingHorse-2010_12x13-75_HI.jpg IMAGES - ROCKING HORSE 2010 Gouache on archival digital print/Hahnemühle paper, 12 x 13.5 inches, 19.5 x 20.5 inches framed. Horseman derived from Horseman and Running Page, attributable to Qadimi Qazvin, c.1560, Arthur Sackler Museum, Harvard University Art Museums, no. 1958.62.2. Photo sources: FLCKR Sea King, in southern Iraq by meesterlowehttp://www.flickr.com/photos/meester_lowe/39038751/in/photostream http://www.harvardartmuseums.org/collection/detail.dot?objectid=1958.62&globalSearchText=qadimi   A horseman derived from a 16th century painting by Qadimi is mounted above the wreckage in a southern Iraqi landscape, suggesting how we continue to treat war as a game, from cradle to grave.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500385841583-ZE92M7PPK0CU07VPR8A4/P46_Rendezvous.jpg IMAGES - RENDEZVOUS 2007 Gouache on archival digital print/Hahnemühle, 8 x 12 inches. Collection of Michael Murphy, Pittsburgh PA. Camels from frontispiece of bound manuscript of the Silsilat al-Dhahab of Jãmi, copied by Shãh Mahmud al-Nishãpuri on 8/25/1549, attributable to Mirzã ‘Ali Tabrîz, 1540–45, National Library of Russia; photo: US tanks at the presidential complex in Baghdad with only a camel for company. Photograph: John Moore/AP, Guardian April 16, 2003 http://www.guardian.co.uk/world/2003/apr/16/iraq.jamesmeek https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386547499-J1KHVGIJKPB8O2KM3ZZC/Slavick_Stretch_web.jpg IMAGES - STRETCH 2009 Gouache on archival digital print/Hahnemühle, 72 x 132inches, total with six framed panels. Angels derived from School of Muhammed Siyâh-Qalam illumination. Tabrîz, c.1478-90. Library of the Topkapì Sarayì Museum, Istanbul. H. 2153,fol. 5v. Whether benign or malignant, cars, jeeps, tanks and humvees have come to embody the machismo that both feeds and entraps so many abuses of power. The intertwining of death and renewal recurs in the “Horsepower Hubris” series that focuses on vehicles of violence. The angels in “Stretch” are derived from an illustration for Nizâmi’s “Tale of the Turquoise Pavilion,” where they struggle with a seven-headed dragon in an allegory of the soul’s journey through the lower world. In “Stretch,” the dragon is replaced by the charred remains of an impossible stretch limousine, pieced from sections of multiple bombed cars. The angels must deal with the proliferation and aftermath of violence. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386815091-RJQT9G8KNAXQVF6ULYRE/Stretch_detail+web.jpg IMAGES - Detail from STRETCH 2009 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386904929-48D8O21RHQCTJ8YPMKFU/Exhaust_2010framed+web.jpg IMAGES - EXHAUST 2009 Gouache on archival digital print/Hahnemühle paper, 60 x 185 inches, 7 framed panels. Each panel 61” x 22” framed. The exhaust cloud trailing from another “stretch” limo in Exhaust can be seen as respiration or expiration, some faint breath that survives our best efforts to destroy. It is either the last gasp or a sign of survival. These works invite us to consider harnessing our horsepower with less lethal impact in every dimension of our lives. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386976050-KLCI9P7ZSOPNS4WRILD4/Exhaust_2010detail+web.jpg IMAGES - Detail from EXHAUST 2009 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500431562814-ETDFAJ4MPEYSGN8B5GMK/Good_Deeds_09_24x36.jpg IMAGES - GOOD DEEDS, 2009 Gouache on archival digital print/Hahnemühle, 24 x 36 inches. Photo source: Tightsqueez, 665 Days set, Iraq 2008 on FLICKR. Illumination derived from hand-colored illumination, 1793, from Dala'il al khayyirat (Guide to good deeds) by Muhammad ibn Sulayman Jazuli, d. 1465, 1v-2r, Beinecke Rare Book and Manuscript Library, Yale University. The modified illumination from Dala'il al khayyirat (Guide to good deeds) is superimposed on a photographic image of a single bookcase left standing untouched in the rubble of contemporary Ramadi, suggesting the persistence of knowledge and culture across ages of warfare. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387078299-PNQYBN9QDEUOTU8EZTLS/Tending_the_Embers_09_6x10.jpg IMAGES - TENDING THE EMBERS 2009 Gouache on archival digital print/Hahnemühle paper, 6.33 x 10 inches. Angels derived from School of Muhammed Siyâh-Qalam. Tabrîz, c.1478-90. Library of the Topkapì Sarayì Museum, Istanbul. H. 2153,fol. 5v. Whether benign and malignant, cars, jeeps, tanks and humvees have come to embody the machismo that both feeds and entraps so many abuses of power. They have become essential to those who choose violence as means to an end. Whether benign and malignant, cars, jeeps, tanks and humvees have come to embody the machismo that both feeds and entraps so many abuses of power. They have become essential to those who choose violence as means to an end. Angels are hand- painted over an internet photograph of an explosion site. Engaging with the remains of a VBIED (vehicle-born improvised device, are they coming to the rescue or poking resignedly at the charred tangle? Are they stoking the fire of revenge or hoisting the carcass of tragedy in a laborious ascension? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387736707-UTBPYXM1M7076L5A1TLU/Headlong_09_15x24.jpg IMAGES - HEADLONG 2009 Gouache on archival digital print/Hahnemühle paper, 15 x 24 inches. Photo source by Sam de Silva of car bomb in Sri Lanka. Warriors derived from an illustration to Firdawsî’s Book of Kings from the manuscript copied in Tabrîz for the Mongol íl Khân Abû-Sa ‘id (r.1317-35), and dispersed in the early 20th century by the dealer Georges Demotte in Paris. Musée du Louvre, Paris. Antiquités orientales, section islamique nº7095. The warriors accompany the Book of Kings’ hero Faramurz who scatters the troops of the king of Kabul (with all the horsemen wearing contemporary Mongol armor). In Headlong, theyrace around a contemporary image of a car bomb in Sri Lanka. The white glove of the rider exiting the scene extends in what couls be seen as commanding gesture: Halt this madness. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387890887-X1LOBR8F7MUVF6JF4KC1/Slavick_Resplendent_web.jpg IMAGES - RESPLENDENT, 2010 Gouache on archival digital print/Hahnemühle paper, 60 x 23 inches; 62 x 25 in framed. Tree derived from The Hero Rustam Slays the Witch of the Cosmic Illusion; an illustration attributed to Qadîmî by S.C. Welch. From Fidawsî’s Shahnameh (Book of Kings), copied in Tabrîz from Shâh Tahmâsp between the 1520’s and 1540’s. Fol. 120v. Metropolitan Museum of Art, New York. Photo source: FLICKR_SSG Wayne Speek VBIED Afghanistan. In Resplendent, a tree grows out of the remains of an improvised explosive device (IED) on a deserted road. The tree is derived from a 16th century illustration, The Hero Rustam Slays the Witch of the Cosmic Illusion attributed to Qadîmî from Fidawsî’s Book of Kings. The IED is from a FLICKR image taken in Afghanistan by SSG Wayne Speek. The landscape is a photoshop composite from multiple sources. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387950431-GB7MLPONRCC88T5KJA97/Resplendent+detail_pp.jpg IMAGES - Detail of RESPLENDENT https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386008428-CXLPWC9EY51NGLXRP77E/Recall_2012_11.5%E2%80%9D+x+15.25.jpg IMAGES - RECALL, 2012 Digital print on Hahnemühle paper, 11.5 x 15.25 inches. Sources: altered photograph from Flickr_Ajmal Aand, August 27, 2002 with mountains from The Hero Rustam Slays the Witch of the Cosmic Illusion; an illustration attributed to Qadîmî by S.C. Welch. From Firdawsî’s Book of Kings, copied in Tabrîz from Shâh Tahmâsp between the 1520’s and 1540’s. Fol. 120v. Metropolitan Museum of Art, New York http://www.flickr.com/photos/aand/395304349/in/photostream https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430627721-OSR22EWBAM5T9DORIZOB/Red_Carpet_09_6x8_3MB.jpg IMAGES - RED CARPET, 2009 Gouache on archival digital print/Hahnemühle, 6 x 8 inches. Photo source from pmcleary Iraq album on FLICKR. Angels derived from School of Muhammed Siyâh-Qalam. Tabrîz, c.1478-90. Library of the Topkapì Sarayì Museum, Istanbul. H. 2153,fol. 5v. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430827008-RS5HEVOIXDUJHFXUFDIJ/Hemorrhage_3MB_.jpg IMAGES - HEMORRHAGE, 2009 Gouache on archival digital print/Hahnemühle 16 x 12 inches. Water motifs derived from illustration for The Adventures of Hamza, attributed to Banavari and Mah Muhammad, Volume 11, painting number 91, text number 92, India, Mughal dynasty, circa 1570, MAK – Austrian Museum of Applied Art/Contemporary Art, Vienna, B.I. 8770/32; Photo source by djagger1 on FLICKR. Here a trickle of black fluid (oil?) leaks from a gas tank, creating a deluge. “Hemorrhage” speaks to limited resources and over-consumption and the morass that both create. The creatures caught in the flood are just the smallest victims of an economy and politics all too heavily dependent on the culture of the automobile. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430935468-X0ULIHI8Z976U65T6HG0/MagicMountainTal_Afar_09_15x10_3MB.jpg IMAGES - MAGIC MOUNTAIN, 2009 Gouache on archival digital print/ Hahnemühle, 15 x 10 inches. Birds and rocks derived from Shah Tahmãsp’s Shãhnãmeh, Rustam recovers Rakhsh from Afrãsiyãb’s herd attributed to fol. 295a, attributed to Mirzã ‘Ali, 1530-35, from private collection, Lichtenstein. Photo Source: James Dale, truck Bomb, Tal Afar, Iraq. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500431867197-3PWXETA1FOIMCLODXA36/Heaven%27s_Gate_pp.jpg IMAGES - HEAVEN'S GATE, 2009 Gouache on archival digital print/Hahnemühle, 14 x 12 inches. Sources: Baghdad_Getty images; clouds from an illustration to Firdawsî’s Book of Kings from the manuscript copied in Tabrîz for the Mongol íl Khân Abû-Sa ‘id (r.1317-35), and dispersed in the early 20th century by the dealer Georges Demotte in Paris. Musée du Louvre, Paris. Antiquités orientales, section islamique nº7095. The clouds hover above the hero Faramurz scattering the troops of the king of Kabul (with all the horsemen wearing contemporary Mongol armor). The clouds above a charred automobile in Baghdad are derived from a Persian battle scene illustration with the hero Faramurz scattering the troops of the king of Kabul. The persistence and futility of violence across nations and empires is reiterated in the blasted out windows and doors that open to a bleached out void. Is it the blinding light of paradise, the motive for so much “martyrdom,” or nothing but a dead end? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579620218692-EW4WTTXW4V22C3I0OBBL/Restoration_Red+Balcony2_HI+RES.jpg IMAGES - RESTORATION: Red Balcony II, 2008 Gouache, pastel pencil, band-aids/Hahnnemuhle paper 66 x 42 inches Every edge, ledge and railing of this Beirut building damaged by mortar fire in the 2006 War with Israel has been redrawn or solidified. Pink day-glo band-aids are pasted over places where the walls have been punctured; some send out concentric rings that can either signal survival or distress. Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579621105349-1QPMJCDPJ9ZGR9FQH45Y/Slavick_Remorse+%28White+Curtains%29_07.jpg IMAGES - REMORSE: White Curtains 2006 Gouache, ink, pastel pencil, archival tape/Hahnemühle paper 66 x 42 inches Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416971333-ZEVS1K3DGDHF376X1AQ7/Reconstruction+%28Magenta+Beirut+Bridge%29+24M.jpg IMAGES - RECONSTRUCTION: MAGENTA BEIRUT, 2007 Gouache on archival digital print/Hahnemühle, 16 x 20 inches; 24 x 28 inches framed. To show a culture building itself, a ghostly version of a scene from Bhizad’s 15th c. Building of the Great Mosque of Samarkand is painted over an altered internet image of rubble left by a 2006 Israeli air strike in Beirut. This structure has its own history of decay and rebirth that is entwined with conquest and commemoration. Fearing he would die before its completion, the Persian conqueror Tamerlane (who referred to himself as the Sword of Islam) ordered the Bibi Khanum Mosque in Samarkand to be built in haste. Consequently, it began falling apart prematurely and existed as ruins for almost six centuries. After 1974, it was rebuilt by the Soviets albeit greatly reduced in size. Perhaps this structure is an object lesson on the impetuous, on thinking before we act, especially when it comes to guerilla or state-sponsored warfare. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417450218-J82AS92SBI2R5MBESLFZ/Reveal_Pastoral.jpg IMAGES - REVEAL: Pastoral, Flora and Fauna, 2007 Gouache on archival digital print/Hahnemühle paper, 14.25” x 17.25”, 24 3/8” x 27” framed; Border from illumination for Mughal emperor Shâh Jahân, c. 1635-40, Sadruddin Aga Khan Collection, Geneva; photo source (now broken link), later sourced to Joshua Trujillo/Seattle Post-Intelligencer, “Bombs from American B-52s explode near Taliban tank positions on Kala Kata hill near Dasht-e-Qalaeh, Afghanistan.” http://www.nadir.org/nadir/initiativ/agp/campanas/stopwar/afghb52bomb1.jpg Plumes from bombs in Afghanistan rise from a seemingly empty landscape. They are framed by flora and fauna to recall a more idyllic, peacetime nature. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416851626-IU51PPSB3WEWMM1EVDH1/Rebuild_Mdeirej+Bridge_2008_16x20.jpg IMAGES - REBUILD: Mdeirej Bridge, 2008 Gouache on archival digital print/Hahnemühle paper, 16 x 20 inches; 24 x 28 framed. Border from A Chinese Dignitary, a copy in Istanbul, probably made in 15th century Tabrîz, Library of the Topkapì Sarayì Museum, Istanbul Rebuild: Mdeirej Bridge takes its decorative border from a Persian portrait of a Chinese dignitary, evidence of cultural transmission and exchange, suggesting a dynamic culture not fixed in one time or place. Its floral motif frames a bombed and fallen bridge span, but it is not meant to decorate the damage. David Levi Strauss questions the idea that the more transformed or “aestheticized” an image is, the less “authentic” or politically valuable it becomes. He asks “Why can’t beauty be a call to action?,” asserting that to “represent is to aestheticize; that is, to transform.” He sees aestheticization as “one of the ways that disparate peoples recognize themselves in one another.”5 Appropriating passages from cultural traditions other than my own has its risks; it can mimic the very idea of conquest that I am critiquing. Nonetheless, as an admitted outsider, I am trying to bridge cultural divides that are both real and constructed. Incorporating imagery from the former Islamic Empire is one way of dispelling prevalent stereotypical notions of its contemporary regions and religions as solely proponents of malignant fundamentalism. My selections counter the media’s endless images of militancy and martyrdom, juxtaposing the highest aspirations of a culture with evidence of its eradication. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430374060-NSIMKU5ND6HCJRHU25GO/Repel_2010_12x21_5MBf.jpg IMAGES - REPEL, 2010 12 x 21.5 inches, 19.3.75 x 28.25 inches farmed. Gate derived from The gatekeeper denies entrance by one unworthy of the garden in the Bustân by Mîrak or Bhizâd, 1488–89, National Egyptian Library, Cairo. Photo: U.S. Army soldiers from A Company 3rd Battalion 7th Infantry Regiment search through a bomb-damaged palace of Saddam Hussein in Baghdad Monday, April 7, 2003 after entering the Iraqi capital in force Monday.(AP Photo/John Moore) http://www.flickr.com/photos/7797961@N08/3408924983/ This scene of Saddam Hussein’s bomb-damaged palace in Baghdad is modified from an AP photo posted on FLICKR. The figures are derived from The gatekeeper denies entrance by one unworthy of the garden in the Bustân (The Orchard) by Mîrak or Bhizâd. Who is worthy of entering the garden and to whom does the garden belong? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417057460-HU73GBF9GQMO73YNPVKA/Road+Repair_Halat.jpg IMAGES - ROAD REPAIR (Halat), 2006 16 x 20 inches This work shows a road destroyed in 2006. The rebar grid substructure has been painted back in to figuratively begin rebuilding the road. The yellow circles are enlarged projections from the distant headlights. They sit right on the surface, in the viewer’s realm, possibly implicating us as co-sponsors of the destruction or as passive witnesses. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423389749-QO21A4940N96GRQ9VSMX/Restoration+%28Threshold%291.jpg IMAGES - RESTORATION (Threshold I), 2006 Gouache on archival inkjet print on Hahnemühle paper, 10 x 16-1/8 inches; Photo source of Khiyam, Lebanon after Israeli bombing August 21, 2006 (altered): Flickr, M. Asser http://www.flickr.com/photos/masser/221392959/ FRAMED 16 7/8 x 22 5/8 inches Rubble renders place anonymous; it eradicates all distinguishing features. In Restoration, the transparent white tracery of a mashrabiya (the ornate wooden latticework prevalent in traditional Arab architecture dating to 12th century Baghdad) balances precariously among piles of dust, debris and concrete. The presence of this ornate detail insists that the targets of war are neither faceless enemies nor sites devoid of culture. They are not just anywhere but somewhere, not just anyone but someone. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1504291728040-6489J7UKYFWAJDOJXKSS/Slavick_Reveal_OpeningAct_2007.jpg IMAGES - Reveal: Opening Act, 2007 Gouache and graphite on archival digital print/Hahnemühle paper, 16" x 10”. FRAMED 25 5/8 x 19 1/8 inches Curtains from Two Seated Men from the Maqamat of al-Hariri of Basra, Syria, 1237 A painted detail of drapery suggests a bygone domestic tranquility against three stories of rooms left exposed bya gaping hole in the wall. The curtains are the same as those that frame two seated men in a 13th century illustration by al-Waiti for al-Hariri of Basra’s “Maqamat,” a set of 50 short stories named after 50 Muslim cities that is one literary pinnacle of the Arabic language. Al-Wasiti’s illustrations were highly regarded for portraying a specific world and capturing aspects of daily life. Inserting details of home decor resists the anonymity that war confers on place and person. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428740365-23FJLHN3HM3KCHTC7LIA/Remind_FloraAndFauna_HI+RES.jpg IMAGES - REMIND: FLORA AND FAUNA, 2007 16 x 10 inches, 26 x 19 inches framed; TV garden from Prince Bahrâm-I Gor listens to the tale of the Princess of Khwârazm beneath the Green Pavilion illustrated by Shaykhî to Nizâmi’s Seven Icons for Sultan Ya’qûb of the Turcoman clan of the White Sheep, Tabrîz, c1478–90, Library of the Topkapì Sarayì Museum, Istanbul; South Lebanon photo: M. Asser A stork flies above and oblivious to the wreckage of an unexploded bomb that has crashed through the ceiling of a Lebanese home. Its flight contrasts the dead and dangerous weight below. The stork is revered in Islam for making annual pilgrimages to Mecca while English symbolism assigns it conflicting associations with the maternal or the tyrannical. A detail of a painted garden from a Persian miniature fills the silent TV screen, hearkening to a more idyllic or paradisiacal time. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416997909-H9HY2SQS2LU151CXH8WZ/Rehydrate+I.jpg IMAGES - REHYDRATE I, 2008 Gouache on archival digital print on Hahnemühle paper, 10 x 15 inches; water motif from illustration by Master Ahman Mûsâ in a Mi-râj-Nâmeh (“Book of the Mystical Ascension”), Tabrîz, second quarter of the 14th century, Topkapì Sarayì Museum Library, Istanbul. Stylized waves lap impossibly at edges of craters in Lebanese roads bombed in 2006, merging the transcendent with the mundane. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416994503-KO0YMRMQEF6459LIPQQC/Rehydrate+II_2008_10x15in.jpg IMAGES - REHYDRATE II, 2008 Gouache on archival digital print on Hahnemühle paper, 10 x 15 inches; water motif from illustration by Master Ahman Mûsâ in a Mi-râj-Nâmeh (“Book of the Mystical Ascension”), Tabrîz, second quarter of the 14th century, Topkapì Sarayì Museum Library, Istanbul. Stylized waves lap impossibly at edges of craters in Lebanese roads bombed in 2006, merging the transcendent with the mundane. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430156346-RAHEJCW023F4I628YLI6/Slavick_Repair_Prosthetic.jpg IMAGES - REPAIR (PROSTHETIC), 2008 Gouache on archival inkjet print on Hahnemühle paper, 8 x 6 inches. Photographic source of broken pottery in Larsa, southern Iraq by Joanne Farchakh. http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_172.htm "History in Pieces": But many items were stolen or destroyed by looters. Here, broken pottery lies in the dust at Larsa, a major Sumerian capital in today's Nasiriya, in southern Iraq http://news.bbc.co.uk/2/hi/middle_east/4461755.stm Many items were stolen or destroyed by looters at unsecured archeological sites during the Iraq War. Here, broken pottery lies like broken limbs in the dust at Larsa, a major Sumerian capital in today's Nasiriya, in southern Iraq. A hand-painted modern prosthetic arm occupies the foreground as an inadequate replacement for the scope of loss. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417199232-DL0OEFCOGYXAW7FFIFOL/Slavick_Regenerate_Gardening+the+Robber+Hole_2007.jpg IMAGES - REGENERATE: Gardening the Robber Hole, 2007 7.625 x 10.125 inches A gardener from the 12th c. Book of Antidotes of the Pseudo Galen, in the style of the first school of Baghdad, breaks earth with his shovel. He digs in a field of “surface scatter,” the term for remnants left after raids on archeological sites. The bare triangle of sand surrounding him indicates a “robber hole,” the location of a stolen treasure, subsequently filled by sand. The gardener begins cultivating anew; his action is another kind of “antidote.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417030314-X8FD8WKSDJJGMU187CQ1/Restoration+%28Gold+Beirut+Bridge.jpg IMAGES - RESTORATION: HAND SAIDA, 2006 4 x 6 inches , 10.75 x 12 3/8 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416796353-KVEPA12YFR0KG4MC2Z04/P73_Restoration+%28Hand+Saida%29_pp.jpg IMAGES - Restoration (Hand Saida), 2006 Gouache and mixed media on archival inkjet print on Hannemuhle paper, 4 x 6 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416953863-OW06MGDVVSXU87PTDWWW/Reconstruct_Castles_in_the_Sky.jpg IMAGES - RECONSTRUCT: CASTLES IN THE SKY, 2007 20 x16 inches; Source: Building of Castle Khawarnaq, illustration by Bihzâd for Nizâmi’s Seven Icons; Khamseh of Nizâmî, Herât, 1494-95, British Library, London https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417037544-NSTY3154FGSY2OW8XMHF/Resume_PartlyCloudy2MB.jpg IMAGES - RESUME: PARTLY CLOUDY, 2008 10 x 7.25 inches, 16 7/8 x 13.75 inches framed; Bird from illustration (added in Isfahân c.1609) by Habìbul Mashhad for the manuscript of Attâr’s Parliament of Fowles, illustrated1487–88 in Herât by Bihzâd, Metropolitan Museum of Art, New York https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429464419-2DDK0U395M0SLRAM983O/Redoubt_2010.jpg IMAGES - REDOUBT, 2010 8 x 6 inches, 15 x 12.625 inches framed. Dome derived from Bahram Gur and the Indian princess in the black pavilion from a Khamsa (Quintet) by Nizami mid 16th century, Safavid dynasty. Opaque watercolor, ink, and gold on paper, 31.1 cm high 19.7 cm wide, Smithsonian; photo source: Al-Askari Mosque in Samarra, http://www.echostudiochicago.com/learn/golden-mosque-falls The Al-Askar Mosque in Samarra, Iraq is one of Shiite Islam's holiest sites as it houses the tombs of two 9th c. imams, direct descendants of the Prophet Muhammad. Sunni extremists destroyed its dome in 2006, the first time that internal forces had targeted one of the country's central religious symbols. Its two remaining minarets were destroyed in a 2007 bombing by al-Qaida operatives. Both incidents caused widespread rage and panic amongst Shiite Muslims and ensuing sectarian violence. A dome descends upside down from the sky in Redoubt, acknowledging the upheaval. Its point is like a brush, with potential to visualize restoration and a time of greater tolerance. Even though the golden dome and minarets of the Al-Askari Mosque were restored in 2009, divisions of faith, fanned by the tensions of occupation and war, continue to threaten sites both secular and sacred. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417089765-838VOLUXRSYJDZ65IBVJ/3.Wrestling+Over+Ruin.jpg IMAGES - WRESTLING OVER RUIN, 2007 25 3/4” x 31 3/8” framed; Baghdad photo source: Sean Smith, Guardian Wrestling Over Ruin represents violence arising from violence in an eternal struggle between two dragons battling in the heavens over the U.S. bombing of Baghdad. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417013216-JSBKVEV7BB53XE02OJ86/Resilience+II_2008_18x24in.jpg IMAGES - RESILIENCE II, 2008 18 x 24 inches. Grille pattern from tomb of Muhammed Ghaus in Gwalior (16thc); background photo source: Webshots: johndrummer16, album#5 Iraq 2005. http://travel.webshots.com/photo/2364768380062712657DkxjoY John Drummer posted this image as an 11B "Infantryman" in the 82nd Airborne Division. His last available posted album was titled ‘Good Times”, September 25, 2009. The gap between Ghaus, a sainted Sufi author of “The Ocean of Life” and Saddam Hussein, a brutal dictator, reflects the distance between our highest aspirations and most tragic failures. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430505775-1DLGT0XLGAHOI21G9DEM/Remorse+%28Threshhold%29.jpg IMAGES - REMORSE (THRESHOLD), 2007 Gouache on archival inkjet print on Hahnemühle paper, 10 x 16-1/8 inches; Photo source of Khiyam, Lebanon after Israeli bombing August 21, 2006 (altered): Flickr, M. Asser http://www.flickr.com/photos/masser/221392959/ Transparent white latticework balances precariously amidst the 2006 rubble of Khiyam, Lebanon. Bombing eradicates anything that distinguishes one culture, population or place from another. Rebar, concrete and dust all look the same when collapsed in mangled heaps. Inserting specific ornate architectural details counters the anonymity conferred by ash and rubble. Mashrabiyas, the carved perforated wooden screens of Islamic architecture dating to 12th century Baghdad, are among such details, reminding us that this is not just any place, but some place.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429330914-8MBWAAH7ICWLCAKT2MBR/Refresh+%28Waterfall%29.jpg IMAGES - REFRASH (WATERFALL), 2007 Gouache on archival digital print/Hahnemühle paper, 20 x 16 inches. Water motif from Shãhnãmeh fragment, Tabrîz, 1370, Folio 65b, Tabrîz, Istanbul   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423110042-CD8293R3O99FR72BL3XJ/Rend_hi_Slavick.jpg IMAGES - REND, 2013 Gouache on archival digital print/Hahnemühle paper, 13.5 x 18 inches Photo source: Rosa Schiano, http://palsolidarity.org/wp-content/uploads/2012/12/41.jpg Israeli “Pillar of Defense” military offensive in Gaza on November 12, 2012 that killed 72 people including four children in the Al Dalu home on Nasser Street; animal motif derived from Tree of Life mosaic (8th c. Umayyad period) that depicts the mythical tree with two deer grazing peacefully on one side and a third deer attacked by a lion on the other, in the diwan of the bath complex at Khirbet El-Mafjar/Hisham's Palace in Jericho, West Bank https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423520385-3LXGSQF3PLEBQ8NYFKER/Re-enter_Passage.jpg IMAGES - RE_ENTER (PASSAGE), 2008 27 x 18 inches. Source: FLICKR:banehfc Transparent white tracery of a mashrabiya (the ornate wooden latticework prevalent in traditional Arab architecture dating to 12th century Baghdad) hovers in or beyond an open doorway of a room with mortar-scarred walls. The architectural detail may hover as an apparition or suggest continued vulnerability. Inserting specific references (from painting, architecture and literature) into contemporary media images insists that the targets of war are neither faceless enemies nor sites devoid of culture. They are not just anywhere but somewhere, not just anyone but someone, not distant tribes, but complex societies with their own hopes and dreams. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428121588-RFYKCZEYSKKN5VX6D3YD/Resound_11_18x15.jpg IMAGES - RESOUND, 2011 Screenprint with solvent transfer, 18 x 15 inches paper size, 14.5 x 11 inches image size. Edition of 20. Sources: FLICKR_pt_stebbing photo stream of Iraq; “The Fairy Queen enthroned in her theophany atop the Tree of Life which springs from the fount of life”, study for an illustration to Nizâmi’s Tale of the Princess of the Black Pavilion, Tabrîz or Qazwîn, mid 16th century. Freer Gallery, Washington D.C. 50.2. The Black Pavilion is the first of seven tales that comprise Nizami’s 12th century book of poems “The Seven Beauties.” It embodies eternal human experiences such as love, desire, frustration and melancholia. Printed by RED LETTER PRESS, Youngstown State University. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500424202266-U7SI0DJLLB4BP5LL24WT/Restoration%28Protection%29.jpg IMAGES - RESTORATION (Protection), 2007 Gouache on archival digital print/Hahnemühle, 16 x 24 inches Islamic patterning typical of mashrabiyas (ornate wooden latticework prevalent in traditional Arab architecture dating to 12th century Baghdad) fills bombarded windows of a contemporary building in the Middle East. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500424577033-H9UJKBRF3WZ1JS3YQ6YF/Respite+10x15+.jpg IMAGES - RESPITE, 2007 Gouache on archival digital print/Hahnemühle paper, 10.125 x 15.125 inches; garden details from Five Youths in a Landscape, Tabrîz, c.1520, Sackler Gallery and from Bahrãm Chubin listening to the prophecy of a sorceress, from a Shãhnãmeh of Firdawsi, Shirãz(?), 1585, Topkapì Sarayì Museum, Istanbul, Revan 1548, fol. 489a; photo of Fallujah https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500473991584-NTV45KMV7SDJ7MGX9O48/Restoration%28Bridge+1%29.jpg IMAGES - RESTORATION: BRIDGE I, 2007 Gouache and metallic acrylic on archival digital print/Hahnemühle, 16 x 20 inches. Source photo: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html Aspirational repair of the bridge north of Beirut destroyed by an Israeli air strike early on Friday August 4, 2006. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428351204-65E7SCOHE2P73MZC08GV/Resource_Basra.jpg IMAGES - RESOURCE: BASRA 2010 16.25 x 23.5 inches 25.75 x32.5 inches framed. Sources: Basra University Central Library destroyed by fire, June 2003. http://archive.ifla.org/VI/4/admin/iraq2407/pages/BASBU5.htm; The library of Basra, miniature by Al Wasiti from "Maqamat" by Al Hariri, 13th century, Hulton Archive. Collection of Leslie Brothers, Youngstown, Ohio https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500473995271-NWVNB2XGUTF0W6EV9DJ4/Restoration+%28Maameltein+Bridge%29.jpg IMAGES - RESTORATION: MAAMELTEIN ROAD, 2007 Gouache and graphite on archival digital print/Hahnemühle paper, 16.125 x 20.125 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474554077-1WVIIHKESN0Z9A0UHECW/P45_RoaringAtTheRAid.jpg IMAGES - ROARING AT THE RAID, 2007 7 x 10 inches. Lion from 14th century manuscript, Iraq. Photo source: Joanne Farchakh-Bajjaly. http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_049.htm https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474735640-X5UIMLDVBUMD95JF0E5Y/Rise_Active+Intelligence_pp.jpg IMAGES - RISE: ACTIVE INTELLIGENCE, 2008 8.125 x 7 inches. Archangel, symbol of active intelligence, 16thc, perhaps from Uzbek Bukhârâ or Ottoman, Library of the Topkapì Sarayì Museum, Istanbul In Rise: Active Intelligence, the image of archangel Jibreel or Surôsh (Active Intelligence) is superimpsoed over a contemporary war scene in Iraq. Glowing and hovering in an explosive fire that can be apocalyptic or annunciatory, the image of this angel is open to interpretation. One could infer an inherent critique of the erroneous “intelligence” that was used to justify a “pre-emptive” war. One could lament the absence, in this case, of “Active Intelligence” — one that provides divine, rather than idiotic, inspiration. One could heed Surôsh’s call to retreat from “Satan’s whispers” or all our evil will and deeds. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474868693-R1EERIRAS6QHXT22MY4N/Recurrence_flaming+camel.jpg IMAGES - RECURRENCE: FLAMING CAMEL, 2008 Gouache on archival digital print/Hahnemühle paper, 16 x 16 inches. Camel from an illustration to the Falnameh, ‘Abd Ul-‘Aziz, Iran, Tabriz, 1550; photo source: http://news.webshots.com/photo/1118741950051644870WUJmaq For this specific image, a photographic image of an oil fire from a Baghdad album by Coug91 on Webshots is altered and combined with a digitally collaged and hand-painted camel from a Persian miniature. The photographed and painted camels are both oblivious to the fire on the horizon, though one bears a flaming hump. It refers to Timur’s defeat of the Delhi Sultanate in 1398. Timur (or Tamerlane) was the 14th century Turco-Mongol conqueror of much of western and Central Asia. Faced with theDelhi Sultanate's 120 war elephants, Timur prayed to Allah, then attached straw to the backs of his army of camels. As the camels neared the elephants, Timur ignited the straw, propelling the distressed camels forward in wild terror. The frightened elephants ended up crushing many Indian troops as they fled in retreat. The confluence of the past and the present, the hand-made and the mechanical or digital, passivity and aggression all speak to contradictory forces at work in current quagmires, especially in Iraq and Afghanistan. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429921951-HMIS1UJUMQV1FLJX4N3S/Rearing_in_the_Ruins.jpg IMAGES - REARING IN THE RUINS, 2008 10.125 x 7.625 inches; horses from King Darius (Dârâ) and the Herdsman, illustration by Bihzâd for the Bustân. Photo source: Southwest Palace of Sennacherib: damaged winged bull in doorway at Nineveh http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_142.htm Collection of Kristen Accola, NYC https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500432119409-QA2UE33EEWYI22UCA1DY/Reveal_CranesOverJivyeh.jpg IMAGES - REVEAL: CRANES OVER JIVYEH, 2007 Gouache on Hannemuhle paper, 6 x 10 inches. Bird clouds from The combat of Rustam and Kãmus in Shah Tahmãsp’s Shãhnãmeh, attributed to ‘Abd al-Vahãb, c.1530, fol.271a, Tehran Museum of Contemporary Art. Collection of Paul Eiss, Pittsburgh. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423212689-RZF7YK9ODCPZ0Y49TGRH/Repercussion_hi_Slavick.jpg IMAGES - REPERCUSSION, 2013 Gouache on archival digital print/Hahnemühle paper, 7.5 x 12 inches Photo source: Rosa Schiano, http://palsolidarity.org/wp-content/uploads/2012/12/6.jpg The Israeli “Pillar of Defense” military offensive in Gaza on November 12, 2012 that killed 72 people including Mzanar Abdallah, 20, and Amina Mznar, 80, an elderly woman sitting in the kitchen in her wheelchair at the time of the bombing. The plastic beaded curtain is painted as if propelled outward by its blast. If only it were a gentle breeze. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474271024-B8CNWAQ9TVPDA7D28EZ4/NINEVEH.jpg IMAGES - ROMANCING THE RUINS: NINEVEH, 2007 Gouache on archival digital print/Hahnemühle paper, 12 x 16 inches. Figure from Prince Humây before the palace of Princess Humâyûn of China” by Junayd for the early 14th-century romance, Humây and Humâyûn by Khwâjû Kirmânî, British Library, London. Photo source by Joanne Farchakh-Bajjaly: Southwest Palace of Sennacherib: damaged relief slabs. http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_149.htm Prince Humay, on his pilgrimage from the ‘dusky’ realm of matter in the West [in this case, Syria] calls upon, the Princess Humâyûn who represents the spiritual East or ‘China,’ the horizon of the Godhead’s rising sun”. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428546800-BWH4U6PW4Z03OSNI34UR/Replicate_2010_7x10ish.jpg IMAGES - REPLICATE, 2010 Gouache on archival digital print/Hannemuhle paper, 7.625 x 10.25 inches. 15 x 17.125 inches framed. Photo source: FLICKR, ArmyofDude, Baqubah   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475176900-YLKXNZCO9H6PT5VMDXHM/Reap_FruitTree.jpg IMAGES - REAP: FRUIT TREE, 2008 Gouache on digital print/Hahnemühle paper, 16 x 20 inches. Tree motif from mosaic at Khirbat al-Mafjar, Jericho. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500432346825-C62L8N94ROLHG5PIFBEO/Restore_Sarafiya+Star+over+the+Tigris.jpg IMAGES - RESTORE: SARAFIYA STAR OVER THE TIGRIS, 2007 Gouache/Hahnemühle paper, 6 x 8.125 inches, 12 7/8 x 14 5/8 inches framed. A 13thor 14th c. Iranian tile design spans the gap of Baghdad’s al-Sarafiya Bridge that was destroyed by a truck bomb in 2007. Pairing the elegant decorative geometry of Islamic design against the contemporary geometry of engineering points to the choices we make, how we direct our expertise and ingenuity.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429160176-KW49MUNSVYEQOBC56UYN/06_Regret_Counting+the+Ways.jpg IMAGES - REGRET: COUNTING THE WAYS, 2007 10 x16 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500432501849-8JE79TB9JC7HWZQ6JVDZ/rabbits+in+rubble.jpg IMAGES - RABBITS IN THE RUBBLE, 2007 10 x 16 inches. Photo source: habeeb.com/beirut.war.lebanon.01.html These rabbits are derived from Persian miniature paintings, playing whimsical representations of the past against a sober scene of contemporary destruction. The situation becomes all the eerier through an abandoned tricycle with its plastic rabbit head, the only intact item left standing in the rubble. Violence toward the innocent becomes all the more palpable, in a still place with no human presence. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475012783-YCL80GSBFWTER2HF911O/Reveal+%28Yellow+Crash%29.jpg IMAGES - REVEAL: YELLOW CRASH, 2008 Gouache and acrylic/ Hahnemühle, 16 x 10 inches. Sky details from illustration by Sultân-Muhammad for Nizâmî’s Treasury of Secrets in the Khamseh (Five Treasures) for Shâh Tahmâsp (Tabrîz 1539-43), British Library, London https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428015651-OD4AXOWDXWRPUUZSR3WD/Romping+in+the+Ruins+13.625x9.jpg IMAGES - ROMPING IN THE RUINS 13.625 x 9 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500427938330-HQTTALP65T49YQ2J2KZU/Reveal+Roaring+in+the+Rubble13.625x9.jpg IMAGES - REVEAL: ROARING IN THE RUBBLE 13.625 x 9 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579621946206-RBRW0UZY72HBW5N6REKU/Recover_Illuminations%2C+2007%2Cgouache%2C+ink%2C+pastel+pencil%2C+archival+tape%2C66x42.jpg IMAGES - RECOVER: Illuminatins 2007 Gouache, ink, pastel pencil, archival tape/Hahnemühle paper 66 x 42 inches Detailed motifs from Islamic manuscript illuminations are transformed into architectural supports for the façade of an apartment building damaged by war. Every edge, ledge and railing damaged by mortar fire has been redrawn or solidified with paint. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579620810465-ZDEZ67ZQZ8UID12HP1U4/Red+BAclony+and+Remore-White+Curtains+Quartet+install.jpg IMAGES Recover: Illuminations Restoration: Red Balcony Remorse: White Curtains Restitution: Spectral Barriers All 66 x 42 inches. Installed at Pittsburgh Center for the Arts Photo source for all images: Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579621355501-DUXURJIVZ2U4AJBVPPJ6/Restitution_SpectralBarriers_HI+RES.jpg IMAGES - RESTITUTION: Spectral Barriers 2006 Gouache and acrylic on Hahnemühle paper 66 x 42 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475522166-M8RH7XBHIWTL6T09QKCC/Tree_10_Reverie_HeratTree.jpg IMAGES - REVERIE: HERAT TREE 2008 Tree from A peasant lectures to the sage Abû-Sa-îd idn Abi-I-Khayr, the shayk of Mahneh, on patience, Qazwîn (Iran), 1758, Musée du Louvre, Paris The tree is derived from Muhammadî of Herat’s painting of a peasant lecturing on patience to a wise sheik. It stands vibrant, surrounded by rubble, promising new life through the nest of eggs that it shelters. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475559593-Y87RA3MQT1V1W03KTM3S/Refuge_Stork+Nest.jpg IMAGES - REFUFE: STORK NEST, 2008 Sources: Illustration to Makhzan-ül-Asrâr (Treasury of Secrets) of the Turkish poet Mevlânâ Heydar Mashad (Iran), c.1577-88, Sackler Gallery of Art, Washington, D.C.; Nabatiya, Lebanon photo by Mitchell Prother/WPN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500477518269-TJILVY2GMTH2HNMMD717/Remit_Saddams+Palace.jpg IMAGES - REMIT: SADDAM'S PALACE, 2008 Foreground from Siyãrvush receives gifts from Afrãsiyãb’s peace envoy in Shah Tahmãsp’s Shãhnãmeh, attributed to Qadîmî, c. 1530, Tehran Museum of Contemporary Art A garden gate opens to what remains of one of Saddam Hussein’s destroyed palaces, derived from a 16th century illumination showing Siyãrvush receivings gifts from Afrãsiyãb’s peace envoy, from Shah Tahmãsp’s Shãhnãmeh. “Remit” can mean to cancel, restore, defer, pardon or reduce the intensity of something. Title and image evoke the failure and hope of diplomacy—and its absolute necessity. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475758858-TPPQNO0YGDXS6M9ATBJ2/Resolute_Hawks.jpg IMAGES - RESOLUTE: HAWKS, 2008 Birds and rocks from Shah Tahmãsp’s Shãhnãmeh, Farud confronts the Iranians attributed to Qadîmî, c. 1530–35, Tehran Museum of Contemporary Art https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475842854-IN70YG5BIY9PMM75W7VV/Slavick_Rescind_Bird+in+Rubble.jpg IMAGES - RESCIND: BIRD IN RUBBLE, 2008 Bird from illustration (added in Isfahân c.1609) by Habìbul Mashhad for Attâr’s Parliament of Fowles, illustrated 1487–88 in Herât by Bihzâd, Metropolitan Museum of Art, New York; clouds from Bãrbad the concealed musician from Shah Tahmãsp’s Shãhnãmeh attributed to Mirzã ‘Ali, c.1535, The Nassir D. Khalili Collection of Islamic Art. Photo source: www.habeeb.com/beirut.war.lebanon.01.html A bird struts before the rubble of Beirut, bombed in 2006 by the IDF. Painting and digital processes are deliberately confused with elements of Persian paintings faded or magnified by Photoshop and the elaborate cloud balancing on the bird’s beak painted in gouache. It is the most physical, yet a mirage, a figment of our imagination. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475979859-17LDQE5ODCE4VRGTG77A/13_Slavick_Regenerate_BirdNest.jpg IMAGES - REGENERATE: BIRD NEST, 2008 Source: Page from the manuscript of the Kitab al-Hayawan (Book of Animals) by al-Jahiz in the Biblioteca Ambrosiana, Milan depicting a brooding ostrich. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476016873-1WFB61NNRAEG4RCQG4X8/Reassure_BeirutBirds_3MB.jpg IMAGES - REASSURE: BEIRUT BIRDS, 2008 Birds from Kalila and Dimna of Baysonqur: The Owls and the Raven,1430, Library of the Topkapì Sarayì Museum, Istanbul https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476831423-59XDA4KXGDUT6GYBNJKH/Beirut+Birds+icon.jpg IMAGES - Detail, REASSURE: BEIRUT BIRDS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476114047-7ZCGHBPMCSLNFEDD1IN6/Release_BirdCage+8+in.jpg IMAGES - RELEASE: BIRD CAGE, 2008 Tree from The Son Who Mourned His Father: Page from a manuscript of the Mantiq al-Tayr (The Language of the Birds) of Farid al-Din cAttar, ca. 1487; Timurid, Iran (Herat), Opaque watercolor, ink, silver, and gold on paper,9.75 x 5.5 inches, Metropolitan Museum of Art, New York. The source illustration is associated with a story related by the hoopoe as a response to a bird who complains about his fear of death. In the story, a son grieves the death of his father in front of his coffin and a sufi soothes him, explaining that his father had experienced much pain and that no one can avoid death. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476356079-CYUD9YSJ5D3OLKI2R63N/Reconstruct_CanalHotel.jpg IMAGES - RECONSTRUCT: CANAL HOTEL, 2008 Architecture and cloud derived from the scene of Solomon and Bilqis Sit Together and Converse Frankly from the tragic romance of Salâmân and Absâl in Abdul-Rahman Jâmî’s Haft Awrang (Seven Thrones) in the Mashad manuscript, 1556–65, Freer Gallery of Art, Washington, D.C.; AP photo source: Wally Santana, 2003/08/19 of Canal Hotel in Baghdad The scene is the August 2003 wreckage of the Canal Hotel in Baghdad where, on August 19, 2003,at least 22 people, including the United Nations’ Special Representative in Iraq, Sérgio Vieira de Mello, were killed and over 100 were wounded. The blast targeted the U.N. Assistance Mission created just five days earlier in the hotel that the U.N. has used as its headquarters in Iraq since the early 1990s. Superimposed motifs from Jâmî’s allegorical romances and moral parables insist on beauty and civility in face of the worst human behavior. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476515755-MANOKISEO03I0QN0EW8F/Recover_Ghaziyeh.jpg IMAGES - RECOVER: GHAZIYEH, 2008 Architecture from Zulaykhâ’s castle by Bhizad for the Manuscript of the Bustân, National Egyptian Library, Cairo, Folio 52v; photo: M. Asser. Photo source: Aftermath of IDF attack on the Saleh commercial center, Ghaziyeh, Sidon inLebanon. http://en.wikipedia.org/wiki/File:Bombed_commercial_centre.jpg https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476604131-X9DJNMTXYC3SZUL486OJ/4_Revisit_Khiyam.jpg IMAGES - REVISIT: KHIYAM, 2008 Gate from The gatekeeper denies entrance by one unworthy of the garden in the Bustân by Mîrak or Bhizâd, 1488–89, National Egyptian Library, Cairo; Khiam, Lebanon photo: M. Asser https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476642574-B1GIU5ZZDYEJ8C4FECX6/Routine_Laundry.jpg IMAGES - ROUTINE: LAUNDRY Routine: Laundry: From Bihzâd’s illustration, Caliph al-Ma’mûn in his bath for Nizâmi’s Treasury of Secrets in the Khamseh, Herât, 1494–95, British Library, London; photo source: Webshots: dersteigen151, Lebanon The laundry derived from Bihzâd’s 15th c. illumination, Caliph al-Ma’mûn in his bath, hangs above a place in Lebanon devastated by war, reminding us of how, following trauma and catastrophe, the ordinariness of our daily lives becomes extraordinary. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602947570-E35RHNFKIBCCLWKQH19L/Pillow1.jpg IMAGES - PILLOW TALK I, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602954045-EKDWLA8GOYWQRNJK55RG/Pillow2.jpg IMAGES - PILLOW TALK II, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602955610-D9H2OTFH4BIXAVKSQNZ2/Pillow3.jpg IMAGES - PILLOW TALK III, 2003 Oil and acrylic on wood panel, 28 x 36 inches On loan to Ayanah Moor https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602947552-NHDCBIK4RRY8Z58XI2XG/HeadsWilRoll_2003_80x71in.jpg IMAGES - HEADS WILL ROLL, 2003 Oil and acrylic on two wood panels, 80 x 71 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501603444109-0FUB7GP1RA6DNABVXKCB/Pillow+4.jpg IMAGES - PILLOW TALK IV, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602964776-AQAJYO8BR0YPJIHXOOZL/Pillow5.jpg IMAGES - PILLOW TALK V, 2003 Oil and acrylic on wood panel, 28 x 36 inches On loan to Ayanah Moor https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602966194-RE7XFQOCA59QKPHBW45V/Pillow6.jpg IMAGES - PILLOW TALK VI, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511106939698-X2PJWZFPB3PVCZ1B43Q2/%28Re%29Setting+Sights5_pink_2002_22x30in_pp.jpg IMAGES - (RE)SETTINGS SIGHTS V, 2002 Screenprint on Stonehenge paper, 22 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511106911051-FXXRQUQH8CY1G6P0OK3X/%28Re%29SettingSights_2002_pink_SET_20MB.jpg IMAGES - (RE)SETTING SIGHTS I-VI, 2002 Screenprints on Stonehenge paper, 22” x 30” each. 27 1/2” x 35 3/4" framed. Printed at Artists Image Resource, Pittsburgh. (Re)setting Sights suggests just that — a reconsideration of our targets, both metaphorical and real. The work speaks to both domestic violence and gun violence, painful issues that have plagued our country over numerous election cycles including this one. The pillow is an object of domestic comfort. In bed or in our homes, where we are our most intimate and vulnerable selves, we should be safe. But in the USA, 1 in 3 women and 1 in 4 men have been victimized by physical violence by an intimate partner within their lifetimes. And, on average, 297 people in America are shot every day in murders, assaults, suicides & suicide attempts, unintentional shootings, and police interventions. I wish that our aim would inspire rather than inflict—and nurture rather than annihilate. In layering several modes of representation, "(Re)setting Sights" injects doubts about its own claims. Artifice lies upon artifice. The image borrows hand-drawn observations etched by Albrecht Durer, which were then photographed and screened onto real pillowcases, slipped over real pillows and then subjected to a simulated impact of a punch or bullet. They were then re-photographed and digitally manipulated. When framed, a gun reticle is printed on the glass that hovers above the print. In one print, an actual bullet pierces the glass. Perhaps these multiple and contradictory deceptions, like double negatives, can convert to a positive recalibration or refocus of our individual and collective aims. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107676497-V4TG1LAJUQ25AE9WKMKW/%28Re%29SettingSights1_pink_2002-22x30in.jpg IMAGES - (RE)SETTINGS SIGHTS I, 2002 Screenprint on Stonehenge. 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107038788-7UK6WJR7HMHT4T2UP7M8/%28Re%29SettingSights3_pink_2002_22x30in.jpg IMAGES - (RE)SETTINGS SIGHTS III, 2002 Screenprint on Stonehenge, 22 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107140024-AZWA7OHS7NXBAHVK15C0/%28Re%29SettingSights4_pink_2002_22x30in.jpg IMAGES - (RE)SETTING SIGHTS IV, 2002 Screenprint on Stonehenge, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107147706-YLEE8R5LJ02AJXUDVR0F/%28Re%29SettingSights6_pink_2002_22x30in.jpg IMAGES - (RE)SETTINGS SIGHTS VI, 2002 Screenprint on Stonehenge. 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511109778693-HHWYQUW8QT8WPKSDUBGE/160429__MG_0682.jpg IMAGES - Detail of (RE)SETTINGS SIGHTS at UICA https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511109791638-YM3R8DOB0P3QKIO8WLOB/160429__MG_0683.jpg IMAGES - Detail of (RE)SETTINGS SIGHTS at UICA https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107236902-P7V2B7S905EOW3HA77OA/%28Re%29SettingSightsBW_SET_2002_20MB.jpg IMAGES - (RE)SETTING SIGHTS I-VI, 2002 Screenprints on Stonehenge paper, 22” x 30” each. 27 1/2” x 35 3/4" framed. Printed at Artists Image Resource, Pittsburgh. (Re)setting Sights suggests just that — a reconsideration of our targets, both metaphorical and real. The work speaks to both domestic violence and gun violence, painful issues that have plagued our country over numerous election cycles including this one. The pillow is an object of domestic comfort. In bed or in our homes, where we are our most intimate and vulnerable selves, we should be safe. But in the USA, 1 in 3 women and 1 in 4 men have been victimized by physical violence by an intimate partner within their lifetimes. And, on average, 297 people in America are shot every day in murders, assaults, suicides & suicide attempts, unintentional shootings, and police interventions. I wish that our aim would inspire rather than inflict—and nurture rather than annihilate. In layering several modes of representation, "(Re)setting Sights" injects doubts about its own claims. Artifice lies upon artifice. The image borrows hand-drawn observations etched by Albrecht Durer, which were then photographed and screened onto real pillowcases, slipped over real pillows and then subjected to a simulated impact of a punch or bullet. They were then re-photographed and digitally manipulated. When framed, a gun reticle is printed on the glass that hovers above the print. In one print, an actual bullet pierces the glass. Perhaps these multiple and contradictory deceptions, like double negatives, can convert to a positive recalibration or refocus of our individual and collective aims. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107777627-6TY84P9TRVS8P4MZVVIK/bullet+detail.JPG IMAGES - (RE)SETTINGS SIGHTS, 2002 Detail of bullet piercing plexiglass of frame. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107897081-IH70X1VO3N9LUSJLQ2NJ/%28Re%29SettingSights2_white_2002_22x30in.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107903552-C632AHXL0X71MJIR4YRY/%28Re%29SettingSights3_black_2002_22x30in.jpg IMAGES - (RE)SETTINGS SIGHTS III, 2002 (black) Screenprint on Stonehenge, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108112662-2SI35SXPJ7G4QV1OPNXR/%28Re%29SettingSights5_2002_pp_22x30in.jpg IMAGES - (RE)SETTINGS SIGHTS V, 2002 (black) Screenprint on Stonehenge, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108256883-O6M58TV5R566Q739N5JU/Romantic+Resistance_UICA.jpg IMAGES - ROMANTIC RESISTANCE 2002 Oil and acrylic on 15 circular panels, 68 x 40 inches installed. ROMANTIC RESISTANCE addresses violence on the domestic front, and violence that confuses instincts regarding pain and pleasure. A necklace of pearls, representing beauty born of pain, remains coherent despite the gaps in its arrangement. The strand persists despite the bullet holes that pierce each panel. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108274790-6BNPI1TX2UIBD8CJGWR8/Romantic+Resistance+Detail.jpg IMAGES - Detail of ROMANTIC RESISTANCE 2002 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108276526-B0RCF73LJ5HW8XZAHAEA/Romantic+Resistance+Detail+single.jpg IMAGES - Detail of ROMANTIC RESISTANCE 2002 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110362203-6PDAOOHZZLQWQ5BHOTK6/Sleep+Tight_etching.jpg IMAGES - SLEEP TIGHT 2002 Two color Intaglio, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed This series, based on Albrecht Dürer's Six Studies of Pillows, extends a body of work that portrays mattresses, pillows or cushions, typically soft (and often gendered as female) objects and sites that are both functional and sentimental. The respite they normally provide is disrupted through bifurcation, punctures, amputations and other acts infused with ideological zealotry, violence, or ‘acts of passion.’ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110389375-OL8BSHC35T4B7M6NE0FY/Sleep+Tight_silver.jpg IMAGES - SLEEP TIGHT 2002 Intaglio with silver and red ink, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed This series, based on Albrecht Dürer's Six Studies of Pillows, extends a body of work that portrays mattresses, pillows or cushions, typically soft (and often gendered as female) objects and sites that are both functional and sentimental. The respite they normally provide is disrupted through bifurcation, punctures, amputations and other acts infused with ideological zealotry, violence, or “acts of passion’. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110362214-UGPSBGCNZV9ZHV9PMY7E/Sleep+Tight+II.jpg IMAGES - SLEEP TIGHT 2002 Hand-colored etching, mixed media, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110386524-K0Q7S0T9OYARG4PRY2XZ/Sleep+Tight.jpg IMAGES - SLEEP TIGHT 2002 Hand-colored etching, mixed media, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1712929836697-FD2LEB80ICG7RX6YZ8WE/Front+cover.jpg IMAGES - ART, ACTIVISM, AND SEXUAL VIOLENCE Published by University of Washington Press Edited by Sally L. Kitch and Dawn R. Gilpin Includes my work on the cover and an essay, Resetting Sights. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1712929836648-NLB2XEKJT3VR89E8KTVN/Back+cover.jpg IMAGES - BACK COVER OF ART, ACTIVISM, AND SEXUAL VIOLENCE Published by University of Washington Press Edited by Sally L. Kitch and Dawn R. Gilpin Includes my work on the cover and an essay, Resetting Sights. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246766401-ND1FPLB8UBTSSNX48GQV/Recuperation_Diurnalj.jpg IMAGES - RECUPERATION (DIURNAL), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches The convalescing Cedar of Lebanon in Recuperation simultaneously embodies bleak realism and hopeful romanticism. It is a metaphor for the damage we do to ourselves and how we try to recover. Pale atmosphere alternates with raw flesh color, suggesting both cruelty and compassion. In 2006, I visited Isola Bella on Lago Maggiore in Italy. That summer, the gardens were in disarray caused by a freak tornado, including an uprooted ancient Cedar of Lebanon. Maintenance workers and gardeners had propped up this huge specimen with pulleys, slings, and guy ropes. Bandages wrapping limbs and sprinkler systems suspended in branches contributed further to its potential resuscitation. At the time of making this painting, they were still waiting for the results. I photographed this poignant spectacle partly because it coincided with my prior research into landscapes of ruin, especially those devastated by war. That summer, the world watched as the 2006 Lebanon War decimated the country, all while the larger war in Iraq raged. The Lebanese town of Qana (or Cana) was attacked for the second time in a decade and suffered extraordinary numbers of civilian deaths. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246772794-ZRJLEZ528WNB3LJJ7EE6/Recuperation+detail+8.jpg IMAGES - RECUPERATION (DIURNAL) detail Oil, acrylic and Galkyd on three panels, 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246836205-S5WEDP7WL1ECN90BFCXY/Recuperation+detail+4.jpg IMAGES - RECUPERATION (DIURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246875733-AWASG79J1IRI9FEQ7BWH/Recuperation+detail+3.jpg IMAGES - RECUPERATION (DIURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246913005-3AAFAI2SN78O568GYYEZ/Recuperation+detail.jpg IMAGES - RECUPERATION (DIURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246969524-NIMZ4OH0CDZUOOF6IE0S/03_Recuperation_Nocturnal+copy.jpg IMAGES - RECUPERATION (NOCTURNAL) 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches The convalescing Cedar of Lebanon in Recuperation simultaneously embodies bleak realism and hopeful romanticism. It is a metaphor for the damage we do to ourselves and how we try to recover. Pale atmosphere alternates with raw flesh color, suggesting both cruelty and compassion. In 2006, I visited Isola Bella on Lago Maggiore in Italy. That summer, the gardens were in disarray caused by a freak tornado, including an uprooted ancient Cedar of Lebanon. Maintenance workers and gardeners had propped up this huge specimen with pulleys, slings, and guy ropes. Bandages wrapping limbs and sprinkler systems suspended in branches contributed further to its potential resuscitation. At the time of making this painting, they were still waiting for the results. I photographed this poignant spectacle partly because it coincided with my prior research into landscapes of ruin, especially those devastated by war. That summer, the world watched as the 2006 Lebanon War decimated the country, all while the larger war in Iraq raged. The Lebanese town of Qana (or Cana) was attacked for the second time in a decade and suffered extraordinary numbers of civilian deaths. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246986398-ZLHHZQNIX316YLJDP4QB/Recuperation_NocturnalDetail.jpg IMAGES - RECUPERATION (NOCTURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247635112-1J2FIL0SK6LH20ICBZFI/1.Cana+2007.jpg IMAGES - CANA (QANA) 2007 Oil and acrylic on two panels, 80 x 72 inches There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist's relation to bread and blood. In this view, the channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle. Adrienne Rich, from Blood, Bread and Poetry (1986) Cana is named after two towns: the town where Christ’s first miracle occurred, where water was turned into wine; and the Lebanese town of Qana, where blood has flowed instead of wine. Qana is probably not the same as the biblical town of Cana, but I am drawn to the confluence of references to miracle and massacre. Numerous and profound injustices abound in the Middle East, often leading to invasions and intifadas. In July, 2006, Israel went to war with Hezbollah in Lebanon. More than a thousand people, most of whom were Lebanese civilians, were killed. Two thirds of them were children. Almost a million Lebanese and between 300,000 and 500,000 Israelis were displaced. The infrastructure of Lebanon was severely compromised, and especially ruined in Beirut. We have seen similar repeated destruction in Gaza. The town of Qana was particularly hit by the Israeli Defense Forces during Operation Change Direction, resulting in 28 deaths, 16 of them children with 13 missing. Human Rights Watch warned that "consistent failure to distinguish combatants and civilians is a war crime” and Amnesty International described Israel’s subsequent inquiry as flawed and "a whitewash." Ten years earlier, the IDF conducted Operation Grapes of Wrath in Lebanon, in which over 150 civilians were killed during the fighting. Again, Qana suffered extraordinarily. One hundred civilians alone were killed in the April 18, 1996 attack on the UN Compound there. No matter where such massacres are occurring or why, the world often stands by. We go about our daily business, stepping over the limbs and ignoring the stains on our table. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247636571-IX0FRLYNVXRSPZQQMY1R/2.+Cana+detail+2.JPG IMAGES - CANA (QANA) 2007 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247731538-9OHBB8GW2V94AOO7I6IB/Disguised+Relief_alt2.jpg IMAGES - DISGUISED RELIEF, 1999 Oil and acrylic on three panels, 80 x 93 inches And the mixt multitude that was among them fell a lusting: and the children of Israel also wept again, and said, Who shall give us flesh to eat? We remember the fish, which we did eat in Egypt freely; the cucumbers, and the melons, and the leeks, and the onions, and the garlick: But now our soul is dried away: there is nothing at all, beside this manna, before our eyes. – King James Bible, Numbers 11: 4-6 Both Disguised Relief and Caritas/Workfare address the invisibility of “wicked” problems such as poverty. The two works also fuse my love of Flemish painting with my dismay at our tolerance of poverty and the contorted solutions we sanction. According to UN figures released just days ago, about 805 million, or one in nine of the people on this planet suffers from hunger. These works were inspired by two paintings: Juan de Flandes' Marriage at the Feast of Cana and The Life and Miracles of Saint Godelieve altarpiece depicting a benefactress of the poor. The legend conveys how Godelieve's charity was considered excessive or inappropriate by her prosperous parents and wicked mother-in-law. Against her parents' wishes, she fed delicacies prepared for a count's feast to the poor; and, increasing her mother-in-law's suspicion, she persuaded the crows not to eat the growing grain. On the verge of being exposed, the bread she distributed turned to wood shavings. Her beneficence had to be camouflaged. The reverse happens with Christ at Cana, site of his first miracle. Where there is no wine, he creates some, (and, again, of the best quality), a public display of plenitude and altruism. Juan de Flandes' painting shows the moment before the miracle, an empty table prepared to receive. The table in Disguised Relief is also empty, waiting for a miracle that seems endlessly deferred. Shavings drift down and settle like manna from heaven, dubious offerings from trickle down economies. Are they truly sustenance? Are they wood, bread or flesh? Must the poor work even harder to earn even less? Must they cannibalize themselves while others gorge? The USA Census Bureau declared that roughly one in seven Americans were poor in 2010. Underpaid workers are forced to choose between rent, health care and adequate diet. In developing countries, the poor do not even have this "luxury" of choice. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247738792-BGBTD8A7ZG7KOFSUKM88/Slavick_Disguised+Relief_center_alt2_6in.jpg IMAGES - DISGUISED RELIEF, 1999 Center panel of three panels https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247753807-4U49OGMCQAOVHANQ6UOF/Disguised+Relief+detaila72dpi.jpg IMAGES - DISGUISED RELIEF, 1999 Detail of linen napkin https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247777361-2P9UPTXRP2VCF8O2RYST/Disguised+ReliefDetailb72dpi.jpg IMAGES - DISGUISED RELIEF, 1999 Detail of linen napkin https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512250122611-SCNFHQSPN30UJ0XAXEVZ/Caritas_20MB.jpg IMAGES - CARITAS 1999 Oil and acrylic on three wood panels, each 12 inches square. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512250136894-WSD3ZVFZXXL87H09F72E/Caritas_center.jpg IMAGES - CARITAS 2009 Center panel of three wood panels. Oil and acrylic. 12 inches square. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512250151849-JZE2IZNYPA60T598GGD5/Caritas_left+panel.jpg IMAGES - CARITAS 1999 Left panel of three wood panels. Oil and acrylic. 12 inches square. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512248522767-6NRZLY9UW35ZV6CSKTE3/Resurgency_2008oil_60x96inFIN.jpg IMAGES - RESURGENCY 2008 Oil and acrylic on panel, 60 x 96 inches In Resurgency, a Cedar of Lebanon stands in front of Ghaziyeh, a town destroyed by an IDF air strike. A flowering branch from The Hero Rustam Slays the Witch of the Cosmic Illusion, an illustration attributed to Qadîmî for Firdawsî’s Book of Kings, blooms amidst a panoramic composite landscape of rubble in Ghaziyeh, Lebanon. The Cedar here is a funereal silhouette. The victims here are not an illusion. The Cedar of Lebanon is Lebanon’s state symbol. The practical and symbolic uses of the Cedar of Lebanon throughout history are intertwined with death and renewal. Its resin was used in Egyptian mummification and its sawdust found in pharaoh’s tombs. The Sumerian epic Gilgamesh treats cedar groves as dwellings of the gods. Moses ordered Jewish priests to use its bark to treat leprosy. Its wood was used to build King Solomon’s Temple in Jerusalem and was once burned to announce the New Year. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512248541709-W26NFECT4APG67J80V93/ResurgencyCenterDetail.jpg IMAGES - RESURGENCY 2008 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512248794213-8DJ9WW5OLDXS5CLL5D8B/Resurgency+Flower+Detail.jpg IMAGES - RESURGENCY 2008 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828645751-SVW3TS8EN77E0AJXBURT/Ghost+Ship+_2017%2C14.25+x+15.25%2C4x6image_Giovanni+di+Paolo%2C+St.+Clare+Rescuing+the+Shipwrecked%2C+ca.+1455%2Ccrop.jpg IMAGES - GHOST SHIP 2017 Archival digital print on Hahnemuhle paper; 4 x 6 inches image size; 14.25 x 15.25 inches paper size Source: Giovanni di Paolo, St. Clare Rescuing the Shipwrecked, ca. 1455 a cross nailed from the ribs of your sunk ships, paper prayer scraps, one million calls to the wrong God. Eliza Griswold, from Lampedusa II in Everyone is an Immigrant from Poetry Magazine, January 3, 2012 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828716368-358OJFXFQOCHXOULBXQB/Ark+I%2C+2017%2C+25.25+x+23.75+_Noah%27s+Ark.+Psalterius+%5Bpsautier+latin+dit+de+saint+Louis+et+de+Blanche+de+Castille%5D%2C+c.+XIII+century%2C+Ms-1186+re%CC%81serve%2C+f.+13v%2C+Bibliothe%CC%80que+de+l%27Arsenal%2Ccrop.jpg IMAGES - ARK I, 2017 Archival digital print on Hahnemuhle paper; 24 x 18 inches paper size; 25.25 x 19.25 inches framed. Source: Noah's Ark. Psalterius [psautier latin dit de saint Louis et de Blanche de Castille], c. XIII century, Ms-1186 réserve, f. 13v, Bibliothèque de l'Arsenal … The mothers will ask us About the sea … We shall tell them about the sea How it threw us to our death So we ploughed through Europe’s fields In order to flip the dice of life We shall tell how we crossed the Aegean Sea And were lost like Ulysses How we travelled the sea to a jungle in France And the rescuers surrounded us with barbed wire and presents Husam Eddin Mohammad, from Andalucia of the Trains Syrian poet based in London, recited at Calais Refugee Camp, October 2015 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828678197-YNLQZW0CFMY7C1LLEUK6/Windblown+lo.jpg IMAGES - WINDBLOWN 2017 Archival Digital print on Hahnemuhle paper; 24 x 18 inches paper size; 7.75 x 6 inches image size; 25.25 x 19.25 inches framed. Source: Mahajanaka’s rescue, Thai manuscript 18th c, British Library, Or.14068, f. 3 Somewhere I am a meal of the sea. Ali Johar, from I Am Rohingya https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828726091-8LCDZK53SNC3YFMC14AG/05_Black+Ark%2C2017%2C+25.25+x+19.25_Miniature+from+Hafiz-i+Abru%27s+Majma+al-tawarikh.+Noah%27s+Ark+Iran+%28Afghanistan%29%2C+Herat_24x18+copy.jpg IMAGES - BLACK ARK 2017 Archival digital print on Hahnemuhle paper; 25.25 x 19.25 inches framed. Source: Miniature from Hafiz-i Abru's Majma al-tawarikh. Noah's Ark Iran (Afghanistan), Herat The dinghy sank and my heart, hot for Europe, went cold Yasser Niksada Afghan poet living in Germany, written at age 15 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828694652-1324DE3ME5OLF5XDHSHP/Dark+Ark_lo.jpg IMAGES - DARK ARK, 2017 Archival digital print on Hahnemuhle paper; 10 x 6.5 inches image size; 25.25 x 19.25 inches framed. Source: Noah's Ark, Anonymous, 15th century No one leaves home unless home is the mouth of a shark From Home by Warsan Shire https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828849732-OEOQ62BGDPSU664OZPFC/Ark+II_2017%2C+25.25+x+23.75%2C+Noah%27s+Ark+Psalterius_web.jpg IMAGES - ARK II, 2017 Archival digital print on Hahnemuhle paper; 24 x 18 inches paper size; 25.25 x 19.25 inches framed. Source: Noah's Ark. Psalterius [psautier latin dit de saint Louis et de Blanche de Castille], c. XIII century, Ms-1186 réserve, f. 13v, Bibliothèque de l'Arsenal Home no one leaves home unless home is the mouth of a shark you only run for the border when you see the whole city running as well your neighbors running faster than you breath bloody in their throats the boy you went to school with who kissed you dizzy behind the old tin factory is holding a gun bigger than his body you only leave home when home won’t let you stay. no one leaves home unless home chases you fire under feet hot blood in your belly it’s not something you ever thought of doing until the blade burnt threats into your neck and even then you carried the anthem under your breath only tearing up your passport in an airport toilet sobbing as each mouthful of paper made it clear that you wouldn’t be going back. you have to understand, that no one puts their children in a boat unless the water is safer than the land no one burns their palms under trains beneath carriages no one spends days and nights in the stomach of a truck feeding on newspaper unless the miles travelled means something more than journey. no one crawls under fences no one wants to be beaten pitied no one chooses refugee camps or strip searches where your body is left aching or prison, because prison is safer than a city of fire and one prison guard in the night is better than a truckload of men who look like your father no one could take it no one could stomach it no one skin would be tough enough the go home blacks refugees dirty immigrants asylum seekers sucking our country dry niggers with their hands out they smell strange savage messed up their country and now they want to mess ours up how do the words the dirty looks roll off your backs maybe because the blow is softer than a limb torn off or the words are more tender than fourteen men between your legs or the insults are easier to swallow than rubble than bone than your child body in pieces. i want to go home, but home is the mouth of a shark home is the barrel of the gun and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hunger beg forget pride your survival is more important no one leaves home until home is a sweaty voice in your ear saying- leave, run away from me now i dont know what i’ve become but i know that anywhere is safer than here https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048181828-1UK3V6V1UA38440VDU89/Dead+Reckoning_trio+2018.jpg IMAGES - Dead Reckoning, 2018 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048122203-8YVH4YUNGFVKL4NGXWBY/Azzurro+Mare%2C+2018%2C84x48.jpg IMAGES - AZZURRO MARE AM330 84 x 48 inches “Now comes with FREE boat tubes cover to protect boat from damaging UV rays and to extend boat lifespan. Is great as a ship-to-shore dinghy or tender for main ship.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048158624-OA2J7EH0TKJC1CNSIP46/Azzurro+Mare+detail.jpg IMAGES - Detail of AZZURRO MARE AM330 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048132734-KF4GUP97YS8RXDZKW8I0/Saturn+SD500G-05%2C+2018%2C+96+x+48.jpg IMAGES - SATURN SD500G-05 96 x 48 inches “Largest vessel in our budget price.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048143394-YH3LVBIXCSI0S2OC515P/Sea+Eagle%2C126SR%2C+2018%2C+84+x+48.jpg IMAGES - SEA EAGLE 126SR 84 x 48 inches “Best suited for those wishing to have more roomy space.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048081188-HJN5IXT78SRV0XE2Q2GC/Dead+Reckoning+2018.jpg IMAGES - DEAD RECKONING Installed at the McDonough Museum fo Art, Youngstown, Ohio Home By Warsan Shire no one leaves home unless home is the mouth of a shark you only run for the border when you see the whole city running as well your neighbors running faster than you breath bloody in their throats the boy you went to school with who kissed you dizzy behind the old tin factory is holding a gun bigger than his body you only leave home when home won’t let you stay. no one leaves home unless home chases you fire under feet hot blood in your belly it’s not something you ever thought of doing until the blade burnt threats into your neck and even then you carried the anthem under your breath only tearing up your passport in an airport toilet sobbing as each mouthful of paper made it clear that you wouldn’t be going back. you have to understand, that no one puts their children in a boat unless the water is safer than the land no one burns their palms under trains beneath carriages no one spends days and nights in the stomach of a truck feeding on newspaper unless the miles travelled means something more than journey. no one crawls under fences no one wants to be beaten pitied no one chooses refugee camps or strip searches where your body is left aching or prison, because prison is safer than a city of fire and one prison guard in the night is better than a truckload of men who look like your father no one could take it no one could stomach it no one skin would be tough enough the go home blacks refugees dirty immigrants asylum seekers sucking our country dry niggers with their hands out they smell strange savage messed up their country and now they want to mess ours up how do the words the dirty looks roll off your backs maybe because the blow is softer than a limb torn off or the words are more tender than fourteen men between your legs or the insults are easier to swallow than rubble than bone than your child body in pieces. i want to go home, but home is the mouth of a shark home is the barrel of the gun and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hunger beg forget pride your survival is more important no one leaves home until home is a sweaty voice in your ear saying- leave, run away from me now i dont know what i’ve become but i know that anywhere is safer than here https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1542915344281-8E4KYTVO9D9IHRPOTEGV/Disicpline+of+Geography+quartet.jpg IMAGES - DISCIPLINE OF GEOGRAPHY 1988 Mixed media on paper. 8 x 8 inches each. Series of nine works. The questions of “what is the relationship between the map and the territory” or “when is a map not a map, but a picture?” are problematic and sometimes amusing. Korzybski in Science and Sanity states that “the map is not the territory”. Otherwise, we would arrive at Lewis Carroll’s scenario of a country where the cartographers finally made a map with a scale of a mile to a mile. A professor explains “It has never been spread out, yet….the farmers objected: they said it would cover the whole country, and shut out the sunlight! So now we use the country itself, as its own map, and I assure you it does nearly as well.” The confusion between the map and the territory is also in On Exactitude in Science by Jorge Luis Borges, translated by Andrew Hurley below. …In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography. —Suarez Miranda,Viajes devarones prudentes, Libro IV,Cap. XLV, Lerida, 1658 This story inspired my Discipline of Geography series of small works on paper. Works like these showed gridded nets (my versions of longitudes and latitudes) that descend in ambiguous purpose. Will they blanket and protect or constrict and oppress the earth? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1542914471192-VEV8EBSVM09BXVIZP6UP/Disicipline_of_Geography_88_8x8.jpg IMAGES - DISCIPLINE OF GEOGRAPHY I, 1988 Mixed media on paper, 8 x8 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543187476802-T0FE0SMNZYJQBBU6UXRW/PulseOfRomeOpenVein86.jpg IMAGES - THE PULSE OF ROME, THE OPEN VEIN 1986 Eventually I arrived at combining maps that had actual physical properties with representations of deep space. Pulse of Rome, The Open Vein was an early awkward attempt to juxtapose multiple treatments of the picture plane. On the right is a flat painting of a deep space, with an actual physical lattice attached to the surface. On the left is a map of Rome, an inherently flat and abstract representation of space made physical by a relief simulating an unfolded map. Painted shadows of the real lattice on the right extend the trompe-l’oeil affect. I chose Rome and maps of other sacred cities like Jerusalem as destinations for pilgrimages, crusades and other religiously motivated journeys to contrast with the agnosticism of the unknown destination. About 48 inches in height. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543187817885-MUKJ4IYDR9NFGUM0T24Q/Hollow+Borders.jpg IMAGES - HOLLOW BORDERS 1986 Oil and acrylic on canvas with wood extension. 48 inches width. Paradise and Eden and their garden iterations are suggestive of the Utopian thinking that is at the core St. Sir Thomas More’s Island of Utopia 1516 and that’s at the core of the cartographic imagination, motivating us to go to or build the good place, the perfect world. Hollow Borders embodies this utopic thinking by contrasting an exaggerated volumetric globe with the artificiality of abstract boundaries revealed through arbitrary color assignments to nation states. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474669754-A0JPS6R5SKQUR6X84FL7/Prognosis+in+the+Garden_5MB.jpg IMAGES - PROGNOSIS IN THE GARDEN 1986 Oil on canvas, 54 x 94 inches Prognosis in the Garden contrasts a garden map of manipulated nature with untrammeled space on land or in sky. Processes like staining and dripping introduced chance and surrendered control to contrast the more measured spaces. The centers of these labyrinthine paths are often symbolic locations of transformation or redemption. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543188083734-DV7N786DFFQZ4MDLX50F/CosmicCage_1987_30x94in.jpg IMAGES - COSMIC CAGE 1987 Oil on canvas, 30 x 94 inches The most abstract feature of the good place, the destination, is that it is the center of the cosmos, the axis mundi. The axis mundi is often represented by a tree, sacred mound or a sacred city such as Jerusalem. Samuel Y. Edgerton, Jr. calls this perception of the center the omphalos syndrome, the tendency of cultures to see themselves as the center of the universe. We see it on a cosmic scale with any representation of a Ptolemaic system of the universe with Earth at its center. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543188416906-HPX7LND0GP84OV2WRKUZ/Gravitational+pull3.2M.jpg IMAGES - GRAVITATIONAL PULL 1994 Oil on wood panel, about 10 inches square In Gravitational Pull, I used a more literal axis mundi along which a struggle for power ensues. In researching cartography, I was drawn to Ptolemy’s world maps, especially one illustrated as an almond shape framed by a sling. I had been working with the mandorla (the shape created by the intersecting circles of heaven and earth). https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473848524-PYUQYWD5ZRYQ7Y9YJHL3/Ptolemy%27s+Task_24+x+24.jpg IMAGES - PTOLEMY'S TASK 1992 Oil, earth and glue on panel,24 x 24 inches In the early 1400’s, Ptolemy’s 2nd Century AD Geographia arrived in Europe, concurrently with Brunelleschi’s development of perspective geometry and its application to architecture. The Geographia mapped the entire world and presented all the known information in a standardized way with grid lines of latitude and longitude. Distances and directions could be established between one place and another and even unknown places could be given coordinates. Synthesis of perspective geometry and Ptolemy’s work enabled the grid, an entirely human construct, to be imposed on the world (at least in the west as the grid had actually been used in Chinese maps as early as the 1st century AD. Several cultures used grid systems, systems that require real conventions, negotiations and agreements. They have to be literally conventional. (0 longitude passing through Greenwich). The power of maps does not lie only in their accuracy or correspondence with reality, but in their having incorporated a set of conventions that make them combinable in one central place, enabling both the accumulation of power and knowledge at that center. Ptolemy’s map allowed the co-ordination of maps of disparate lands into one map of the world.* In voiding the center and obscuring the grid, that power might be decentralized. I emptied out the map of all that it purported to measure and represent for several reasons. It was always incomplete anyway, a record of the state of knowledge at the point of its creation and immediately on its way to becoming obsolete. The information presented by maps implied control of the territory represented. Knowledge equaled power; but, as history has shown, that power has often been abused. JB Harley and Denis Cosgrove in The New Nature of Maps: Essays in the History of Cartography), frame the rediscovery of the Ptolemaic system of co-ordinate geometry in the 15th century as a critical cartographic event privileging a 'Euclidean syntax' which structured European territorial control, giving its imperial users an arbitrary power that was easily divorced from the social responsibilities and consequences of its exercise. The world would be carved up on paper. (Denis Cosgrove, 1988: 282) Ptolemy’s Task 1992 substituted cracked mud for the entire world as it was known, a barrier field that insisted on the here and now, denied that abstract space in which we can mentally wander and conquer in reality, hinted at the often barren and depleting consequences of our exploration. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541475033150-10VUOC5GKUXLT8M342O4/Lady+Alice.jpg IMAGES - LADY ALICE 1992 Oil and wax medium on canvas, 60 x 72 inches LADY ALICE is titled after Henry Stanley’s portable steamboat that navigated Lake Victoria. It hovers like an apparition in this black hole void amidst another blank chart. Navigational lines on the blank map show the bloody consequences of the Age of Exploration and of Stanley’s own ruthless journey. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474958289-92VMPD56FWN726SE57PD/Lady+Alice+detail.jpg IMAGES - Detail of LADY ALICE LADY ALICE is titled after Henry Stanley’s portable steamboat that navigated Lake Victoria. It hovers like an apparition in this black hole void amidst another blank chart. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474405008-MOFZ4JX0DUUSMFPPY38K/Vapor+Choir92.jpg IMAGES - VAPOR CHOIR 1992 Oil on canvas, 68 x 96 inches In Sebastian Munster Typus Universalis after Ptolemy 1540, you see 10 of the 12 directional winds originally designated by Aristotle and usually personified as cherubic faces with inflated cheeks. In VAPOR CHOIR , they become a chorus of voices/emissions. The vapor stains animate or contaminate a world emptied of measurement, a purified or purged atmosphere. They suggest fear of intimacy, the fluids of birth and death, the visceral vs. the virginal. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474446223-HQXFBHAQ8QB0PQIMH6CR/VaporChoirDetaila.jpg IMAGES - VAPOR CHOIR 1992 Detail of directional winds as orifices. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476122821-ZY7XUL7QPJK0SAWH15RX/Casting+Lots_1992_60x84_5MB_Slavick.jpg IMAGES - CASTING LOTS 1992 Oil on canvas, 60 x 84 inches In Sebastian Munster Typus Universalis after Ptolemy ca 1550, you see 10 of the 12 directional winds originally designated by Aristotle and usually personified as cherubic faces with inflated cheeks. In Casting Lots, these directional winds become gloved hands anonymously enacting an inadequate altruism — toward any imagined need, a need that is infinite. They surround an emptied world, measured only by ghostly traces of longitudes and latitudes. The resulting black hole is not one of nihilism, but a space for re-imagining, reawakening — much like the pregnant absences of the Buddhist plenum void, the empty space full of potential. It is a realm from which anything can spring forth. This image was featured on the cover of Cartographic Perspectives, North American Cartographic Information Society, #63, Spring 2009. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476301000-MKE2XQ3OQN4J9XKUMQK9/Casting+Lots_1992_detail.jpg IMAGES - Detail of CASTING LOTS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474284033-JBF14M999O7NQ643IRLK/Triumverate_1994_24x24in.jpg IMAGES - TRIUMVERATE 1994 Oil on panel, 24 x 24 inches From a series that experimented with shapes derived from diverse map projections, particularly the more organically or body-shaped projections into which all sorts of bodily entities or emissions could pour. TRIUMVERATE is based on the Fool’s Cap Map. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476338248-Y3K5RPS1D0LMY4E7QLI9/milk+necklace4M.jpg IMAGES - MILK NECKLACE 1994 I experimented with shapes derived from diverse map projections, particularly the more organically or body-shaped projections into which all sorts of bodily entities or emissions could pour. The kidney shapes of Salamanca’s Cordiform Projection became MILK NECKLACE where feminine pain is transformed into ornamental beauty. The kidney stone becomes an irritating grain of sand transformed into a pearl, beauty born of grief or suffering. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474732903-SL86VQ674P3Z4FS5ITKV/Polar+Paine_pub.jpg IMAGES - POLAR PAIN 1994 Oil on panel, 10.75 x 10.75 inches Intertwining the feminine with types of geometric map projections. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474774983-46E8XTG0RAF71UJM79MY/Polar+Plait_SLavick_Hi.jpg IMAGES - POLAR PLAIT 1994 Oil and acrylic on wood panel, 10.75 x 10.75 inches This image was featured on the cover of Cartographic Perspectives, the journal of North American Cartographic Information Society, #61 Fall 2008. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476773983-ZQZU859CKT490E2NS181/Hiding+place.jpg IMAGES - HIDING PLACE Oil on panel, 10.75 x 10.75 inches Intertwining the feminine with types of geometric map projections. In this case, the projection reminded me of the grandmother’s skirt at the opening of Gunter Grass’ The Tin Drum, under which Oskar hides. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189405771-TLZS9C9V8RGF54HMWB3Z/Amnesia+Embellished_1994_oil_36x46in_91.44+x116.8cm.jpg IMAGES - AMNESIA EMBELLISHED 1994 Oil and acrylic on canvas, 36 x 46 inches Amnesia Embellished maps an image of collective amnesia with one finger turning blue from loss of circulation rather than remembering that which we so conveniently forget about our own history. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189459788-O7RVB84TQ2QTDCUD7CMA/Amnesia+detail.jpg IMAGES - Amnesia Embellished Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474080382-WQLAVLSKZEXDF4ZZ5ZNY/Sorority_1993_48x96in.jpg IMAGES - SORORITY 1993 Oil/canvas, 48 x 96 inches Sorority takes the shape of the Waldseemuller World Map 1507 (the first to represent the New World) and feminizes the representation of world, placing the intuitive on equal footing with the analytical. Sinuous braids (from my childhood of five sisters all with long braids) drift or languish over the diminished rationality of the barely visible grid. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474177981-U9XC65PM2L5CY82F739W/SororityDetail72dpi.jpg IMAGES - SORORITY 1993 Detail of braid https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473813834-6W7K50TENO5UEJX3YDBS/Pretty+Lies+08.jpg IMAGES - PRETTY LIES 1995 Pretty Lies appropriates the shape of a 1511 map by Bernard Sylvanus. It speaks of deceit with what started out as forked tongues protecting (or violating?) two different projections of the world. It alludes to the falsity of maps’ presumed objectivity. This image was featured on the cover of Cartographic Perspectives, the journal of the North American Cartographic Information Society, #59 Winter 2008. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543341599072-J31Y3AS81DC527CUYIOM/Pretty+Lies+_Detail3.jpg IMAGES - PRETTY LIES Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189778364-Y43CI5XSTP1FARTE26K3/Dissemination+LO.jpg IMAGES - DISSEMINATION 1995 Oil and acrylic on wood panel, 24 x 24 inches. Collection of Judith Schachter Dissemination shows a bi-polar globe of the feminine as both active and passive, generator and receiver, trying to incorporate the paradoxes in which one truth is often surrendered to another. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189927161-XJS2RTPLKP3W33TQHINH/demure+dominion.jpg IMAGES - DEMURE DOMINION 1993 Oil and acrylic on wood panel, 10.75 x 10.75 inches The grid eventually reasserted itself. Usually associated with Apollonian reason, it remerges in this series to be repossessed by the feminine. A hand gesture appropriated from Raphael’s Madonna reclaims the latitudes and longitudes in a gentle and demure gesture. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473665835-5LRMKRKUYMOXE8NPUTF5/Power+Strugglepp_2011.jpg IMAGES - POWER STRUGGLE Oil and acrylic on wood panel, 10.75 x 10.75 inches The grid is a prevalent motif of modernist painting generally dominated by a male pantheon of artists (like Robert Ryman). My reductivist representations of the world try to disturb, interrupt or subvert that male hegemony, pulling the grid in all directions as in Getting a Grip and Power Struggle. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543190301552-PNHG0G43S5OIK6IS0GGZ/Getting+a+Grip+3x3.jpg IMAGES - GETTING A GRIP Oil and acrylic on wood panel, 10.75 x 10.75 inches The grid is a prevalent motif of modernist painting generally dominated by a male pantheon of artists (like Robert Ryman). My reductivist representations of the world try to disturb, interrupt or subvert that male hegemony, pulling the grid in all directions as in Getting a Grip and Power Struggle. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541472074295-C3483ZWDKU64785A1NFY/Milk+and+Oil.jpg IMAGES - MILK AND OIL 1991 Oil and acrylic on canvas. 60 x 90 inches MILK AND OIL converts the poles of two hemispheric projections to breasts, weeping milk and oil. Food and fuel (and lack of such resources, especially with the consequences of climate change,) often motivate armed conflict. In emptying out the shapes of antiquated maps, I retained references to the type of marginal imagery seen in works like Munster’s Typus Cosmographicus Universalis 1532 rather than the territories they framed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473355554-A4CLSAPOSB5T017PMA3K/Milk+and+Oil+detail_16M.jpg IMAGES - Detail of MILK AND OIL 1991 Oil and acrylic on canvas. 60 x 90 inches Fanciful details of monsters in the margins of maps by Sebastian Munster distract from the painting’s symmetry and centralization. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561143302844-IH1V1F59TSGRSISDXHK0/Hail+Mary%2C+1993%2C+oil+on+canvas%2C+72x54+inches.jpg IMAGES - HAIL MARY 1993 Oil on Canvas, 72 x 54 inches My attraction to maps that assumed shapes of stylized human organs was a way of connecting the intimacy of the body to the global. Heart-shaped maps (i.e. by Peter Appian) were sources for my response to the first Gulf War that erupted the year I became a mother. The stories we tell ourselves to justify war preoccupy me to this day. Crusades in the past were bolstered by tales of forced circumcisions over baptismal fonts in Jerusalem. Such tales were told by Pope Urban II to deflect internal strife to an external enemy and to unify warring factions within European Christendom. In the first Gulf War, were motivated as a nation, just like Crusaders of the past, by other tales (later disproven) of babies ripped from Kuwaiti incubators. Hail Mary became a feminist pieta juxtaposing the heart (the metaphorical locus of love) with plans and diagrams of aggression along the margins. The directional winds first mentioned by Aristotle (and often characterized by cherubs blowing with puffed-out cheeks) become breast shields, emitting tears of milk in the trajectories of missiles. The latitudes create a kind of target over the black void of the heart. The black items above diagram the Joint Forces Chain of Command and the red elements below indicate the battle plan (named Hail Mary) that won the Gulf War. Hail Mary is also the name of a football play, so, whether in the arenas of war or entertainment, the painting’s title suggests a strange and aggressive co-opting of the maternal by the masculine. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561143315387-5HTQD9F0KV1QIUGAGMPQ/IMG_8686.jpeg IMAGES - HAIL MARY 1993 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561143305929-0X3I34ODDHEXGN3WFBPD/IMG_8684.jpeg IMAGES - HAIL MARY 1993 Detail of Hail Mary battle plan https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543190711121-UL7PNTW59V3QEYFEN61Z/From+and+To+the+Land_48x72_1993.jpg IMAGES - FROM AND TO THE LAND OF MILK AND HONEY 1993 Oil and acrylic on canvas, 48 x 72 inches From and To the Land of Milk and Honey was a more general response to the nationalistic/imperialist land of milk and honey spirit of some maps, especially those that downplay the relation between places (and the cultures that inhabit them) that is essential in considering the world beyond one’s personal interests. The source map for this painting existed solely for a goal-oriented journey, getting from Point A to Point B with no care for the larger context or orientation. Each piece of the scroll had its own compass rose and one simply followed the path from one section to the next. Fingers pointing every which way also seem to assign blame anywhere else but with ourselves. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473275008-TNJRS2LUQAKO3XP51LZA/Measure+in+Mutiny_new.jpg IMAGES - MEASURE IN MUTINY 1994 Oil and acrylic n canvas. 60 x 80 inches. MEASURE IN MUTINY portrays the directional winds as black lungs, blowing and sticking out their tongues at falsely constructed worlds (with a made-up geography) and distorted world views. This image was featured on the cover of Cartographic Perspectives, the journal of the North American Cartographic Information Society, #63, Spring 2009. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473269595-FUVFDHNSZRPC0MNAINR0/Masure+in+Mutiny+_detail.jpg IMAGES - CASTING LOTS Detail of “black lung” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473976188-71Z8W97CBSXTIJETVZQD/SeasonalBlindness.jpg IMAGES - SEASONAL BLINDNESS 1995 Oil and acrylic on wood panel, 10.75 x 10.75 inches T-O maps such as Isidore of Seville's tripartite world map of 1472 are emblematic of those maps that did not purport to describe geography or topography but a world view that legitimizes the church or state. The three parts within the “O” (or squared “O”) that circumscribed a “T” stood for Asia, Africa and Europe, the three areas of the known world with the three great rivers. Asia is typically depicted on top as the birthplace of Christ and the original site of the Garden of Eden as in the 12th century edition of Bede's De natura rerum. Seasonal Blindness responds to this T-O structure, presenting our ignorance, indifference and acceptance of inequitable realities as if they were simply phases of the moon. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543341921015-BGPJEB66XTFSMGVYS8Y0/Expectancy%28T-O+Map%29.jpg IMAGES - EXPECTANCY 1996 Oil on panel, 10.75 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474337779-XGJK5KYT8KKXBTULMOP5/UnderTheSkin1995_10.75in_square.jpg IMAGES - UNDER THE SKIN 1995 Oil on panel, 10.75 x 10.75 inches This tri-partite division of T-O maps has been traced to the Biblical division of land between Noah’s three sons, a seminal account of private property and power inherited rather than earned. Under the Skin uses barbed wire to delineate private property. promising pain if trespass occurs. For me, the barbed wire is a secular version of Christ’s crown of thorns that is so often painstakingly rendered beneath translucent flesh in Flemish crucifixions. The palette and transparency of flesh and blood begins to emerge here. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474002073-F3FQEYH3I6GN3LECJ6GH/Seasonal+Sanctity.jpg IMAGES - SEASONAL SANCTITY 1995 Oil and acrylic on wood panel, 10.75 x 10.75 inches Seasonal Sanctity shows the institutional sanctions of inequity. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474578182-N2F8LB3T7MK6W14I1FMZ/Specimens.jpg IMAGES - SPECIMENS 1995 Oil and acrylic on wood panel, 10.75 x 10.75 inches SPECIMENS introduces elements of the body into a kind of carnal cartography that merges the microcosmic and the macrocosmic. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473541636-C5MUNHL77B0AJ9RDPK9M/Opening+Act_a.jpg IMAGES - OPENING ACT Oil on panel, 10.75 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474556979-Y0XWWBFPM3FJ4LFRKWDE/tender+mercies.jpg IMAGES - TENDER MERCIES Oil on panel, 10.75 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543191648641-VBRYT0ZT5BKBNDEIAC5J/Slipped+Crowns%28b%29.jpg IMAGES - SLIPPED CROWNS 1995 Oil and acrylic on canvas, 72 x 72 inches I began to incorporate other diagrams of the world like the gores of Waldseemuller’s map of 1507. Slipped Crowns portrays the gores of a hemisphere as wounded and infected membranes, bodies that decay despite their worldly authorities, a reminder to first world countries that they are not immune. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543191915531-1FT3H5DG73OTOKY0PBSI/Slipped+Crowns+%28detail+1%29.jpg IMAGES - SLIPPED CROWNS Detail of slipped crown https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543191954716-DJBGQN0GZ2OXH6FDM04T/Repercussions.jpg IMAGES - REPERCUSSIONS 1996 Oil and acrylic on hollow core panels, 80 inches height In Repercussions the gores of the globe float in uneasy connection to each other. Like disciples wounded and beatified by shimmering haloes, they couple and decouple, infecting each other with disease and desire, apathy and ecstasy. Embalmed for burial or bandaged for recovery, they vacillate between the corporeal and the ethereal. They are a world body, the body as world, the world as body. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543341435258-UXUP6BJ5Q8CKU37S7AU9/Suspension%2C1996%2C24x24.jpg IMAGES - SUSPENSION 1996 Oil and acrylic on birch panel, 24 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543192460121-2AF65E0GEZA5YPVSVAS9/Tourniquet+at+0+%28degrees+latitude%29.jpg IMAGES - TOURNIQUET AT O DEGREES 1996 Oil and acrylic on canvas, 72 x 72 inches Tourniquet at 0 Degrees tries to acknowledge and reverse the map’s typical conversion of dimensional space to two dimensions. Here, the flattened gores of the globe are cinched at the equator(waist), implying a constricted volume. In Amnesia Embellished, the finger’s circulation was cut off in a wan struggle to remember. Here the tourniquet cuts off circulation in order to save the whole body, whether it’s the world with its gores or a single body with its extremities. The waist of the falling figure in distress, taken from Hieronymous Bosch’s Last Judgment, coincides with the equator, linking our personal destinies with that of the planet. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543344015138-QH6NZX0EYY9ZTA20Q7MG/Contrary+Comfort_Point+of+Entry_1999_80x36.jpg IMAGES - CONTRARY COMFORT and POINT OF ENTRY 1999 Oil and acrylic on wood panels, 80 x 36 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543342667546-86Y01PRWU2V1V5QVIKGQ/PointOfEntryDetail.jpg IMAGES - POINT OF ENTRY Detail of “point of entry” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562090101567-5HQ5QY92P20MXWTLUY9H/Swoon.jpg IMAGES - SWOON 1998 Oil and acrylic on four birch panels; 80 x 119 inches A 1997 residency in Poznan, Poland turned my work toward landscape. Rows of Polish trees with their random spheres of mistletoe became backdrops for invented genealogies. Such irregular rhythms in an agrarian geometry extended my exploration of visual metaphors for order undone. Mistletoe’s romantic reputation is complicated by its parasitic nature and medicinal value. Its berries are like pinkish pearls. Though born of irritation in the shell, pearls also have romantic allure. Mistletoe drains the life from its host, but prompts the lover’s kiss. The berries in Swoon are suspended in an idealized state and cast down, before and after the “fall”, the surrender, the loss of innocence. Swoon embraces this complication with an aleatory genealogical table that departs from a rational and patriarchal order of bloodlines. This impossible structure acts as an armature for the cascading drapery of Flemish painting, the surrender of grief and desire made incarnate. The eyes of the romantic and the realist are crossed in this painting. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562095759175-JMUVFHG5KPBWBI6Y2NKB/swoon_pink.jpg IMAGES - SWOON 1998 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089922925-0TJQ034QMIAR0WPZV4EU/Fly+in+the+Eye_A+Geneaology+of+Ecstasy_8.6MB.jpg IMAGES - FLY IN THE EYE: A GENEALOGY OF DESIRE 1996 Oil and acrylic on two panels, 80 x 64 total The family trees in Familiar Secrets and Fly in the Eye: the Genealogy of Ecstasy are of biblical proportions, beginning from Adam and Eve and the progeny of Noah. Their representation of human origins is macrocosmic, multi-generational and projects a generic authority. In invoking the body, flesh and blood, I have attempted to transform, expand and (perhaps) deflate these sources, to fuse the more macrocosmic and impersonal with the microcosmic and personal, to allude to the moment as well as to eternity, to decentralize and to infuse with desire. Shimmering haloes float with tongue tendrils, petri dishes, microscopic specimens, dividing cells, and bloodstains. Veils of the boudoir hang with those of the altar and stage. The sterility of the X-ray contrasts with the fecundity of the cornucopia. Globes unmoored from their orbits are framed among blind spots and black holes. Piero Camporesi's Incorruptible Flesh enhanced my consideration of the world and the body, the world body, the body as world. His accounts of spiritual ecstasy numbing the body to external stimuli inspired Fly in the Eye; a Genealogy of Ecstasy. In rapture, one would not blink, even if disturbed by a fly. Such coincidences of the banal and miraculous embody the extremes of our experience, the measured and immeasurable. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089946908-UWNAT4WH0TQP47H051KU/fly+detail.jpg IMAGES - FLY IN THE EYE: A GENEALOGY OF DESIRE 1996 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089271880-5B6B5CLGZUM7XPN88I7O/Familiar+Secrets.jpg IMAGES - FAMILIAR SECRETS 1996 Oil and acrylic on four panels, 80 x 136 inches total The family trees in Familiar Secrets and Fly in the Eye: the Genealogy of Ecstasy are of biblical proportions, beginning from Adam and Eve and the progeny of Noah. Their representation of human origins is macrocosmic, multi-generational and projects a generic authority. In invoking the body, flesh and blood, I have attempted to transform, expand and (perhaps) deflate these sources, to fuse the more macrocosmic and impersonal with the microcosmic and personal, to allude to the moment as well as to eternity, to decentralize and to infuse with desire. Shimmering haloes float with tongue tendrils, petri dishes, microscopic specimens, dividing cells, and bloodstains. Veils of the boudoir hang with those of the altar and stage. The sterility of the X-ray contrasts with the fecundity of the cornucopia. Globes unmoored from their orbits are framed among blind spots and black holes. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089609313-SNKLPERWGH5WCMDSNRHE/Familiar+Secrets_detail.jpg IMAGES - FAMILIAR SECRETS 1996 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562096255204-9U1DKW2XX2O8QEPV3JNP/Connubial.jpg IMAGES - CONNUBIAL Oil and acrylic on wood panel, 47.5 x 47.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562096134528-7I6XMM6PDV7ETDVAKXPL/RandomGrace_1998_24x24in.jpg IMAGES - RANDOM GRACE 1998 Oil and acrylic on birch panel, 24 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741278716-RE1CNWEY2TU66VN7BIF7/Down_to_Earth_Domeof_Heaven_1991_30x22in.jpg IMAGES - DOWN TO EARTH / DOME OF HEAVEN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739880086-P1AHCMZGNQU95OVMN2YN/Raindrops+in+white+dome.jpg IMAGES - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739952542-L8XAE04VVAN9JCXJVFOJ/Down_to_Earth_Series_1990_mud+spoked+wheel_.jpg IMAGES - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739943692-XRHNYX880ASDXTI9Z287/Down_to_Earth_series_1990.jpg IMAGES - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596740415450-2UWC9K5CKMD4L7V3A9DX/Cloud+Lasso.jpg IMAGES - Down to Earth / Domes of Heaven (Cloud Lasso) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596740914179-YYWZU7PT1J39LP7BMPPY/Down_to_Earth_series+1990_knot+at+top.jpg IMAGES - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741322820-ZSNTXI4RS7KJOBZVRCUL/Net.jpg IMAGES - DOWN TO EARTH / DOME OF HEAVEN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741327990-J36XMSH628R9FVFTSPF2/Winged+Watering+Can.jpg IMAGES - DOWN TO EARTH/ DOME OF HEAVEN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289071102-HTQE3VV18U8TFV1M7DVU/Tree+of+Life_Nepal.jpg IMAGES - TREE OF LIFE: NEPAL 2020 Gouache on archival inkjet print on Hahnemühle paper Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Simon de Trey White, World Wildlife Fund UK, Nepal firewood. Tree of Life design from English embroidered canvas, first half 17th century, Metropolitan Museum of Art, NY. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289431133-ZD1FLSSX1APFAFKAKWXW/Tree+of+Life_Chile.jpg IMAGES - TREE OF LIFE: CHILE 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Martin Bernetti AFP, “Chile's Forest Fires Will Cost Government $333M,” Voice of America. Tree of Life carpet design, Tehran, 2nd Quarter of 19th century. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289546008-KE2X0LE6FYM3A62LLBIG/Tree+of+Life_+Tegamami+Forest%2C+2020%2C+Gouache%2C+on+Hahnemu%CC%88hle+paper%2C+56+x+28+inches.JPG IMAGES - TREE OF LIFE: TEMAGAMI FOREST 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Earthroots, Logged forest in the Temagami Forest Management Unit, Canada. Kurdish Bijar Tree of Life carpet design, 3rd Quarter, 19th century. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289673341-QQH7EF53IXDUTE08CUN7/Tree+of+Life_Minnesota.jpg IMAGES - TREE OF LIFE: MINNESOTA 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Dan Kraker | MPR News; Tree of Life Persian Silk Kashan Tree of Life carpet design, c.1910 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289842710-OV0EKVJNZ90NZBFOCVRV/Tree+of+Life_Yellowstone%2C+2020.jpg IMAGES - TREE OF LIFE: YELLOWSTONE 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 60 x 30 inches; paper size: 66 x 36 inches Sources: Raymond Gehman, National Geographic, Yellowstone National Park, USA. Kurdish Tree of Life carpet design. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1651255692094-1TTPE9TW1BL1GTFEUF3H/Tree+of+Life_New+South+Wales%2C+2020.jpg IMAGES - TREE OF LIFE: New South Wales, 2020 Gouache on archival inkjet print on Hahnemühle paper, 55.75 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607290157438-FFU7825PVRZTWYO58BYS/Susanne+Slavick%2C+Tree+of+Life_Caucasus%2C+2020%2C+Gouache%2C+on+Hahnemu%CC%88hle+paper%2C+59.5+x+30+inches.JPG IMAGES - TREE OF LIFE: CAUCASUS 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 60 x 30 inches; 152.4 x 81.28 cm; paper size: 66 x 36 inches Sources: Photo by Ayser Ghazaryan, former deputy minister of environmental protection, a scene from Ijevan, Armenia. Kazak carpet design Caucasus, ca. 1880 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607290395332-LAD6YHPZFEAKAQYR4R8U/Tree+of+Life_Red+Gymnosperm+Cone.jpg IMAGES - TREE OF LIFE: RED GYMNOSPERM 2020 Archival inkjet print on Hahnemühle Source: Kirman Persian Tree of Life carpet design, 1880 Paper size: 10.75 x 8.25 inches/27 x 21 cm. Framed: 40.6 x 28.4 cm https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607290684536-KJAOZUA5QFJKIUIRVJHC/Tree+of+Life_Microcycas+calocoma.jpg IMAGES - TREE OF LIFE: MICROCYCAS CALOCOMA 2020 Archival inkjet print on Hahnemühle paper, Paper size: 15.943 x 11.22 inches/ 40.5 x 28.5 cm. Framed: 40.6 x 28.4 cm Cycads are seeds plants that typically have stout and woody trunks with crowns of large, hard, stiff evergreen leaves, usually pinnated. Microcycas calocoma is one of the most ancient cycad species. Endemic to a small area in western Cuba, it is critically endangered in the wild because of habitat destruction, loss of insect pollinators and over collection of plants for human use. Here it is pinned as a dried specimen approaching extinction, but it is also arranged to appear as if spliced to and growing out of a 19th century Persian ‘tree of life’ carpet design. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870391816-EED6Z47V66JH086ZOBZM/RESORT+1+%280.00.01.19%29.jpg IMAGES - RESORT 1 (0.00.01.19) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870403429-TF0OH3GEF0FHJC7J99QT/RESORT+2+%280.04.49.10%29.jpg IMAGES - RESORT 2 (0.04.49.10) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870432874-MP3LHZCFPERHMEAN7DWT/RESORT+3+%280.03.12.16%29.jpg IMAGES - RESORT 3 (0.03.12.16) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870443790-8K38EN2T3RYAG1VCYGGH/RESORT+4+%280.04.16.07%29.jpg IMAGES - RESORT 4 (0.04.16.07) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/8d786da0-8d7b-4884-a6f4-040febf310e9/Retraction+III%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg IMAGES - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/ca2fd09d-61dd-41af-b9a4-9e1c4f5ce4de/Retraction+II%2C+2020-23%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches.jpg IMAGES - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409074475-WW1AA85XV6J1P0V34AGN/Retraction+trio%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg IMAGES https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409341164-Y8GQ9WNLB6W9Y45A5RWB/Retraction+II%2C+2020-23%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches.jpg IMAGES - RETRACTION II, 2020-2023 Oil, acrylic, glue and dry pigment on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409093934-XA6SL8HM6AVI6H0C3931/Retraction+I%2C+2020%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches+copy.jpg IMAGES - RETRACTION II, 2020 Oil, acrylic, glue and dry pigment on canvas, 72 x 54 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409450143-3VLZXP3KWZ4MACISGWGJ/Retraction+III%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg IMAGES - RETRACTION III, 2020-23 Oil, acrylic, glue and dry pigment on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699410146024-LDEGP72NX5Z8793UK8NV/Susanne+Slavick%2C++Retraction%2C+2021%2C+Oil+on+panel%2C+12+x+18+inches.jpg IMAGES - RETRACTION (Border Wall) 2021 Oil on panel, 12 x 18 inches Retraction presents a prototype for the much vaunted border wall championed by former president Trump. A red carpet approaches from its rear, suggesting hopes for access, if not welcome. The carpet meets and descends into a ditch, managing to climb the wall, only to descend into the depths again. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757604738961-JXUE54NW0D1ESOX6BQQ7/Revolution+I%2C+2024%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78+x+43+inches+cropped.jpg IMAGES - REVOLUTION I, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/984f45bb-d35a-46f5-9a9f-2be6acbb583e/Entry%2C+2023%2C+Oil%2C+acrylic%2C+conte+crayon%2C+clay+and+glue+on+canvas%2C+72+x+72+inches.jpg IMAGES - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/b50da9b2-dcd0-4448-a5cb-84d70b065cda/Revolution+II%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78x43+inches.jpg IMAGES - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/axes-of-access-1 daily 0.75 2023-11-10 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042499130-5XSF3R7NA6N2HZB86ZC3/Net_Ornament.jpg AXES OF ACCESS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042499130-5XSF3R7NA6N2HZB86ZC3/Net_Ornament.jpg AXES OF ACCESS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1621355086266-G0EE18WE6ZUMN7BAJ14G/Antenna_Advertisement+under+20mb.jpg AXES OF ACCESS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042499003-OCBATQT22UAQLSAGT7IG/Diversion_Devotion.jpg AXES OF ACCESS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042498604-PAEDKSV4RQZWH6P3YD0T/Cages_Cartons.jpg AXES OF ACCESS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500042498899-0CEWP222B90B2TFIEIZI/Carcass_Cotton+candy.jpg AXES OF ACCESS https://www.susanneslavick.com/alexandria daily 0.75 2017-07-15 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123563885-5SBOY7W8ORM0GYJDQ59U/Alexandria+I+and+II.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA I and II, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 26.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123563885-5SBOY7W8ORM0GYJDQ59U/Alexandria+I+and+II.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA I and II, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 26.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123557655-85Q6OVNSXT1WKQXD3UQ4/Alexandria+I_BIG.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA I, 2011 Gouache on archival digital print/Hahnemühle paper, 28 x 21 inches actual size (26.5 x 21 inches cropped for pairing) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123575523-C68CTGZU8PGQ33FIQDZA/Alexandria_II_SUsanne+Slavick.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA II 2011 Gouache on archival digital print/Hahnemühle paper, 26.5 x 21 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123559581-5VR6E3HO0HF19RFG1OG0/Alexandria_II_bird+detail_pp.jpg SPRINGTIME IN ALEXANDRIA - Detail of SPRINGTIME IN ALEXANDRIA II Gouache on archival digital print/Hahnemühle paper https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123575603-T6C6D9DJE3ZXXZTJJZ2K/Alexandria_III_BIG.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA III, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123576300-Y34Q44WP0WAM27YH4FVW/Alexandria_III_detail_pp.jpg SPRINGTIME IN ALEXANDRIA - Detail, SPRINGTIME IN ALEXANDRIA III, 2011 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123586278-BSJBYUEB9OQXB62R0V0Y/Alexandria_IV_BIG.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA IV, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123576909-HCA09SO5DZ56D2O7EJDQ/Alexandria_IV_detail_pp.jpg SPRINGTIME IN ALEXANDRIA - Detail, SPRINGTIME IN ALEXANDRIA IV, 2011 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500123587602-SZ0GJ5ESAHWLRYVN168B/Alexandria_V_BIG.jpg SPRINGTIME IN ALEXANDRIA - SPRINGTIME IN ALEXANDRIA V, 2011 Gouache on archival digital print/Hahnemühle paper, 21 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124096469-LGJCKORN74UAEDRNSY5M/Alexandria_V_detail_pp.jpg SPRINGTIME IN ALEXANDRIA - Detail, SPRINGTIME IN ALEXANDRIA V, 2011 https://www.susanneslavick.com/standing-on-the-bones daily 0.75 2017-07-15 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124949391-NBANFD392MES9O2PHDJO/01_Standing+on+the+Bones_Rwanda.jpg STANDING ON THE BONES - STANDING ON THE BONES, RWANDA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124949391-NBANFD392MES9O2PHDJO/01_Standing+on+the+Bones_Rwanda.jpg STANDING ON THE BONES - STANDING ON THE BONES, RWANDA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124949392-IF3VBDY48CALSN5SNVPV/02_Standing+On+the+Bones_Choeung+Ek_Cambodia.jpg STANDING ON THE BONES - STANDING ON THE BONES, CHOEUNG EK CAMBODIA , 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124950281-NVO31UNGUXMC01GJ8Y8Q/03_Standing+on+the+Bones_Nordhausen%2C+Germany.jpg STANDING ON THE BONES - NORDHAUSEN, GERMANY Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124950331-KOIVCUSHABOGNJL92WS4/04_Standing+on+the+Bones_Subatan%2C+Armenia.jpg STANDING ON THE BONES - STANDING ON THE BONES, SUBATAN, ARMENIA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500124950730-GXT4TWLACL6M98WBLG4S/05_Standing+on+the+Bones_Srebrenica%2C+Bosnia.jpg STANDING ON THE BONES - STANDING ON THE BONES, SREBRENICA, BOSNIA, 2011 Bone meal, glue on on archival digital print on Hahnemühle paper, 5 x 5 inches https://www.susanneslavick.com/news daily 0.75 2026-01-21 https://www.susanneslavick.com/news/2026/1/21/swim-in-cold-seas monthly 0.5 2026-01-21 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/88166c41-eadc-4c67-a9eb-b97ba100c929/SWIM+IG+PROMO+FINAL.jpg NEWS - SWIM IN COLD SEAS - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2025/8/7/family-tree-at-sordoni-gallery monthly 0.5 2025-08-08 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614203077-W4BC31P54BPABJFP9EQI/IMG_1642_intro+wall+angle.jpg NEWS - FAMILY TREE at Sordoni Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614220599-58RW81TJD6060XJBHT57/IMG_1618.jpg NEWS - FAMILY TREE at Sordoni Gallery - Sarah Slavick, Elegy to the Underground series, 2019-2021 Watercolor on Arches paper, 22.5” x 30” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614231376-FZIRU0XFTLF0R9VVXI0Z/elin_There+Have+Been.jpg NEWS - FAMILY TREE at Sordoni Gallery - There Have Been 528 Nuclear Tests to Date, 2022, 20 (of 528) Chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom, 8” x 10” (various dimensions) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614254841-2UIY3WUMLEES64K3DYDL/IMG_1640_Intro+text.jpg NEWS - FAMILY TREE at Sordoni Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614265894-RRGAGMS5BMHIA90UFT6H/Madeleine+Slavick_Lattice%2C+2020.jpg NEWS - FAMILY TREE at Sordoni Gallery - Madeleine Slavick, Lattice, 2020 Archival inkjet prints 11.5 × 17 or 17 × 11.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614276832-836CQ73R3EI6NAQUNJH5/IMG_5283_tour.jpg NEWS - FAMILY TREE at Sordoni Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614318000-FQAVVFQQIJW1P2PUI13A/IMG_1603.jpg NEWS - FAMILY TREE at Sordoni Gallery - Susanne Slavick, Recuperation (Diurnal) and Recuperation (Nocturnal), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614372562-ZV1CULOWMNDXAQWXD6PJ/IMG_1624.jpg NEWS - FAMILY TREE at Sordoni Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614397287-DFC225COPU84DWYO9XTH/IMG_1709_collateral+2.jpg NEWS - FAMILY TREE at Sordoni Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614450059-X8IEJ7ASQSSC0Y9ZUFPW/IMG_1615.jpg NEWS - FAMILY TREE at Sordoni Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614509513-BNGDVW70MJ6EVZW6QHZB/IMG_1634_rubbings.jpg NEWS - FAMILY TREE at Sordoni Gallery - elin o'Hara slavick, Fire Tree and Hackberry Tree, 2008 Framed silver gelatin contact prints of rubbings of A-Bombed Trees in Hiroshima, 15” x 20” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614544666-3SH1BIGX6ZURCW4Z3433/IMG_1612+Madeleine.jpg NEWS - FAMILY TREE at Sordoni Gallery - Madeleine Slavick, 加油 | we shall overcome | kia kaha, 2020 Archival inkjet prints Triptych, 12 x 8 inches each https://www.susanneslavick.com/news/2025/3/22/brooklyn-fine-art-print-fair-at-powerhouse-arts-march-27-30-2025 monthly 0.5 2025-03-22 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/8fa6c941-fc03-4e6c-bbd2-87cf11d8b04f/%28Re%29SettingSights_2002_pink_SET_20MB.jpg NEWS - BROOKLYN FINE ART PRINT FAIR at POWERHOUSE ARTS, March 27-30, 2025 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2024/9/3/interrogating-the-visual-culture-of-trumpism monthly 0.5 2024-09-04 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/3190d188-be6f-47f1-ab9e-dd538e8c6239/Trumpism+book.jpg NEWS - Interrogating the Visual Culture of Trumpism - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/7c18ddbb-e590-49fb-aabf-7a6d02f64e36/Sanctuary+of+Style+%28Tower%29+15MB%2C+2023%2C+ink+on+paper%2C+50+x+55.5+inches_new+FIN.jpg NEWS - Interrogating the Visual Culture of Trumpism - Make it stand out Andrew Ellis Johnson, Sanctuary of Style (Tower), 2023, ink on paper, 50 x 55.5 inches https://www.susanneslavick.com/news/2024/9/3/the-art-of-democracy-whose-choice monthly 0.5 2024-09-04 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418879868-V68M7PN9T8V484PPOQV2/Art+of+Democracy_California+PA+2024.jpg NEWS - THE ART OF DEMOCRACY: WHOSE CHOICE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418928301-5ZRRZREZ1V3L9J78ERWC/Susanne_Slavick_Tethered%2C+40x26.25in.jpg NEWS - THE ART OF DEMOCRACY: WHOSE CHOICE https://www.susanneslavick.com/news/2024/9/3/susanne-slavick-up-in-the-air-in-deep-water-on-shaky-ground monthly 0.5 2024-09-04 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418621320-YIQFVBKGY0JTYFAV4Y9C/IMG_1749.jpg NEWS - SUSANNE SLAVICK: up in the air, in deep water, on shaky ground https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418620328-BGCWZNQZ1Y24P7RGSFI4/IMG_1755.jpg NEWS - SUSANNE SLAVICK: up in the air, in deep water, on shaky ground https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418622633-WDDXPZ7H7IYVPRY2QQFW/IMG_1780.jpg NEWS - SUSANNE SLAVICK: up in the air, in deep water, on shaky ground https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418623394-YPUMT253KXHZ6ZECMM0U/IMG_1756.jpg NEWS - SUSANNE SLAVICK: up in the air, in deep water, on shaky ground https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418625263-XQ07URSTH0T5UPHZUKVJ/IMG_1759.jpg NEWS - SUSANNE SLAVICK: up in the air, in deep water, on shaky ground https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418625629-I6WZ9TY7OVSC0RHK0WBE/IMG_1750.jpg NEWS - SUSANNE SLAVICK: up in the air, in deep water, on shaky ground https://www.susanneslavick.com/news/2024/4/12/art-activism-and-sexual-violence monthly 0.5 2024-04-12 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/0b326e52-5c52-4d4c-a8bd-64cd4e8e818f/Front+and+back+cover.jpg NEWS - ART, ACTIVISM, AND SEXUAL VIOLENCE - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2023/11/9/what-is-for-supper-what-is-a-meal monthly 0.5 2023-11-09 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/6e995c72-b6b4-4857-9b55-310510d62698/Caritas_trio.jpg NEWS - WHAT IS FOR SUPPER? WHAT IS A MEAL? - Make it stand out Image: Susanne Slavick, Cana, 2007, Oil and acrylic on panel, 80 x 56 inches https://www.susanneslavick.com/news/2023/11/1/the-text-in-textile monthly 0.5 2023-11-01 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/8b3a47b8-fe49-4c16-bf77-f6320386034c/Cloud+Real+Estate+II%2C+2016%2C+Acrylic+and+oil+on+%E2%80%9Ccolor+reform%E2%80%9D+carpet%2C+36+x+61+inches.jpg NEWS - THE TEXT IN TEXTILE - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2023/7/10/family-tree-at-erie-art-museum monthly 0.5 2023-09-25 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/e87a105d-9e9d-43c4-9f3d-9da33c99a14e/FAMILY+TREE+Erie+quartet.jpg NEWS - FAMILY TREE at ERIE ART MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1fdd192f-480f-446e-b9e1-96542f09f988/Family_Tree_Exhibition-3.jpg NEWS - FAMILY TREE at ERIE ART MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/e18e5d92-a5ee-4f93-bcfd-2e6ee7e2ec87/IMG_4882.jpeg NEWS - FAMILY TREE at ERIE ART MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/61440bb4-850c-4e24-bb5d-47435de080c0/IMG_4868.jpeg NEWS - FAMILY TREE at ERIE ART MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/a5150ef7-bb9f-4cb6-afa2-f9655844f2e4/IMG_4867.jpeg NEWS - FAMILY TREE at ERIE ART MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/4a6bda8e-c0f5-4034-ba0b-a7905f6c13c2/IMG_4861.jpeg NEWS - FAMILY TREE at ERIE ART MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2022/11/1/family-tree-at-dowd-gallery-at-suny-cortland monthly 0.5 2024-02-05 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326330087-J4NP83XXTE7ZJRJ27L3Z/Family+Tree+Dowd+card+combined.jpg NEWS - FAMILY TREE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326368974-9Q0NWW9TGTAACYD5WQ1Q/Sister+trio+good.jpg NEWS - FAMILY TREE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326378738-CMP2T47G18X9IX48YGYT/Central+gallery.JPG NEWS - FAMILY TREE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326548747-HXXILSTERBXMXEPHEFVT/312936577_10221749688151785_8689918265226674275_n.jpg NEWS - FAMILY TREE - Sarah Slavick, Elegy to the Underground series, 2019-2021 Watercolor/ink on Arches paper, 22.5” x 30” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326427327-U5ESBD1BDU7NP449KVDC/Madeleine_Parking+Lot+Conversation.jpg NEWS - FAMILY TREE - Madeleine Slavick, Parking Lot Conversation, 2022 Archival inkjet prints, Diptych, 47 x 22 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328762821-777NKIHPPTJMAAZQPC2J/elin+heavy+persimmons.jpg NEWS - FAMILY TREE - elin o'Hara slavick, Fukushima Persimmon Tree Heavy with Contaminated Fruit, 2019 Silver gelatin prints manipulated in the darkroom, mounted, unframed, 11” x 14” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326455101-SETK80WBOAJ41ZATAO3B/Mad%2CSarah+and+elin+right+gallery.JPG NEWS - FAMILY TREE - Works by Madeleine, Sarah and elin o'Hara Slavick https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326562469-VLPX0E58KAX9OWG4VOCI/elin+chemicasl+dwgs.jpg NEWS - FAMILY TREE - Elin OHara Slavick, from "There Have Been 528 Nuclear Tests to Date, 2022 A selection from 528 chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326570131-A21DVXDXZJB9YSZB7VGJ/312259863_10221749688111784_1228487330974052620_n.jpg NEWS - FAMILY TREE - Susanne Slavick, Tree of Life series, 2022 Gouache on archival inkjet print on Hahnemühle paper https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326615131-0PUDKFVESET74RERPUMT/Madeliene+Lattice+straight+on.JPG NEWS - FAMILY TREE - Madeleine Slavick, Lattice, 2020 13 framed works , 13.25 x 19.25 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326618726-ORB2QJAL82T9VFXJ06AV/Left+gallery.jpg NEWS - FAMILY TREE - Susanne Slavick, Recuperation (Diurnal) and Recuperation (Nocturnal), 2008 and Madeleine Slavick: In Times Like These, 2022 Oil, acrylic and Galkyd on three panels, 80 x 109 inches each Archival inkjet prints, Triptych, 21.25 x 17.25 inches each, framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326624093-YMI524NYE8GGLY4GXXTV/elin+trio.jpg NEWS - FAMILY TREE - elin o'Hara slavick, A-Bombed Tree I and A-Bombed Tree I with Fukushima Persimmon Tree Heavy with Contaminated Fruit, 2019 Trees that survived the A-bomb in Hiroshima, solarized silver gelatin prints, framed, 8.5” x 11” Archival inkjet print from a scan of a solarized silver gelatin print, framed, 32.5” x 41” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326646204-6BRG1DVZJCIW7EYIYG2K/Sarah+red+oil.jpg NEWS - FAMILY TREE - Sarah Slavick, Elegy to the Underground 5, 2022 Oil/canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326666205-0VKIROO0K09D9ABLLU7F/132555323_10164707809670013_5547355664482436022_n.jpg NEWS - FAMILY TREE - Madeleine Slavick, Supermarket and Tree Archival inkjet print, 13.25 x 19.25 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326708488-EKAXKR4IGEYKN1K4KCP3/Sarah+right+window.jpg NEWS - FAMILY TREE - Sarah Slavick, Elegy to the Underground 3, 2021 Oil/canvas, 56”x 44” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326720900-V3SVQPOUR07IYLNV7LC3/Madeleine+Trio+left+gallery.jpg NEWS - FAMILY TREE - Madeleine Slavick, In Times Like These, 2022 Archival inkjet prints, 17.25 x 21.25 inches each framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326726101-PIM7JL5T91HQK8A1NIOY/elin+trio+and+suanne+Herat+Tree.jpg NEWS - FAMILY TREE - Works by elin o'Hara slavick and Susanne Slavick https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326745691-M7NNC14YHVO7QTUQUQ32/Susanne+Nepal.jpg NEWS - FAMILY TREE - Susanne Slavick, Tree of Life: Nepal, 2020 Gouache on archival inkjet print on Hahnemühle paper. Sources: Simon de Trey White, World Wildlife Fund UK, Nepal firewood. Tree of Life design from English embroidered canvas, first half 17th century, Metropolitan Museum of Art, NY. 62.5 x 33 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326843574-RP650Z4DDEZTH2NCZ6NB/Madeleine+Slavick_Parking+lot+Conversation_Diptych_web.jpg NEWS - FAMILY TREE - Madeleine Slavick, Parking Lot Conversation, 2022 Archival inkjet prints, Diptych, 47 x 22 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326848060-ZDTJBVH150988AC6QAMN/elin+slavick_WeepingWillowSolarized+copy.jpg NEWS - FAMILY TREE - elin o’Hara slavick, A-Bombed Weeping Willow Tree, Hiroshima, 2019 Solarized silver gelatin print, 16 x 20 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326862407-V7G2A6GMREJLX241AHEK/elin+slavick_ChemicalDrawing8.jpg NEWS - FAMILY TREE - elin o'Hara slavick, There Have Been 528 Nuclear Tests to Date, 2022 One of 528 chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom, 8” x 10” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328379734-AV1MQEO3VC1SAMC3L4Z5/Madeleine+Slavick%2C+In+Times+Like+These%2C+2022_web.jpg NEWS - FAMILY TREE - Madeleine Slavick, In Times Like These, 2022 Triptych of archival inkjet prints, 19.5 x 15.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326905321-31QI5R7S9UK0K5AP5DZY/Recuperation_Diurnalj.jpg NEWS - FAMILY TREE - Susanne Slavick, Recuperation (Diurnal), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326908571-HS5QFMH8HNKNPKALT9WZ/03_Recuperation_Nocturnal%2Bcopy.jpg NEWS - FAMILY TREE - Susanne Slavick, Recuperation (Nocturnal) Oil, acrylic and Galkyd on three panels, 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326960279-6RY0U893P8E3VB1JZ7NY/Sarah+Slavick%2C+Elegy+to+the+Underground+4%2C+2021%2C+oil+on+canvas+72%E2%80%9D+X+48%E2%80%9D.jpg NEWS - FAMILY TREE - Sarah Slavick, Elegy to the Underground 4, 2021 Oil/canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667327041109-6IAWA1M5OAT06JIALUGU/lattice6_JS_Victoria+Park+during++trade+fair+2010+-+0001+-+Mar10-3.jpg NEWS - FAMILY TREE - Madeleine Slavick, Hong Kong Victoria Park Archival inkjet print, 19.25 x 13.25 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328454246-MNWE8O8HSAFAT0X8K9V0/Susanne+SlavicK_Reverie_HeratTree+copy.jpg NEWS - FAMILY TREE - Susanne Slavick, Reverie: Herat Tree, 2008 Gouache on archival digital print on Hahnemühle paper, 72 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328565941-KO94EPE00Q9UHQXOLXOB/311647530_3184417525154834_3271564785756512694_n.jpg NEWS - FAMILY TREE - Sarah Slavick, Elegy to the Underground 2020 Oil/canvas, 56 ¾ x 44 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328669055-E594GUBN8FTKP5BJ7ALT/elin+Hallway.jpg NEWS - FAMILY TREE - lin OHara Slavick, from "There Have Been 528 Nuclear Tests to Date, 2022 A selection from 528 chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom, 8” x 10” (various dimensions) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328711107-PX54Q1BQWHDLK6JLRTQY/Sarah_black+and+red+and+grey.jpg NEWS - FAMILY TREE - Sarah Slavick, Elegy to the Underground 22, 2021 Watercolor/flasche/ink on arches paper, 22.5 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328727368-JHZ49BPMDUJIPMIMPZQG/Sarah+left+six.jpg NEWS - FAMILY TREE - Sarah Slavick, from the Elegy to the Underground series Watercolor on Arches paper, 22.5 x 30 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328752819-S1V3O36FMQNG9RC2CKPR/Hiroshima+leaves.JPG NEWS - FAMILY TREE - Elin OHara Slavick, Eucalyptus Bark and Leaves from a tree in Hiroshima that survived the Atomic Bombing, 2008 Organic matter collected in 2008 https://www.susanneslavick.com/news/2022/9/22/human-animal-ii-colloquium monthly 0.5 2022-09-22 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/72225e08-1e1b-4e6c-bdfe-3ce911c29e16/DL_HQ.jpg NEWS - HUMAN ANIMAL II COLLOQUIUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2022/9/22/stolen-goods monthly 0.5 2022-09-22 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/3929b4d1-76d9-4bc4-b712-057ee65861c5/Susanne+Slavick%2C++Retraction%2C+2021%2C+Oil+on+panel%2C+12+x+18+inches.jpg NEWS - STOLEN GOODS - Make it stand out Susanne Slavick, Retraction, 2021, Oil on panel, 12 x 18 inches https://www.susanneslavick.com/news/2022/7/25/getting-there monthly 0.5 2022-07-26 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/78da85dd-42bd-47d9-9a55-06aebc50bb30/getting-there+square_Sordoni+Gallery+2022.jpg NEWS - GETTING THERE - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2022/2/7/asunder monthly 0.5 2022-02-08 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/eb7bc4fa-429f-493f-a59b-b1fa658bb31a/Asunder+announcement_Facebook.jpg NEWS - ASUNDER - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2022/2/7/getting-there-at-the-godwin-ternbach-museum monthly 0.5 2022-02-08 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/00bee18f-3eb3-40df-9bf0-504103e71d68/GETTING+THERE+duo+20MB.jpg NEWS - GETTING THERE at the GODWIN-TERNBACH MUSEUM - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.susanneslavick.com/news/2021/4/16/family-tree-whakapapa monthly 0.5 2023-02-07 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1618587541982-P6CWSIC11H37571MKI4Y/Whakapapa-banner-www.jpg NEWS - FAMILY TREE WHAKAPAPA https://www.susanneslavick.com/news/2020/11/14/family-tree-whakapapa monthly 0.5 2021-05-06 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1605374972228-B892JV13K2Z4B9HY7485/Susanne+SLavick_Tree+of+Life_Nepal%2C+2020%2C+Gouache+on+archival+inkjet+print+on+Hahnemu%CC%88hle+paper%2C+55.75+x+28+inches.+.jpg NEWS - FAMILY TREE WHAKAPAPA Susanne Slavick, Tree of Life: Nepal, 2020, Gouache on archival inkjet print on Hahnemühle paper, 66 x 36 inches Sources: Detail from photo by Simon de Trey White, World Wildlife Fund UK, Nepal firewood. Tree of Life design from English embroidered canvas, first half 17th century, Metropolitan Museum of Art, NY. Slavick’s work pursues empathic unsettlement, combining images of incomprehensible destruction and the possibility of recovery, however elusive. For example, ‘Tree of Life’ carpet designs are painted over images of environmental devastation, from diverse cultural and environmental locales. These trees do not lie down; instead, they stand up in persistence. Whether inflicted by logging or global warming, deforestation knows no borders. The creative impulse motivating the painting, weaving and planting of trees is necessary for a global crisis that needs global solutions. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1605375187187-0HMXDFN738ZNC9MIMLVF/SQ_SolarizedWillowTreeHiroshima_Big.jpg NEWS - FAMILY TREE WHAKAPAPA elin o’Hara slavick, A-Bombed Weeping Willow Tree, Hiroshima, 2019, Solarized silver gelatin print, 16 x 20 inches Elin’s work in Family Tree Whakapapa is from the series After Hiroshima, Nagasaki and Fukushima. Some of the exhibited works can be found in her monograph After Hiroshima (Daylight Books, 2013). During eight trips to Japan, she made cyanotypes of A-bombed artifacts from Hiroshima and Nagasaki and irradiated matter from Fukushima, conjuring the shadows left by humans and things as a result of the blinding light and heat of the atomic bombs and the waves of the tsunami and radiation in Fukushima. Exposure is central to her project—both photographic exposures and exposure to radiation. Like humans, trees stand as witnesses, victims and survivors. Slavick also works in the darkroom with related and symbolic materials, x-ray film exposed to the lingering radiation in A-bombed artifacts, and rubbings of A-bombed surfaces, including some of the sixty trees that survived the A-bomb in Hiroshima. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1605375252712-GREHOAPLODP5MHEZC7PP/Parking+Lot+Conversation_SMall_diptych_Madeleine+Slavick_%282nd+image+of+diptych%29.jpg NEWS - FAMILY TREE WHAKAPAPA Madeleine Slavick, Parking Lot Conversation, 2020, Archival inkjet prints, Diptych, each print 35.43 x 16.54 inches This body of work speaks of Family, Tree, Whakapapa, and of the way I see: in juxtapositions, relationships. A necessary connectedness. We Are Never Alone. I have called myself a tree. An affirmation. To stand, endure, accord with any season, storm. To be full of grace, resilience, wisdom. Tree, tree, stand inside me. Yet, often, nature, and the tree, is marginalised, contained, lessened. We control, tame, fell, profit; trees become products, ornaments, bystanders. Trees also stay trees, breathing, communicating, even in parking lots. draw me a winter tree, the infinite delicate 為我畫一棵冬天的樹, 畫無限的柔美 silhouettes of black rivers and visible fingers 黑色河流與清晰手指的剪影 make a large winter head full of thought 巨大的, 冬天的頭顱,裝滿思想 This work was compiled in a difficult year – the massive struggle in Hong Kong, the menace in The White House, the climate crisis, the hate crisis, the pandemic... Yes, I still want to call myself a tree. 加油 | we shall overcome | kia kaha - Madeleine Slavick / 思樂維 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1605375472182-MLJ3RIQCE1AEUU3ABZ5C/SMaller_Sarah+Slavick+Elegy+to+the+Underground+2020+oil_canvas+56_+X+44_+%281%29.jpg NEWS - FAMILY TREE WHAKAPAPA Sarah Slavick, Elegy to the Underground, 2020, Oil on canvas, 56 x 44 inches In producing oxygen, the trees above ground are critical for human survival. Sarah Slavick, in her Elegy to the Underground series, is particularly drawn to what happens below ground, especially the recent discoveries concerning latticed fungi or mycorrhizal networks. Through sharing resources and working together in complex and infinite pathways, alliances, and kinship networks, trees reach enormity, increasing their chances of survival and ours as well. These new insights into the hidden life of trees offer new strategies for protecting our own home and species. Fearing and mourning their heartbreaking loss, her watercolors and paintings constitute elegies, alternately acting as tributes and memorials to trees. https://www.susanneslavick.com/news/2020/10/3/make-our-differences-our-strengths monthly 0.5 2023-02-07 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1601738697925-TRGIJJSVDF1OSRJQTD3R/Slavick_Full+Spectrum_FB.jpg NEWS - MAKE OUR DIFFERENCES OUR STRENGTHS FULL SPECTRUM, exterior billboard in Westmoreland County https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1609354589451-615Y8Y8GYZ4TAT66BALH/Slavick_FULL+SPECTRUM+Vertical_lo_Aug+13.jpg NEWS - MAKE OUR DIFFERENCES OUR STRENGTHS FULL SPECTRUM for interior billboard for Westmoreland Mall https://www.susanneslavick.com/news/2020/1/28/unloaded-in-naturecom monthly 0.5 2020-01-28 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1580223278649-Z6INWXD5DM33GV2Z3AB4/Syjuco_Smith%26Wesson+cropped.jpg NEWS - UNLOADED IN NATURE.COM https://www.susanneslavick.com/news/2020/1/3/all-to-pieces monthly 0.5 2020-01-03 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1578090495291-O9OG9A2EOJEFD1JVFRWL/Cloud+Real+Estate_white.jpg NEWS - ALL TO PIECES https://www.susanneslavick.com/news/2019/9/17/liten monthly 0.5 2019-09-17 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1568732068962-YXTI2KVB60PB9RAQWKCE/03_SLavick_Ghost+Ship+_2017%2C14.25+x+15.25%2C4x6image_Giovanni+di+Paolo%2C+St.+Clare+Rescuing+the+Shipwrecked%2C+ca.+1455.jpg NEWS - LITEN Ghost Ship, , 2017, archival digital print/Hahnemühle paper, 4 x 6 inches Source: Giovanni di Paolo, St. Clare Rescuing the Shipwrecked, ca. 1455. https://www.susanneslavick.com/news/2019/9/8/once-upon-a-time-all-at-once monthly 0.5 2019-09-08 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1567953183745-1OG7TZEDUQLLLYOZO1PW/Poster-Tsinghua.jpg NEWS - ONCE UPON A TIME. ALL AT ONCE. https://www.susanneslavick.com/news/2019/8/12/getting-there monthly 0.5 2019-09-02 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1565640958758-XD71X2CQQVMUQCMHT0MP/image-asset.jpeg NEWS - GETTING THERE https://www.susanneslavick.com/news/2019/6/19/unsustainable-at-stamp-gallery-university-of-maryland monthly 0.5 2019-08-12 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1560957155447-B5H9BMFNBVC8FQO267JM/Sustainable_Card+duo.jpg NEWS - UN/SUSTAINABLE AT STAMP GALLERY, UNIVERSITY OF MARYLAND https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1560957188770-IT5XOEPN5Z07S37J67RK/Slavick_Resplendent_HI.jpg NEWS - UN/SUSTAINABLE AT STAMP GALLERY, UNIVERSITY OF MARYLAND https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561828293177-GJUEF4KYLH50LE2EGR54/WAPO_UN-Sustainable_+contemplates+the+environment+-+The+Washington+Post_Page_1.jpg NEWS - UN/SUSTAINABLE AT STAMP GALLERY, UNIVERSITY OF MARYLAND https://www.susanneslavick.com/news/2019/6/19/resort-screens-at-file-sao-paolo-2019 monthly 0.5 2019-06-19 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1560955799204-IKPLCNO7BV2LA7PK3RXN/IMG_8643.JPG NEWS - RESORT SCREENS AT FILE SAO PAOLO 2019 https://www.susanneslavick.com/news/2019/4/16/virtual-palestine monthly 0.5 2019-04-16 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1555439805320-KJME1U0ZLD4OCRRCTLXO/Virtual+Palestine+2019.png NEWS - VIRTUAL PALESTINE https://www.susanneslavick.com/news/2019/3/5/visualizing-narratives-shaping-resistance monthly 0.5 2019-03-05 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1551806363842-Y6WEBZ10F2T6TJ76BYF0/VisualizingNarratives_Axis-04.png NEWS - VISUALIZING NARRATIVES: SHAPING RESISTANCE https://www.susanneslavick.com/news/2019/3/5/screen-andrew-ellis-johnson-susanne-slavick-resort-quench monthly 0.5 2019-03-05 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1551805505217-67OHRAZRZG0QVQLBGCNO/RESORT+3+%280.03.12.16%29lo.jpg NEWS - SCREEN | ANDREW ELLIS JOHNSON + SUSANNE SLAVICK | RESORT + QUENCH https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1551805697548-OTM0ORLXTLY7I8EEGX53/QUENCH+3+copy.jpg NEWS - SCREEN | ANDREW ELLIS JOHNSON + SUSANNE SLAVICK | RESORT + QUENCH https://www.susanneslavick.com/news/slavick/caa/award monthly 0.5 2019-02-02 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1549147139337-JI62Y7QYKMMGS0BBYGU6/susanne_slavick_photo_by_jacquelyn_johnson.jpg NEWS - PROFESSOR SLAVICK WINS CAA DISTINGUISHED TEACHING AWARD https://www.susanneslavick.com/news/2019/2/2/beyond-thoughts-and-prayers-beyond-thoughts-and-prayers-gun-violence-activism-and-controversy-in-contemporary-art monthly 0.5 2019-02-05 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1549146779802-8ULKZ06WK9QAQPBOWOUP/Slide001.jpg NEWS - Beyond 'Thoughts and Prayers: Gun Violence, Activism, and Controversy in Contemporary Art https://www.susanneslavick.com/news/2019/1/5/journal-of-visual-culture-the-gun-issue monthly 0.5 2019-01-05 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1546708919242-HPV1H34SUHW2ZU5GDI3Y/JVC+cover+Dec+2018.png NEWS - 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ARTISTS WHO TEACH https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1535324288456-XJS1SQSNY0XO290ZR7VV/Recuperation_Diurnal%2C+2007_oil_80x109in_GOOD.jpg NEWS - ARTISTS WHO TEACH Recuperation:Diurnal, 2007, oil and acrylic on three panels, 80 x 109 inches The convalescing Cedar of Lebanon in Recuperation simultaneously embodies bleak realism and hopeful romanticism. It is a metaphor for the damage we do to ourselves and how we try to recover. In the daytime version of the painting, pale atmosphere alternates with raw flesh color, suggesting both cruelty and compassion. In the nighttime version, the tree’s amputated limbs are silhouetted against a deep blue vapor. In 2006, I visited Isola Bella on Lago Maggiore in Italy. That summer, the gardens were in disarray. A freak tornado had torn it apart and uprooted an ancient Cedar of Lebanon. Maintenance workers and gardeners had propped up this huge specimen with pulleys, slings, and guy ropes. Bandages wrapped fractured and stumpy limbs and sprinkler systems were suspended high amongst its branches in hopes for resuscitation. At the time these paintings were made, it was not known if the cedar would survive. I photographed this poignant spectacle partly because it coincided with my prior research into landscapes of ruin, especially those devastated by war. 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of Alexander the Great at Thessaloniki (1974) by Evangelos Moustakas. FLICKR moab1123 Alexander III created one of the largest empires in ancient history, conquering the Persians and spreading Greek culture to the east. He became the measure against which generals, even to this day, compare themselves, and his tactical exploits are still taught in military academies throughout the world. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154780495-4QCLO0C8ZYIOSZ3U7EBE/1_BIG_Equus_KandaharWithAlexandertheGreat.jpg EQUUS - Equus: Kandahar with Alexander the Great, 2009 Sources: FLICKR_moab1123_Kandahar_VBIED with silhouette of Alexander the Great at Thessaloniki (1974) by Evangelos Moustakas. FLICKR moab1123 Alexander III created one of the largest empires in ancient history, conquering the Persians and spreading Greek culture to the east. He became the measure against which generals, even to this day, compare themselves, and his tactical exploits are still taught in military academies throughout the world. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154767286-D94BTZS8TJRFVKVVQWZN/2_BIG_Equus_IraqtruckBombwithFrederikV.jpg EQUUS - Equus: Iraq Truck Bomb with Frederik V, 2009 Sources: From photos from The War in Iraq by David Leeson, SPC Ben Ballard, Columbus Ledger and Romeo Gacad with silhouette of King Frederik V in bronze by Jacques-Francois-Joseph Saly in front of Amalienborg Palace, Copenhagen. Frederik V founded the Royal Danish Academy of Art and purchased the Danish West Indies in 1754. His last words were reportedly: "It is a great consolation to me in my last hour that I have never willfully offended anyone and that there is not a drop of blood on my hands."   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154764808-CIICO6OE5BK10YCECJXC/3_BIG_Equus_IraqCarBombwithBishopAbsalon.jpg EQUUS - Equus: Iraq Car Bomb with Bishop Absalon, 2009 Sources: Iraq Car Bomb http://www.troopsneedyou.com/press.php with silhouette of the 1902 statue of Bishop Absalon in Copenhagen. Bishop Absalon founded the city of Copenhagen. His bronze statue, erected in 1902, was created by sculptor Vilhelm Bissen (1836-1913). The plinth is made of granite, with an engraved belt praising Absalon as a mighty brave warrior. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154789665-6CQG9QXUJR0PBOU9SSY3/4_BIG_Equus_SuicideBombSitewithJuandeOnate.jpg EQUUS - Equus: Suicide Bomb Site with Juan de Onate, 2009 Sources: pmcleary with silhouette of Juan de Onate by John Houser. Juan de Onate was the colonial governor of Mexico and founder of settlements in the southwest USA. In a conflict with the Acoma tribe, his soldiers killed 800 villagers. They enslaved the remaining 500 women and children, and by Don Juan’s decree, amputated the left foot of every Acoma man over the age of twenty-five. Eighty men had their left foot amputated.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500154780821-6I0WL08FRMJMQ3BGG4ZG/5_BIG_Equus_IraqCarBombwithBolivar.jpg EQUUS - Equus: Iraq Car Bomb with Bolivar, 2009 Sources: Iraq Car Bomb http://www.troopsneedyou.com/press.phpwith silhouette of Simón Bolívar in the Unted Nations Plaza of San Francisco. Bolívar, aka The Liberator, contributed decisively to the independence of the present-day countries of Venezuela, Colombia, Ecuador, Panama and Peru where he is revered as a national hero. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500164047169-S0I24F6A1K49QSW85WUA/EQUUS_BIG_SET_web.jpg EQUUS https://www.susanneslavick.com/horsepower-hubris-1 daily 0.75 2022-02-24 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386263523-251JX0HSL87EMCQZF2NG/Slavick_Replenish_2010_10x14_24.7MB.jpg Horsepower Hubris - REPLENISH 2010 Gouache on archival digital print/Hahnemühle paper,10 x 14 inches. 17 x 20.625 inches framed. 43 x 52.3cm Horse derived from Khusraw discovers Shirin bathing in a pool from a Khamseh (Quintet) by Nizami, mid 16th century Safavid dynasty from Shiraz, Iran. Smithsonian, Gift of Charles Lang Freer, F1908.262a-b. Photo source of bridge in Mosel, Iraq: FLICKR, JamesDale10. A thirsty horse from a 16th century Persian painting stands on the edge of a crater of a bombed bridge in Mosel, Iraq. Its empty saddle suggests a fallen warrior; its tail flows into the cavity like a river of blood. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386263523-251JX0HSL87EMCQZF2NG/Slavick_Replenish_2010_10x14_24.7MB.jpg Horsepower Hubris - REPLENISH 2010 Gouache on archival digital print/Hahnemühle paper,10 x 14 inches. 17 x 20.625 inches framed. 43 x 52.3cm Horse derived from Khusraw discovers Shirin bathing in a pool from a Khamseh (Quintet) by Nizami, mid 16th century Safavid dynasty from Shiraz, Iran. Smithsonian, Gift of Charles Lang Freer, F1908.262a-b. Photo source of bridge in Mosel, Iraq: FLICKR, JamesDale10. A thirsty horse from a 16th century Persian painting stands on the edge of a crater of a bombed bridge in Mosel, Iraq. Its empty saddle suggests a fallen warrior; its tail flows into the cavity like a river of blood. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500385888633-FFBCN2ACVYIZU1J71GK8/P47_Roam_RidingOnRemorse.jpg Horsepower Hubris - ROAM: Riding on Remorse 2008 Gouache on archival digital print/Hahnemühle paper, 6 x 10 inches Collection of Mary Lou Arscott, Pittsburgh PA. Camels by Bihzâd for Nizâmî’s Layli and Manjûn in 1493 Khamseh, British Library; photo: Carlos Osorio, Toronto Star Windows of a car bomb frame a caravan of camels derived from a 15th c. painting by Bihzâd, the master of Persian miniatures. It contrasts vehicles both ancient and contemporary that move people—or massacre them. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500385980757-X6IXS2PDA2GSNYQP446L/Tug_of_War_09_12x14.jpg Horsepower Hubris - TUG OF WAR, 2009 Gouache on archival digital print/Hahnemühle paper, 12 x 14 inches. Photo source by JamesDale10 on FLICKR of Uday Saddam Hussein’s Ferrari. Horsemen derived from the Combat of Rustam and Kâmus in Shah Tahmãsp’s Shãhnãmeh, fol.271a, attributed to “Abd al-Vahhãb, c.1530. Tehran Museum of Contemporary Art. Uday Saddam Hussein and his brother Qusay were killed by a TOW missile strike conducted by US Special Operations and 101st Airborne Division on July 22, 2003. Uday had an extensive exotic car collection. Tug of War includes an image of his Ferrari 500 Maranello, purportedly destroyed by our armed forces as well. It provides the set for a “tug of war” of more ancient warriors in all their finery, speaking to the sad continuity and ritual of war. From the innocent game involving only a rope to complex operations involving Tube-launched, Optically-tracked, Wire-guided (TOW) anti-tank missiles, Tug of War reveals our preoccupation with war, from cradle to grave. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500388731720-74QLQGH816U33AEFH7E6/Rebirth+Eve%27s+Escort16x24.jpg Horsepower Hubris - REBIRTH: EVE'S ESCORT 2007 Gouache on archival digital print/Hahnemühle paper, 16 x 24 inches. Peacock from Adam and Eve in the Falnameh of Ja’far al-Sâdiq, Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., S1986.251; photo from Mike Shiley’s film Inside Iraq: The Untold Story Rebirth: Eve’s Escort refers to the dragon and peacock that respectively bore Adam and Eve. The mythical peacock that bore Eve is a feminine, living counterpart juxtaposed with the inanimate masculine vehicle. Radiating beauty behind a burning automobile, Eve (even if absent) and her bird represent a generative life force that persists despite the surrounding devastation. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386365490-WHGZFI8QCJ3SADFB0GV4/Savick_RockingHorse-2010_12x13-75_HI.jpg Horsepower Hubris - ROCKING HORSE 2010 Gouache on archival digital print/Hahnemühle paper, 12 x 13.5 inches, 19.5 x 20.5 inches framed. Horseman derived from Horseman and Running Page, attributable to Qadimi Qazvin, c.1560, Arthur Sackler Museum, Harvard University Art Museums, no. 1958.62.2. Photo sources: FLCKR Sea King, in southern Iraq by meesterlowehttp://www.flickr.com/photos/meester_lowe/39038751/in/photostream http://www.harvardartmuseums.org/collection/detail.dot?objectid=1958.62&globalSearchText=qadimi   A horseman derived from a 16th century painting by Qadimi is mounted above the wreckage in a southern Iraqi landscape, suggesting how we continue to treat war as a game, from cradle to grave.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500385841583-ZE92M7PPK0CU07VPR8A4/P46_Rendezvous.jpg Horsepower Hubris - RENDEZVOUS 2007 Gouache on archival digital print/Hahnemühle, 8 x 12 inches. Collection of Michael Murphy, Pittsburgh PA. Camels from frontispiece of bound manuscript of the Silsilat al-Dhahab of Jãmi, copied by Shãh Mahmud al-Nishãpuri on 8/25/1549, attributable to Mirzã ‘Ali Tabrîz, 1540–45, National Library of Russia; photo: US tanks at the presidential complex in Baghdad with only a camel for company. Photograph: John Moore/AP, Guardian April 16, 2003 http://www.guardian.co.uk/world/2003/apr/16/iraq.jamesmeek https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386547499-J1KHVGIJKPB8O2KM3ZZC/Slavick_Stretch_web.jpg Horsepower Hubris - STRETCH 2009 Gouache on archival digital print/Hahnemühle, 72 x 132inches, total with six framed panels. Angels derived from School of Muhammed Siyâh-Qalam illumination. Tabrîz, c.1478-90. Library of the Topkapì Sarayì Museum, Istanbul. H. 2153,fol. 5v. Whether benign or malignant, cars, jeeps, tanks and humvees have come to embody the machismo that both feeds and entraps so many abuses of power. The intertwining of death and renewal recurs in the “Horsepower Hubris” series that focuses on vehicles of violence. The angels in “Stretch” are derived from an illustration for Nizâmi’s “Tale of the Turquoise Pavilion,” where they struggle with a seven-headed dragon in an allegory of the soul’s journey through the lower world. In “Stretch,” the dragon is replaced by the charred remains of an impossible stretch limousine, pieced from sections of multiple bombed cars. The angels must deal with the proliferation and aftermath of violence. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386815091-RJQT9G8KNAXQVF6ULYRE/Stretch_detail+web.jpg Horsepower Hubris - Detail from STRETCH 2009 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386904929-48D8O21RHQCTJ8YPMKFU/Exhaust_2010framed+web.jpg Horsepower Hubris - EXHAUST 2009 Gouache on archival digital print/Hahnemühle paper, 60 x 185 inches, 7 framed panels. Each panel 61” x 22” framed. The exhaust cloud trailing from another “stretch” limo in Exhaust can be seen as respiration or expiration, some faint breath that survives our best efforts to destroy. It is either the last gasp or a sign of survival. These works invite us to consider harnessing our horsepower with less lethal impact in every dimension of our lives. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386976050-KLCI9P7ZSOPNS4WRILD4/Exhaust_2010detail+web.jpg Horsepower Hubris - Detail from EXHAUST 2009 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500431562814-ETDFAJ4MPEYSGN8B5GMK/Good_Deeds_09_24x36.jpg Horsepower Hubris - GOOD DEEDS, 2009 Gouache on archival digital print/Hahnemühle, 24 x 36 inches. Photo source: Tightsqueez, 665 Days set, Iraq 2008 on FLICKR. Illumination derived from hand-colored illumination, 1793, from Dala'il al khayyirat (Guide to good deeds) by Muhammad ibn Sulayman Jazuli, d. 1465, 1v-2r, Beinecke Rare Book and Manuscript Library, Yale University. The modified illumination from Dala'il al khayyirat (Guide to good deeds) is superimposed on a photographic image of a single bookcase left standing untouched in the rubble of contemporary Ramadi, suggesting the persistence of knowledge and culture across ages of warfare. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387078299-PNQYBN9QDEUOTU8EZTLS/Tending_the_Embers_09_6x10.jpg Horsepower Hubris - TENDING THE EMBERS 2009 Gouache on archival digital print/Hahnemühle paper, 6.33 x 10 inches. Angels derived from School of Muhammed Siyâh-Qalam. Tabrîz, c.1478-90. Library of the Topkapì Sarayì Museum, Istanbul. H. 2153,fol. 5v. Whether benign and malignant, cars, jeeps, tanks and humvees have come to embody the machismo that both feeds and entraps so many abuses of power. They have become essential to those who choose violence as means to an end. Whether benign and malignant, cars, jeeps, tanks and humvees have come to embody the machismo that both feeds and entraps so many abuses of power. They have become essential to those who choose violence as means to an end. Angels are hand- painted over an internet photograph of an explosion site. Engaging with the remains of a VBIED (vehicle-born improvised device, are they coming to the rescue or poking resignedly at the charred tangle? Are they stoking the fire of revenge or hoisting the carcass of tragedy in a laborious ascension? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387736707-UTBPYXM1M7076L5A1TLU/Headlong_09_15x24.jpg Horsepower Hubris - HEADLONG 2009 Gouache on archival digital print/Hahnemühle paper, 15 x 24 inches. Photo source by Sam de Silva of car bomb in Sri Lanka. Warriors derived from an illustration to Firdawsî’s Book of Kings from the manuscript copied in Tabrîz for the Mongol íl Khân Abû-Sa ‘id (r.1317-35), and dispersed in the early 20th century by the dealer Georges Demotte in Paris. Musée du Louvre, Paris. Antiquités orientales, section islamique nº7095. The warriors accompany the Book of Kings’ hero Faramurz who scatters the troops of the king of Kabul (with all the horsemen wearing contemporary Mongol armor). In Headlong, theyrace around a contemporary image of a car bomb in Sri Lanka. The white glove of the rider exiting the scene extends in what couls be seen as commanding gesture: Halt this madness. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387890887-X1LOBR8F7MUVF6JF4KC1/Slavick_Resplendent_web.jpg Horsepower Hubris - RESPLENDENT, 2010 Gouache on archival digital print/Hahnemühle paper, 60 x 23 inches; 62 x 25 in framed. Tree derived from The Hero Rustam Slays the Witch of the Cosmic Illusion; an illustration attributed to Qadîmî by S.C. Welch. From Fidawsî’s Shahnameh (Book of Kings), copied in Tabrîz from Shâh Tahmâsp between the 1520’s and 1540’s. Fol. 120v. Metropolitan Museum of Art, New York. Photo source: FLICKR_SSG Wayne Speek VBIED Afghanistan. In Resplendent, a tree grows out of the remains of an improvised explosive device (IED) on a deserted road. The tree is derived from a 16th century illustration, The Hero Rustam Slays the Witch of the Cosmic Illusion attributed to Qadîmî from Fidawsî’s Book of Kings. The IED is from a FLICKR image taken in Afghanistan by SSG Wayne Speek. The landscape is a photoshop composite from multiple sources. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500387950431-GB7MLPONRCC88T5KJA97/Resplendent+detail_pp.jpg Horsepower Hubris - Detail of RESPLENDENT https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500386008428-CXLPWC9EY51NGLXRP77E/Recall_2012_11.5%E2%80%9D+x+15.25.jpg Horsepower Hubris - RECALL, 2012 Digital print on Hahnemühle paper, 11.5 x 15.25 inches. Sources: altered photograph from Flickr_Ajmal Aand, August 27, 2002 with mountains from The Hero Rustam Slays the Witch of the Cosmic Illusion; an illustration attributed to Qadîmî by S.C. Welch. From Firdawsî’s Book of Kings, copied in Tabrîz from Shâh Tahmâsp between the 1520’s and 1540’s. Fol. 120v. Metropolitan Museum of Art, New York http://www.flickr.com/photos/aand/395304349/in/photostream https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430627721-OSR22EWBAM5T9DORIZOB/Red_Carpet_09_6x8_3MB.jpg Horsepower Hubris - RED CARPET, 2009 Gouache on archival digital print/Hahnemühle, 6 x 8 inches. Photo source from pmcleary Iraq album on FLICKR. Angels derived from School of Muhammed Siyâh-Qalam. Tabrîz, c.1478-90. Library of the Topkapì Sarayì Museum, Istanbul. H. 2153,fol. 5v. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430827008-RS5HEVOIXDUJHFXUFDIJ/Hemorrhage_3MB_.jpg Horsepower Hubris - HEMORRHAGE, 2009 Gouache on archival digital print/Hahnemühle 16 x 12 inches. Water motifs derived from illustration for The Adventures of Hamza, attributed to Banavari and Mah Muhammad, Volume 11, painting number 91, text number 92, India, Mughal dynasty, circa 1570, MAK – Austrian Museum of Applied Art/Contemporary Art, Vienna, B.I. 8770/32; Photo source by djagger1 on FLICKR. Here a trickle of black fluid (oil?) leaks from a gas tank, creating a deluge. “Hemorrhage” speaks to limited resources and over-consumption and the morass that both create. The creatures caught in the flood are just the smallest victims of an economy and politics all too heavily dependent on the culture of the automobile. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430935468-X0ULIHI8Z976U65T6HG0/MagicMountainTal_Afar_09_15x10_3MB.jpg Horsepower Hubris - MAGIC MOUNTAIN, 2009 Gouache on archival digital print/ Hahnemühle, 15 x 10 inches. Birds and rocks derived from Shah Tahmãsp’s Shãhnãmeh, Rustam recovers Rakhsh from Afrãsiyãb’s herd attributed to fol. 295a, attributed to Mirzã ‘Ali, 1530-35, from private collection, Lichtenstein. Photo Source: James Dale, truck Bomb, Tal Afar, Iraq. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500431867197-3PWXETA1FOIMCLODXA36/Heaven%27s_Gate_pp.jpg Horsepower Hubris - HEAVEN'S GATE, 2009 Gouache on archival digital print/Hahnemühle, 14 x 12 inches. Sources: Baghdad_Getty images; clouds from an illustration to Firdawsî’s Book of Kings from the manuscript copied in Tabrîz for the Mongol íl Khân Abû-Sa ‘id (r.1317-35), and dispersed in the early 20th century by the dealer Georges Demotte in Paris. Musée du Louvre, Paris. Antiquités orientales, section islamique nº7095. The clouds hover above the hero Faramurz scattering the troops of the king of Kabul (with all the horsemen wearing contemporary Mongol armor). The clouds above a charred automobile in Baghdad are derived from a Persian battle scene illustration with the hero Faramurz scattering the troops of the king of Kabul. The persistence and futility of violence across nations and empires is reiterated in the blasted out windows and doors that open to a bleached out void. Is it the blinding light of paradise, the motive for so much “martyrdom,” or nothing but a dead end? https://www.susanneslavick.com/rrr-1 daily 0.75 2020-01-21 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579620218692-EW4WTTXW4V22C3I0OBBL/Restoration_Red+Balcony2_HI+RES.jpg R&R(...&R) - RESTORATION: Red Balcony II, 2008 Gouache, pastel pencil, band-aids/Hahnnemuhle paper 66 x 42 inches Every edge, ledge and railing of this Beirut building damaged by mortar fire in the 2006 War with Israel has been redrawn or solidified. Pink day-glo band-aids are pasted over places where the walls have been punctured; some send out concentric rings that can either signal survival or distress. Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579620218692-EW4WTTXW4V22C3I0OBBL/Restoration_Red+Balcony2_HI+RES.jpg R&R(...&R) - RESTORATION: Red Balcony II, 2008 Gouache, pastel pencil, band-aids/Hahnnemuhle paper 66 x 42 inches Every edge, ledge and railing of this Beirut building damaged by mortar fire in the 2006 War with Israel has been redrawn or solidified. Pink day-glo band-aids are pasted over places where the walls have been punctured; some send out concentric rings that can either signal survival or distress. Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579621105349-1QPMJCDPJ9ZGR9FQH45Y/Slavick_Remorse+%28White+Curtains%29_07.jpg R&R(...&R) - REMORSE: White Curtains 2006 Gouache, ink, pastel pencil, archival tape/Hahnemühle paper 66 x 42 inches Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416672506-G5LAEMVMEAECLX0VCLK5/Reveal_Pastoral.jpg R&R(...&R) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416971333-ZEVS1K3DGDHF376X1AQ7/Reconstruction+%28Magenta+Beirut+Bridge%29+24M.jpg R&R(...&R) - RECONSTRUCTION: MAGENTA BEIRUT, 2007 Gouache on archival digital print/Hahnemühle, 16 x 20 inches; 24 x 28 inches framed. To show a culture building itself, a ghostly version of a scene from Bhizad’s 15th c. Building of the Great Mosque of Samarkand is painted over an altered internet image of rubble left by a 2006 Israeli air strike in Beirut. This structure has its own history of decay and rebirth that is entwined with conquest and commemoration. Fearing he would die before its completion, the Persian conqueror Tamerlane (who referred to himself as the Sword of Islam) ordered the Bibi Khanum Mosque in Samarkand to be built in haste. Consequently, it began falling apart prematurely and existed as ruins for almost six centuries. After 1974, it was rebuilt by the Soviets albeit greatly reduced in size. Perhaps this structure is an object lesson on the impetuous, on thinking before we act, especially when it comes to guerilla or state-sponsored warfare. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417450218-J82AS92SBI2R5MBESLFZ/Reveal_Pastoral.jpg R&R(...&R) - REVEAL: Pastoral, Flora and Fauna, 2007 Gouache on archival digital print/Hahnemühle paper, 14.25” x 17.25”, 24 3/8” x 27” framed; Border from illumination for Mughal emperor Shâh Jahân, c. 1635-40, Sadruddin Aga Khan Collection, Geneva; photo source (now broken link), later sourced to Joshua Trujillo/Seattle Post-Intelligencer, “Bombs from American B-52s explode near Taliban tank positions on Kala Kata hill near Dasht-e-Qalaeh, Afghanistan.” http://www.nadir.org/nadir/initiativ/agp/campanas/stopwar/afghb52bomb1.jpg Plumes from bombs in Afghanistan rise from a seemingly empty landscape. They are framed by flora and fauna to recall a more idyllic, peacetime nature. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416851626-IU51PPSB3WEWMM1EVDH1/Rebuild_Mdeirej+Bridge_2008_16x20.jpg R&R(...&R) - REBUILD: Mdeirej Bridge, 2008 Gouache on archival digital print/Hahnemühle paper, 16 x 20 inches; 24 x 28 framed. Border from A Chinese Dignitary, a copy in Istanbul, probably made in 15th century Tabrîz, Library of the Topkapì Sarayì Museum, Istanbul Rebuild: Mdeirej Bridge takes its decorative border from a Persian portrait of a Chinese dignitary, evidence of cultural transmission and exchange, suggesting a dynamic culture not fixed in one time or place. Its floral motif frames a bombed and fallen bridge span, but it is not meant to decorate the damage. David Levi Strauss questions the idea that the more transformed or “aestheticized” an image is, the less “authentic” or politically valuable it becomes. He asks “Why can’t beauty be a call to action?,” asserting that to “represent is to aestheticize; that is, to transform.” He sees aestheticization as “one of the ways that disparate peoples recognize themselves in one another.”5 Appropriating passages from cultural traditions other than my own has its risks; it can mimic the very idea of conquest that I am critiquing. Nonetheless, as an admitted outsider, I am trying to bridge cultural divides that are both real and constructed. Incorporating imagery from the former Islamic Empire is one way of dispelling prevalent stereotypical notions of its contemporary regions and religions as solely proponents of malignant fundamentalism. My selections counter the media’s endless images of militancy and martyrdom, juxtaposing the highest aspirations of a culture with evidence of its eradication. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430374060-NSIMKU5ND6HCJRHU25GO/Repel_2010_12x21_5MBf.jpg R&R(...&R) - REPEL, 2010 12 x 21.5 inches, 19.3.75 x 28.25 inches farmed. Gate derived from The gatekeeper denies entrance by one unworthy of the garden in the Bustân by Mîrak or Bhizâd, 1488–89, National Egyptian Library, Cairo. Photo: U.S. Army soldiers from A Company 3rd Battalion 7th Infantry Regiment search through a bomb-damaged palace of Saddam Hussein in Baghdad Monday, April 7, 2003 after entering the Iraqi capital in force Monday.(AP Photo/John Moore) http://www.flickr.com/photos/7797961@N08/3408924983/ This scene of Saddam Hussein’s bomb-damaged palace in Baghdad is modified from an AP photo posted on FLICKR. The figures are derived from The gatekeeper denies entrance by one unworthy of the garden in the Bustân (The Orchard) by Mîrak or Bhizâd. Who is worthy of entering the garden and to whom does the garden belong? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417057460-HU73GBF9GQMO73YNPVKA/Road+Repair_Halat.jpg R&R(...&R) - ROAD REPAIR (Halat), 2006 16 x 20 inches This work shows a road destroyed in 2006. The rebar grid substructure has been painted back in to figuratively begin rebuilding the road. The yellow circles are enlarged projections from the distant headlights. They sit right on the surface, in the viewer’s realm, possibly implicating us as co-sponsors of the destruction or as passive witnesses. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423389749-QO21A4940N96GRQ9VSMX/Restoration+%28Threshold%291.jpg R&R(...&R) - RESTORATION (Threshold I), 2006 Gouache on archival inkjet print on Hahnemühle paper, 10 x 16-1/8 inches; Photo source of Khiyam, Lebanon after Israeli bombing August 21, 2006 (altered): Flickr, M. Asser http://www.flickr.com/photos/masser/221392959/ FRAMED 16 7/8 x 22 5/8 inches Rubble renders place anonymous; it eradicates all distinguishing features. In Restoration, the transparent white tracery of a mashrabiya (the ornate wooden latticework prevalent in traditional Arab architecture dating to 12th century Baghdad) balances precariously among piles of dust, debris and concrete. The presence of this ornate detail insists that the targets of war are neither faceless enemies nor sites devoid of culture. They are not just anywhere but somewhere, not just anyone but someone. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1504291728040-6489J7UKYFWAJDOJXKSS/Slavick_Reveal_OpeningAct_2007.jpg R&R(...&R) - Reveal: Opening Act, 2007 Gouache and graphite on archival digital print/Hahnemühle paper, 16" x 10”. FRAMED 25 5/8 x 19 1/8 inches Curtains from Two Seated Men from the Maqamat of al-Hariri of Basra, Syria, 1237 A painted detail of drapery suggests a bygone domestic tranquility against three stories of rooms left exposed bya gaping hole in the wall. The curtains are the same as those that frame two seated men in a 13th century illustration by al-Waiti for al-Hariri of Basra’s “Maqamat,” a set of 50 short stories named after 50 Muslim cities that is one literary pinnacle of the Arabic language. Al-Wasiti’s illustrations were highly regarded for portraying a specific world and capturing aspects of daily life. Inserting details of home decor resists the anonymity that war confers on place and person. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428740365-23FJLHN3HM3KCHTC7LIA/Remind_FloraAndFauna_HI+RES.jpg R&R(...&R) - REMIND: FLORA AND FAUNA, 2007 16 x 10 inches, 26 x 19 inches framed; TV garden from Prince Bahrâm-I Gor listens to the tale of the Princess of Khwârazm beneath the Green Pavilion illustrated by Shaykhî to Nizâmi’s Seven Icons for Sultan Ya’qûb of the Turcoman clan of the White Sheep, Tabrîz, c1478–90, Library of the Topkapì Sarayì Museum, Istanbul; South Lebanon photo: M. Asser A stork flies above and oblivious to the wreckage of an unexploded bomb that has crashed through the ceiling of a Lebanese home. Its flight contrasts the dead and dangerous weight below. The stork is revered in Islam for making annual pilgrimages to Mecca while English symbolism assigns it conflicting associations with the maternal or the tyrannical. A detail of a painted garden from a Persian miniature fills the silent TV screen, hearkening to a more idyllic or paradisiacal time. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416997909-H9HY2SQS2LU151CXH8WZ/Rehydrate+I.jpg R&R(...&R) - REHYDRATE I, 2008 Gouache on archival digital print on Hahnemühle paper, 10 x 15 inches; water motif from illustration by Master Ahman Mûsâ in a Mi-râj-Nâmeh (“Book of the Mystical Ascension”), Tabrîz, second quarter of the 14th century, Topkapì Sarayì Museum Library, Istanbul. Stylized waves lap impossibly at edges of craters in Lebanese roads bombed in 2006, merging the transcendent with the mundane. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416994503-KO0YMRMQEF6459LIPQQC/Rehydrate+II_2008_10x15in.jpg R&R(...&R) - REHYDRATE II, 2008 Gouache on archival digital print on Hahnemühle paper, 10 x 15 inches; water motif from illustration by Master Ahman Mûsâ in a Mi-râj-Nâmeh (“Book of the Mystical Ascension”), Tabrîz, second quarter of the 14th century, Topkapì Sarayì Museum Library, Istanbul. Stylized waves lap impossibly at edges of craters in Lebanese roads bombed in 2006, merging the transcendent with the mundane. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430156346-RAHEJCW023F4I628YLI6/Slavick_Repair_Prosthetic.jpg R&R(...&R) - REPAIR (PROSTHETIC), 2008 Gouache on archival inkjet print on Hahnemühle paper, 8 x 6 inches. Photographic source of broken pottery in Larsa, southern Iraq by Joanne Farchakh. http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_172.htm "History in Pieces": But many items were stolen or destroyed by looters. Here, broken pottery lies in the dust at Larsa, a major Sumerian capital in today's Nasiriya, in southern Iraq http://news.bbc.co.uk/2/hi/middle_east/4461755.stm Many items were stolen or destroyed by looters at unsecured archeological sites during the Iraq War. Here, broken pottery lies like broken limbs in the dust at Larsa, a major Sumerian capital in today's Nasiriya, in southern Iraq. A hand-painted modern prosthetic arm occupies the foreground as an inadequate replacement for the scope of loss. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417199232-DL0OEFCOGYXAW7FFIFOL/Slavick_Regenerate_Gardening+the+Robber+Hole_2007.jpg R&R(...&R) - REGENERATE: Gardening the Robber Hole, 2007 7.625 x 10.125 inches A gardener from the 12th c. Book of Antidotes of the Pseudo Galen, in the style of the first school of Baghdad, breaks earth with his shovel. He digs in a field of “surface scatter,” the term for remnants left after raids on archeological sites. The bare triangle of sand surrounding him indicates a “robber hole,” the location of a stolen treasure, subsequently filled by sand. The gardener begins cultivating anew; his action is another kind of “antidote.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417030314-X8FD8WKSDJJGMU187CQ1/Restoration+%28Gold+Beirut+Bridge.jpg R&R(...&R) - RESTORATION: HAND SAIDA, 2006 4 x 6 inches , 10.75 x 12 3/8 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416796353-KVEPA12YFR0KG4MC2Z04/P73_Restoration+%28Hand+Saida%29_pp.jpg R&R(...&R) - Restoration (Hand Saida), 2006 Gouache and mixed media on archival inkjet print on Hannemuhle paper, 4 x 6 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500416953863-OW06MGDVVSXU87PTDWWW/Reconstruct_Castles_in_the_Sky.jpg R&R(...&R) - RECONSTRUCT: CASTLES IN THE SKY, 2007 20 x16 inches; Source: Building of Castle Khawarnaq, illustration by Bihzâd for Nizâmi’s Seven Icons; Khamseh of Nizâmî, Herât, 1494-95, British Library, London https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417037544-NSTY3154FGSY2OW8XMHF/Resume_PartlyCloudy2MB.jpg R&R(...&R) - RESUME: PARTLY CLOUDY, 2008 10 x 7.25 inches, 16 7/8 x 13.75 inches framed; Bird from illustration (added in Isfahân c.1609) by Habìbul Mashhad for the manuscript of Attâr’s Parliament of Fowles, illustrated1487–88 in Herât by Bihzâd, Metropolitan Museum of Art, New York https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429464419-2DDK0U395M0SLRAM983O/Redoubt_2010.jpg R&R(...&R) - REDOUBT, 2010 8 x 6 inches, 15 x 12.625 inches framed. Dome derived from Bahram Gur and the Indian princess in the black pavilion from a Khamsa (Quintet) by Nizami mid 16th century, Safavid dynasty. Opaque watercolor, ink, and gold on paper, 31.1 cm high 19.7 cm wide, Smithsonian; photo source: Al-Askari Mosque in Samarra, http://www.echostudiochicago.com/learn/golden-mosque-falls The Al-Askar Mosque in Samarra, Iraq is one of Shiite Islam's holiest sites as it houses the tombs of two 9th c. imams, direct descendants of the Prophet Muhammad. Sunni extremists destroyed its dome in 2006, the first time that internal forces had targeted one of the country's central religious symbols. Its two remaining minarets were destroyed in a 2007 bombing by al-Qaida operatives. Both incidents caused widespread rage and panic amongst Shiite Muslims and ensuing sectarian violence. A dome descends upside down from the sky in Redoubt, acknowledging the upheaval. Its point is like a brush, with potential to visualize restoration and a time of greater tolerance. Even though the golden dome and minarets of the Al-Askari Mosque were restored in 2009, divisions of faith, fanned by the tensions of occupation and war, continue to threaten sites both secular and sacred. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417089765-838VOLUXRSYJDZ65IBVJ/3.Wrestling+Over+Ruin.jpg R&R(...&R) - WRESTLING OVER RUIN, 2007 25 3/4” x 31 3/8” framed; Baghdad photo source: Sean Smith, Guardian Wrestling Over Ruin represents violence arising from violence in an eternal struggle between two dragons battling in the heavens over the U.S. bombing of Baghdad. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500417013216-JSBKVEV7BB53XE02OJ86/Resilience+II_2008_18x24in.jpg R&R(...&R) - RESILIENCE II, 2008 18 x 24 inches. Grille pattern from tomb of Muhammed Ghaus in Gwalior (16thc); background photo source: Webshots: johndrummer16, album#5 Iraq 2005. http://travel.webshots.com/photo/2364768380062712657DkxjoY John Drummer posted this image as an 11B "Infantryman" in the 82nd Airborne Division. His last available posted album was titled ‘Good Times”, September 25, 2009. The gap between Ghaus, a sainted Sufi author of “The Ocean of Life” and Saddam Hussein, a brutal dictator, reflects the distance between our highest aspirations and most tragic failures. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500430505775-1DLGT0XLGAHOI21G9DEM/Remorse+%28Threshhold%29.jpg R&R(...&R) - REMORSE (THRESHOLD), 2007 Gouache on archival inkjet print on Hahnemühle paper, 10 x 16-1/8 inches; Photo source of Khiyam, Lebanon after Israeli bombing August 21, 2006 (altered): Flickr, M. Asser http://www.flickr.com/photos/masser/221392959/ Transparent white latticework balances precariously amidst the 2006 rubble of Khiyam, Lebanon. Bombing eradicates anything that distinguishes one culture, population or place from another. Rebar, concrete and dust all look the same when collapsed in mangled heaps. Inserting specific ornate architectural details counters the anonymity conferred by ash and rubble. Mashrabiyas, the carved perforated wooden screens of Islamic architecture dating to 12th century Baghdad, are among such details, reminding us that this is not just any place, but some place.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429330914-8MBWAAH7ICWLCAKT2MBR/Refresh+%28Waterfall%29.jpg R&R(...&R) - REFRASH (WATERFALL), 2007 Gouache on archival digital print/Hahnemühle paper, 20 x 16 inches. Water motif from Shãhnãmeh fragment, Tabrîz, 1370, Folio 65b, Tabrîz, Istanbul   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423110042-CD8293R3O99FR72BL3XJ/Rend_hi_Slavick.jpg R&R(...&R) - REND, 2013 Gouache on archival digital print/Hahnemühle paper, 13.5 x 18 inches Photo source: Rosa Schiano, http://palsolidarity.org/wp-content/uploads/2012/12/41.jpg Israeli “Pillar of Defense” military offensive in Gaza on November 12, 2012 that killed 72 people including four children in the Al Dalu home on Nasser Street; animal motif derived from Tree of Life mosaic (8th c. Umayyad period) that depicts the mythical tree with two deer grazing peacefully on one side and a third deer attacked by a lion on the other, in the diwan of the bath complex at Khirbet El-Mafjar/Hisham's Palace in Jericho, West Bank https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423520385-3LXGSQF3PLEBQ8NYFKER/Re-enter_Passage.jpg R&R(...&R) - RE_ENTER (PASSAGE), 2008 27 x 18 inches. Source: FLICKR:banehfc Transparent white tracery of a mashrabiya (the ornate wooden latticework prevalent in traditional Arab architecture dating to 12th century Baghdad) hovers in or beyond an open doorway of a room with mortar-scarred walls. The architectural detail may hover as an apparition or suggest continued vulnerability. Inserting specific references (from painting, architecture and literature) into contemporary media images insists that the targets of war are neither faceless enemies nor sites devoid of culture. They are not just anywhere but somewhere, not just anyone but someone, not distant tribes, but complex societies with their own hopes and dreams. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428121588-RFYKCZEYSKKN5VX6D3YD/Resound_11_18x15.jpg R&R(...&R) - RESOUND, 2011 Screenprint with solvent transfer, 18 x 15 inches paper size, 14.5 x 11 inches image size. Edition of 20. Sources: FLICKR_pt_stebbing photo stream of Iraq; “The Fairy Queen enthroned in her theophany atop the Tree of Life which springs from the fount of life”, study for an illustration to Nizâmi’s Tale of the Princess of the Black Pavilion, Tabrîz or Qazwîn, mid 16th century. Freer Gallery, Washington D.C. 50.2. The Black Pavilion is the first of seven tales that comprise Nizami’s 12th century book of poems “The Seven Beauties.” It embodies eternal human experiences such as love, desire, frustration and melancholia. Printed by RED LETTER PRESS, Youngstown State University. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500424202266-U7SI0DJLLB4BP5LL24WT/Restoration%28Protection%29.jpg R&R(...&R) - RESTORATION (Protection), 2007 Gouache on archival digital print/Hahnemühle, 16 x 24 inches Islamic patterning typical of mashrabiyas (ornate wooden latticework prevalent in traditional Arab architecture dating to 12th century Baghdad) fills bombarded windows of a contemporary building in the Middle East. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500424577033-H9UJKBRF3WZ1JS3YQ6YF/Respite+10x15+.jpg R&R(...&R) - RESPITE, 2007 Gouache on archival digital print/Hahnemühle paper, 10.125 x 15.125 inches; garden details from Five Youths in a Landscape, Tabrîz, c.1520, Sackler Gallery and from Bahrãm Chubin listening to the prophecy of a sorceress, from a Shãhnãmeh of Firdawsi, Shirãz(?), 1585, Topkapì Sarayì Museum, Istanbul, Revan 1548, fol. 489a; photo of Fallujah https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500473991584-NTV45KMV7SDJ7MGX9O48/Restoration%28Bridge+1%29.jpg R&R(...&R) - RESTORATION: BRIDGE I, 2007 Gouache and metallic acrylic on archival digital print/Hahnemühle, 16 x 20 inches. Source photo: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html Aspirational repair of the bridge north of Beirut destroyed by an Israeli air strike early on Friday August 4, 2006. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428351204-65E7SCOHE2P73MZC08GV/Resource_Basra.jpg R&R(...&R) - RESOURCE: BASRA 2010 16.25 x 23.5 inches 25.75 x32.5 inches framed. Sources: Basra University Central Library destroyed by fire, June 2003. http://archive.ifla.org/VI/4/admin/iraq2407/pages/BASBU5.htm; The library of Basra, miniature by Al Wasiti from "Maqamat" by Al Hariri, 13th century, Hulton Archive. Collection of Leslie Brothers, Youngstown, Ohio https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500473995271-NWVNB2XGUTF0W6EV9DJ4/Restoration+%28Maameltein+Bridge%29.jpg R&R(...&R) - RESTORATION: MAAMELTEIN ROAD, 2007 Gouache and graphite on archival digital print/Hahnemühle paper, 16.125 x 20.125 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474554077-1WVIIHKESN0Z9A0UHECW/P45_RoaringAtTheRAid.jpg R&R(...&R) - ROARING AT THE RAID, 2007 7 x 10 inches. Lion from 14th century manuscript, Iraq. Photo source: Joanne Farchakh-Bajjaly. http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_049.htm https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474735640-X5UIMLDVBUMD95JF0E5Y/Rise_Active+Intelligence_pp.jpg R&R(...&R) - RISE: ACTIVE INTELLIGENCE, 2008 8.125 x 7 inches. Archangel, symbol of active intelligence, 16thc, perhaps from Uzbek Bukhârâ or Ottoman, Library of the Topkapì Sarayì Museum, Istanbul In Rise: Active Intelligence, the image of archangel Jibreel or Surôsh (Active Intelligence) is superimpsoed over a contemporary war scene in Iraq. Glowing and hovering in an explosive fire that can be apocalyptic or annunciatory, the image of this angel is open to interpretation. One could infer an inherent critique of the erroneous “intelligence” that was used to justify a “pre-emptive” war. One could lament the absence, in this case, of “Active Intelligence” — one that provides divine, rather than idiotic, inspiration. One could heed Surôsh’s call to retreat from “Satan’s whispers” or all our evil will and deeds. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474868693-R1EERIRAS6QHXT22MY4N/Recurrence_flaming+camel.jpg R&R(...&R) - RECURRENCE: FLAMING CAMEL, 2008 Gouache on archival digital print/Hahnemühle paper, 16 x 16 inches. Camel from an illustration to the Falnameh, ‘Abd Ul-‘Aziz, Iran, Tabriz, 1550; photo source: http://news.webshots.com/photo/1118741950051644870WUJmaq For this specific image, a photographic image of an oil fire from a Baghdad album by Coug91 on Webshots is altered and combined with a digitally collaged and hand-painted camel from a Persian miniature. The photographed and painted camels are both oblivious to the fire on the horizon, though one bears a flaming hump. It refers to Timur’s defeat of the Delhi Sultanate in 1398. Timur (or Tamerlane) was the 14th century Turco-Mongol conqueror of much of western and Central Asia. Faced with theDelhi Sultanate's 120 war elephants, Timur prayed to Allah, then attached straw to the backs of his army of camels. As the camels neared the elephants, Timur ignited the straw, propelling the distressed camels forward in wild terror. The frightened elephants ended up crushing many Indian troops as they fled in retreat. The confluence of the past and the present, the hand-made and the mechanical or digital, passivity and aggression all speak to contradictory forces at work in current quagmires, especially in Iraq and Afghanistan. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429921951-HMIS1UJUMQV1FLJX4N3S/Rearing_in_the_Ruins.jpg R&R(...&R) - REARING IN THE RUINS, 2008 10.125 x 7.625 inches; horses from King Darius (Dârâ) and the Herdsman, illustration by Bihzâd for the Bustân. Photo source: Southwest Palace of Sennacherib: damaged winged bull in doorway at Nineveh http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_142.htm Collection of Kristen Accola, NYC https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500432119409-QA2UE33EEWYI22UCA1DY/Reveal_CranesOverJivyeh.jpg R&R(...&R) - REVEAL: CRANES OVER JIVYEH, 2007 Gouache on Hannemuhle paper, 6 x 10 inches. Bird clouds from The combat of Rustam and Kãmus in Shah Tahmãsp’s Shãhnãmeh, attributed to ‘Abd al-Vahãb, c.1530, fol.271a, Tehran Museum of Contemporary Art. Collection of Paul Eiss, Pittsburgh. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500423212689-RZF7YK9ODCPZ0Y49TGRH/Repercussion_hi_Slavick.jpg R&R(...&R) - REPERCUSSION, 2013 Gouache on archival digital print/Hahnemühle paper, 7.5 x 12 inches Photo source: Rosa Schiano, http://palsolidarity.org/wp-content/uploads/2012/12/6.jpg The Israeli “Pillar of Defense” military offensive in Gaza on November 12, 2012 that killed 72 people including Mzanar Abdallah, 20, and Amina Mznar, 80, an elderly woman sitting in the kitchen in her wheelchair at the time of the bombing. The plastic beaded curtain is painted as if propelled outward by its blast. If only it were a gentle breeze. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500474271024-B8CNWAQ9TVPDA7D28EZ4/NINEVEH.jpg R&R(...&R) - ROMANCING THE RUINS: NINEVEH, 2007 Gouache on archival digital print/Hahnemühle paper, 12 x 16 inches. Figure from Prince Humây before the palace of Princess Humâyûn of China” by Junayd for the early 14th-century romance, Humây and Humâyûn by Khwâjû Kirmânî, British Library, London. Photo source by Joanne Farchakh-Bajjaly: Southwest Palace of Sennacherib: damaged relief slabs. http://oi.uchicago.edu/OI/IRAQ/dbfiles/farchakh/farchakh_149.htm Prince Humay, on his pilgrimage from the ‘dusky’ realm of matter in the West [in this case, Syria] calls upon, the Princess Humâyûn who represents the spiritual East or ‘China,’ the horizon of the Godhead’s rising sun”. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428546800-BWH4U6PW4Z03OSNI34UR/Replicate_2010_7x10ish.jpg R&R(...&R) - REPLICATE, 2010 Gouache on archival digital print/Hannemuhle paper, 7.625 x 10.25 inches. 15 x 17.125 inches framed. Photo source: FLICKR, ArmyofDude, Baqubah   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475176900-YLKXNZCO9H6PT5VMDXHM/Reap_FruitTree.jpg R&R(...&R) - REAP: FRUIT TREE, 2008 Gouache on digital print/Hahnemühle paper, 16 x 20 inches. Tree motif from mosaic at Khirbat al-Mafjar, Jericho. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500432346825-C62L8N94ROLHG5PIFBEO/Restore_Sarafiya+Star+over+the+Tigris.jpg R&R(...&R) - RESTORE: SARAFIYA STAR OVER THE TIGRIS, 2007 Gouache/Hahnemühle paper, 6 x 8.125 inches, 12 7/8 x 14 5/8 inches framed. A 13thor 14th c. Iranian tile design spans the gap of Baghdad’s al-Sarafiya Bridge that was destroyed by a truck bomb in 2007. Pairing the elegant decorative geometry of Islamic design against the contemporary geometry of engineering points to the choices we make, how we direct our expertise and ingenuity.   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500429160176-KW49MUNSVYEQOBC56UYN/06_Regret_Counting+the+Ways.jpg R&R(...&R) - REGRET: COUNTING THE WAYS, 2007 10 x16 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500432501849-8JE79TB9JC7HWZQ6JVDZ/rabbits+in+rubble.jpg R&R(...&R) - RABBITS IN THE RUBBLE, 2007 10 x 16 inches. Photo source: habeeb.com/beirut.war.lebanon.01.html These rabbits are derived from Persian miniature paintings, playing whimsical representations of the past against a sober scene of contemporary destruction. The situation becomes all the eerier through an abandoned tricycle with its plastic rabbit head, the only intact item left standing in the rubble. Violence toward the innocent becomes all the more palpable, in a still place with no human presence. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475012783-YCL80GSBFWTER2HF911O/Reveal+%28Yellow+Crash%29.jpg R&R(...&R) - REVEAL: YELLOW CRASH, 2008 Gouache and acrylic/ Hahnemühle, 16 x 10 inches. Sky details from illustration by Sultân-Muhammad for Nizâmî’s Treasury of Secrets in the Khamseh (Five Treasures) for Shâh Tahmâsp (Tabrîz 1539-43), British Library, London https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500428015651-OD4AXOWDXWRPUUZSR3WD/Romping+in+the+Ruins+13.625x9.jpg R&R(...&R) - ROMPING IN THE RUINS 13.625 x 9 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500427938330-HQTTALP65T49YQ2J2KZU/Reveal+Roaring+in+the+Rubble13.625x9.jpg R&R(...&R) - REVEAL: ROARING IN THE RUBBLE 13.625 x 9 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579621946206-RBRW0UZY72HBW5N6REKU/Recover_Illuminations%2C+2007%2Cgouache%2C+ink%2C+pastel+pencil%2C+archival+tape%2C66x42.jpg R&R(...&R) - RECOVER: Illuminatins 2007 Gouache, ink, pastel pencil, archival tape/Hahnemühle paper 66 x 42 inches Detailed motifs from Islamic manuscript illuminations are transformed into architectural supports for the façade of an apartment building damaged by war. Every edge, ledge and railing damaged by mortar fire has been redrawn or solidified with paint. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579620810465-ZDEZ67ZQZ8UID12HP1U4/Red+BAclony+and+Remore-White+Curtains+Quartet+install.jpg R&R(...&R) Recover: Illuminations Restoration: Red Balcony Remorse: White Curtains Restitution: Spectral Barriers All 66 x 42 inches. Installed at Pittsburgh Center for the Arts Photo source for all images: Photo source: http://www.habeeb.com/lebanon.photos.18.beirut.war.destruction.html https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1579621355501-DUXURJIVZ2U4AJBVPPJ6/Restitution_SpectralBarriers_HI+RES.jpg R&R(...&R) - RESTITUTION: Spectral Barriers 2006 Gouache and acrylic on Hahnemühle paper 66 x 42 inches https://www.susanneslavick.com/rrr-stations-1 daily 0.75 2017-07-19 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476996762-0R5SWMQ8XI619FM2Y08Y/Beirut+Birds+icon.jpg R&R(...&R): STATIONS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475522166-M8RH7XBHIWTL6T09QKCC/Tree_10_Reverie_HeratTree.jpg R&R(...&R): STATIONS - REVERIE: HERAT TREE 2008 Tree from A peasant lectures to the sage Abû-Sa-îd idn Abi-I-Khayr, the shayk of Mahneh, on patience, Qazwîn (Iran), 1758, Musée du Louvre, Paris The tree is derived from Muhammadî of Herat’s painting of a peasant lecturing on patience to a wise sheik. It stands vibrant, surrounded by rubble, promising new life through the nest of eggs that it shelters. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475559593-Y87RA3MQT1V1W03KTM3S/Refuge_Stork+Nest.jpg R&R(...&R): STATIONS - REFUFE: STORK NEST, 2008 Sources: Illustration to Makhzan-ül-Asrâr (Treasury of Secrets) of the Turkish poet Mevlânâ Heydar Mashad (Iran), c.1577-88, Sackler Gallery of Art, Washington, D.C.; Nabatiya, Lebanon photo by Mitchell Prother/WPN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500477518269-TJILVY2GMTH2HNMMD717/Remit_Saddams+Palace.jpg R&R(...&R): STATIONS - REMIT: SADDAM'S PALACE, 2008 Foreground from Siyãrvush receives gifts from Afrãsiyãb’s peace envoy in Shah Tahmãsp’s Shãhnãmeh, attributed to Qadîmî, c. 1530, Tehran Museum of Contemporary Art A garden gate opens to what remains of one of Saddam Hussein’s destroyed palaces, derived from a 16th century illumination showing Siyãrvush receivings gifts from Afrãsiyãb’s peace envoy, from Shah Tahmãsp’s Shãhnãmeh. “Remit” can mean to cancel, restore, defer, pardon or reduce the intensity of something. Title and image evoke the failure and hope of diplomacy—and its absolute necessity. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475758858-TPPQNO0YGDXS6M9ATBJ2/Resolute_Hawks.jpg R&R(...&R): STATIONS - RESOLUTE: HAWKS, 2008 Birds and rocks from Shah Tahmãsp’s Shãhnãmeh, Farud confronts the Iranians attributed to Qadîmî, c. 1530–35, Tehran Museum of Contemporary Art https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475842854-IN70YG5BIY9PMM75W7VV/Slavick_Rescind_Bird+in+Rubble.jpg R&R(...&R): STATIONS - RESCIND: BIRD IN RUBBLE, 2008 Bird from illustration (added in Isfahân c.1609) by Habìbul Mashhad for Attâr’s Parliament of Fowles, illustrated 1487–88 in Herât by Bihzâd, Metropolitan Museum of Art, New York; clouds from Bãrbad the concealed musician from Shah Tahmãsp’s Shãhnãmeh attributed to Mirzã ‘Ali, c.1535, The Nassir D. Khalili Collection of Islamic Art. Photo source: www.habeeb.com/beirut.war.lebanon.01.html A bird struts before the rubble of Beirut, bombed in 2006 by the IDF. Painting and digital processes are deliberately confused with elements of Persian paintings faded or magnified by Photoshop and the elaborate cloud balancing on the bird’s beak painted in gouache. It is the most physical, yet a mirage, a figment of our imagination. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500475979859-17LDQE5ODCE4VRGTG77A/13_Slavick_Regenerate_BirdNest.jpg R&R(...&R): STATIONS - REGENERATE: BIRD NEST, 2008 Source: Page from the manuscript of the Kitab al-Hayawan (Book of Animals) by al-Jahiz in the Biblioteca Ambrosiana, Milan depicting a brooding ostrich. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476016873-1WFB61NNRAEG4RCQG4X8/Reassure_BeirutBirds_3MB.jpg R&R(...&R): STATIONS - REASSURE: BEIRUT BIRDS, 2008 Birds from Kalila and Dimna of Baysonqur: The Owls and the Raven,1430, Library of the Topkapì Sarayì Museum, Istanbul https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476831423-59XDA4KXGDUT6GYBNJKH/Beirut+Birds+icon.jpg R&R(...&R): STATIONS - Detail, REASSURE: BEIRUT BIRDS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476114047-7ZCGHBPMCSLNFEDD1IN6/Release_BirdCage+8+in.jpg R&R(...&R): STATIONS - RELEASE: BIRD CAGE, 2008 Tree from The Son Who Mourned His Father: Page from a manuscript of the Mantiq al-Tayr (The Language of the Birds) of Farid al-Din cAttar, ca. 1487; Timurid, Iran (Herat), Opaque watercolor, ink, silver, and gold on paper,9.75 x 5.5 inches, Metropolitan Museum of Art, New York. The source illustration is associated with a story related by the hoopoe as a response to a bird who complains about his fear of death. In the story, a son grieves the death of his father in front of his coffin and a sufi soothes him, explaining that his father had experienced much pain and that no one can avoid death. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476356079-CYUD9YSJ5D3OLKI2R63N/Reconstruct_CanalHotel.jpg R&R(...&R): STATIONS - RECONSTRUCT: CANAL HOTEL, 2008 Architecture and cloud derived from the scene of Solomon and Bilqis Sit Together and Converse Frankly from the tragic romance of Salâmân and Absâl in Abdul-Rahman Jâmî’s Haft Awrang (Seven Thrones) in the Mashad manuscript, 1556–65, Freer Gallery of Art, Washington, D.C.; AP photo source: Wally Santana, 2003/08/19 of Canal Hotel in Baghdad The scene is the August 2003 wreckage of the Canal Hotel in Baghdad where, on August 19, 2003,at least 22 people, including the United Nations’ Special Representative in Iraq, Sérgio Vieira de Mello, were killed and over 100 were wounded. The blast targeted the U.N. Assistance Mission created just five days earlier in the hotel that the U.N. has used as its headquarters in Iraq since the early 1990s. Superimposed motifs from Jâmî’s allegorical romances and moral parables insist on beauty and civility in face of the worst human behavior. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476515755-MANOKISEO03I0QN0EW8F/Recover_Ghaziyeh.jpg R&R(...&R): STATIONS - RECOVER: GHAZIYEH, 2008 Architecture from Zulaykhâ’s castle by Bhizad for the Manuscript of the Bustân, National Egyptian Library, Cairo, Folio 52v; photo: M. Asser. Photo source: Aftermath of IDF attack on the Saleh commercial center, Ghaziyeh, Sidon inLebanon. http://en.wikipedia.org/wiki/File:Bombed_commercial_centre.jpg https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476604131-X9DJNMTXYC3SZUL486OJ/4_Revisit_Khiyam.jpg R&R(...&R): STATIONS - REVISIT: KHIYAM, 2008 Gate from The gatekeeper denies entrance by one unworthy of the garden in the Bustân by Mîrak or Bhizâd, 1488–89, National Egyptian Library, Cairo; Khiam, Lebanon photo: M. Asser https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500476642574-B1GIU5ZZDYEJ8C4FECX6/Routine_Laundry.jpg R&R(...&R): STATIONS - ROUTINE: LAUNDRY Routine: Laundry: From Bihzâd’s illustration, Caliph al-Ma’mûn in his bath for Nizâmi’s Treasury of Secrets in the Khamseh, Herât, 1494–95, British Library, London; photo source: Webshots: dersteigen151, Lebanon The laundry derived from Bihzâd’s 15th c. illumination, Caliph al-Ma’mûn in his bath, hangs above a place in Lebanon devastated by war, reminding us of how, following trauma and catastrophe, the ordinariness of our daily lives becomes extraordinary. https://www.susanneslavick.com/curatorial-1 daily 0.75 2021-04-16 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500919996116-WAGF5NULGVVOEYVZHVSD/Johnson_Massacre.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500922288035-FK9D50WF7W5ZFECAUXRP/wafaa-bilal_ASHES.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500924644820-V0J0T3JEA9MYDSLADX5Y/Fasnacht_Trummerfrau_detail_pp.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500929514363-UNOIBQQK47HGFNEJICAQ/Peter+Coffin%2C+Untitled+%28Ribbon+Rack%29%2C2012%2Caluminum+racka+nd+ribbons%2C96+x+70+inches.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500991731959-AD8IDT0PJ2PNAICIL69Z/RemnantsOfHouse_Castrejon_pp.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525831837295-GOFSDWMW9B7S22TL104C/La%CC%81zaro+Saavedra+Gonza%CC%81lez_icon.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1568732823383-M6CN1W56U0R5RO9JYDXE/Bellan+Gillen_Phantom+Limbs_Sentimental+Void%2C+2015%2C+96x164in_7MB.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136342-3VI2QGDS7K89TKP4ENRO/19029263_10212182280086064_3250369970821855079_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136589-IEOYEWEIA4AIIN3U937O/19055747_10212182279806057_9069270488554362108_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136255-6GOBP0DBQHA3S7PKEM3W/18953039_10212182278926035_2142973519844553047_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127135536-WBKHLT4L9L05AQ6GT9PV/18950977_10212182277806007_8821698322162946464_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127135881-TN6MDZQ7MEPUU0UQ12MJ/18950978_10212182280126065_4325238740989988738_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127135888-EY9MPF6T89RQ4TVBJDT7/18950998_10212182279846058_5796525181403846566_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136062-CSAT181NGFNLT74KRQIG/18951218_10212182279286044_4653552959644358827_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136147-946WTRSQ9FY3XE57JV4X/18953004_10212182278846033_8019858559517023331_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136545-4ONC4BDL1DOG89BG1GNL/19030491_10212182280446073_2042087623447869396_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127135567-ZIZ9LO8KBAPAA58JFV4T/18921969_10212182280926085_2857434132174736069_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136805-6CZGQRX63KN619ZO9E2J/19059360_10212182278366021_6503795003764702175_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127136815-0G31Q0M8H2FW9SLSGSON/19059736_10212182277886009_7095111064082449270_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127137031-4CZ73RRUZJFRUOBCCPN5/19060085_10212182279406047_1243927126558582691_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127137078-VQMQ8G26C7F5AISWVEX6/19060143_10212182278286019_8696734822452630198_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500127162867-HD94CJWBVU9ZLQJ4Z39U/1213-17_unloaded_web_image_r1_0.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925755513-UKAS16NVBQ7LDIWWX0YS/Fasnacht_LondonBlitzIII_pp.jpg CURATORIAL - Heide Fasnacht, London Blitz III, 2011 62 x 90 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925705868-LHWORQ5UDYQ3G4WM0SQ8/Fasnacht_Trummerfrau_pp.jpg CURATORIAL - Heide Fasnacht, Trummerfrau, 2010 16.25 x 12.5 x 7/8 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925736530-VWPNHJ618FLV5TAPNPBI/Fasnacht_Drone+Attack_pp.jpg CURATORIAL - Heide Fasnacht, Drone Attack, Pakistan, 2011 62 x 90 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925819954-24WFMCYGG1T9OQVRAUK0/Fasnacht_Konigsplatz_pp.jpg CURATORIAL - Heide Fasnacht, Königsplatz, 2010 12 1/2 x 16 1/4 x 7/8 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926635034-Y0HAV3UFC0NEKRRUIXZP/Fasnacht_Collecting+Point+Ellingen_pp_300dpi.jpg CURATORIAL - Heide Fasnacht, Collecting Point, Ellingen, 2010 12 1/2 x 16 1/4 x 7/8 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926796843-X6W7QCPE16WNVP44QYQX/DAAR_Facade+trio.jpg CURATORIAL - Decolonizing Art and Architecture, Project: Return to Nature: Façade I, II and III, 2007 Digital photomontage prints, 5 x 22 inches each http://www.decolonizing.ps/site/texts/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926803865-2EP92Q2RJWGQUZJ4LQ3W/from+the+holes_nolayer_ss_pp.jpg CURATORIAL - Decolonizing Art and Architecture (DAAR), Project: Return to Nature: From the Holes   15 x 20.437 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926811926-P0HB4DO6RB4SAC9A5MV7/sequence+holes_3_PP.jpg CURATORIAL - Decolonizing Art and Architecture (DAAR), 2007 15 x 18.583 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500928514261-XEAZGRY8W2ORE77WG2HE/Clayton+Repairing+Lebanon+Set+top_pp.jpg CURATORIAL - Lenka Clayton, Repairing Lebanon, 2007 Digitally altered photographs, 11.867 x 17.867 inches each http://www.lenkaclayton.com/repairing-lebanon/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500928514618-UVK7T41XGLMALPBF656U/repairing_lebanon_lenka_clayton_03_4_pp.jpg CURATORIAL - Lenka Clayton, Repairing Lebanon, 2007 Digitally altered photographs, 11.867 x 17.867 inches each http://www.lenkaclayton.com/repairing-lebanon/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500928731506-CV0U1D5S6937HIHOOEWA/Clayton_Reparing+Lebanon+duo.jpg CURATORIAL - Lenka Clayton, Repairing Lebanon, 2007 Digitally altered photographs, 11.867 x 17.867 inches each http://www.lenkaclayton.com/repairing-lebanon/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989016032-W78QGCTEPGS7OP1MF17I/Amado+Al+Fadni+To+the+Martyrs_Trio_pp.jpg CURATORIAL - Amado Alfadni, To the Martyrs I, II and III 2011, monoprints, 14 x 9.75, 10 x 13.75, and 13.75 x 10 inches. Left and right framed at 15.75 x 11.75 inches; center, 11.75 x 15.75 inches http://www.amadoalfadni.com/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985544566-QF5JQ3GB5L4ZLUZA66QP/Castrejon_Remnants+of+House.jpg CURATORIAL - Enrique Castrejon Remnants of a House, 2011, Newsprint image, glue, pencil on paper, https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985885420-HWRCBG6JG917GXBVY9ZA/Car+explosion+2.jpg CURATORIAL - Enrique Castrejon Car Explosion, 2008, adhesive tape, ink or pencil https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983246500-EPTFZA5P2CQVI5F48O66/Shanghai+Station_PP.jpg CURATORIAL - Hiro Fukawa, Shanghai Station II, 2005 20 x 62 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983414046-5EBTI4I5OTSZQ9E05VP3/5-Shanghai+Station-2f+copy.jpg CURATORIAL - Hiro Fukawa, Shanghai Station I Inkjet print, 20 x 62 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500987934829-ZGHSDAK8IRRPYXRIT59H/6.jpg CURATORIAL - Camille J. Gage War, Redacted, 2006, altered photograph, 16 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988227009-Y26PA8OKQH2SZP6BMCJD/8.jpg CURATORIAL - Camille J. Gage War, Redacted, 2006, altered photograph, 16 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989568138-SXKHPPOR0O6EHS9PS6UW/Haller8_LukeLeonard_Iraq+copy.jpg CURATORIAL - Monica Haller, Luke Leonard, Iraq, 2003 Published in 2010 as part of the Veterans Book Project, digital prints in softbound books, 12 x 6 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989572013-FEXA7DW7M9PIKANZENKK/Haller_NateLewis_Iraq.jpg CURATORIAL - Monica Haller, Nate Lewis, Iraq, 2003 Published in 2010 as part of the Veterans Book Project, digital prints in softbound books, 12 x 6 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989843507-QES7RSVZ33XVITMTNH4I/incinerated_het.jpeg CURATORIAL - Aaron Hughes, Incinerated HET, 2006 11 x14 inches From Dust Memories, 2008, edition of 10, in a clam shell box, 88 pages, ink jet print, H10.5" x W14" x T1", accordion fold, printed on both sides, total length 52 feet. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500991533123-82N7NUSTWTGNJ7RP8415/26%2BIncinerated%2BHET.png CURATORIAL - Andrew Ellis Johnson, Flower, 2005 11 x14 inches From Dust Memories, 2008, edition of 10, in a clam shell box, 88 pages, ink jet print, H10.5" x W14" x T1", accordion fold, printed on both sides, total length 52 feet. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500986704037-XTEJY30U69JI2PAKR2RP/p.+32+%28Ba%E2%80%99%29+Aluminum_pp.jpg CURATORIAL - Andrew Ellis Johnson Formal Graffiti: p. 32 (Ba’) Aluminum, 2011, archival color inkjet print on Hahnemühle paper, 12.125 x 9.125 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500986906293-ZBYFBAS15D20DF3H9FMU/p.+29+%28Fa%2C+Ayn%29+Rust_email.jpg CURATORIAL - Andrew Ellis Johnson Formal Graffiti: p. 29 (Fa, Ayn) Rust, 2011, archival color inkjet print on Hahnemühle paper, 9.125 x 12.125 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500987103564-D0Q8G3I26YQ0QIK6YNMN/p.30+%28Lam%2C+Miim%2C+Noun%2C+Ha%E2%80%99%2C+La%E2%80%99%29+Glass_pp.jpg CURATORIAL - Andrew Ellis Johnson Formal Graffiti: p. 30 (Lam, Miim, Noun, Ha’, La’) Plywood, 2011, archival color inkjet print on Hahnemühle paper, 9.125 x 12.125 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500986205717-WXGBYYHT47HO071MO3PY/Mansuri_quartet_LEFT.jpg CURATORIAL - Samina Mansuri Digar (4), Digar (17), Sidadarae (10), Olara (12), 2008, Giclee print on archival Hahnemuhle paper, 11 1/4 x 14.5 inches each   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985294887-02M9S7GNKCWZ7BFG5UJ5/July+14%2C+%2706+no.1%2C+10.5+x+11.5%2C+pastel%2C+oil+pastel%2C+pencil+on+paper%2C2006.jpg CURATORIAL - Rocio Rodriguez July 14, '06 no.1, 2006, pastel, oil pastel, pencil on paper, 10.5 x 11.5, inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985140585-YGCF3XTX22P7VVFNS4DG/July+5%2C+%2706+no.1%2C+pastel%2C+oil+pastel%2C+pencil+on+paper%2C+2006.jpg CURATORIAL - Rocio Rodriguez July 5, '06 no.1, 2006, Pastel, oil pastel, pencil on paper https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500987349159-86KTY43GFAJCFSK2514V/6777_3-4AlpharettaGA.jpg CURATORIAL - Paul Shambroom From "Shrines: Public Weapons in America," Edition of 8, UH-1 “Huey” helicopter, American Legion Post 201, Alpharetta, Georgia, 2008, Pigmented inkjet on paper, 24x30 inches Also exhibited: 24-pounder flank defense howitzer, Wood National Cemetery, Milwaukee, Wisconsin, 2009 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983688914-1AN6B3F8D7FCVHNAI5C6/Afghanistan.jpg CURATORIAL - Elin Slavick, Afghanistan I From Protesting Cartography, 30"x 22" unframed / 34" x 26" framed   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983850259-Y5XLOVV7CSEL96ZDVISE/Baghdad.jpg CURATORIAL - Elin Slavick, Baghdad, the First 24 Hours of the "Gulf War," 1990 30"x 22" unframed / 34" x 26" framed, from Protesting Cartography https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984080329-QS1CGBBS0L8YDI3XESUG/BAGHDAD+CAFE+2005.jpg CURATORIAL - Elaine Spatz-Rabinowitz Baghdad Cafe, 2005, 2010, Oil on frosted mylar mounted on Plexiglass with painted steel backing, 13 x 17.5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988355265-82VV7V60PFZ3NF9C32LP/Redoubt_pp.jpg CURATORIAL - Susanne Slavick Redoubt, 2010, gouache on archival inkjet print on Hahnemuhle paper, 8 x 6 inches, 15 x 12.625 inches framed. From R&R(...&R) series. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988577478-UW2RB0OM4MXUTRM48DZC/Resilience+II_pp.jpg CURATORIAL - Susanne Slavick Resilience II, 2008, gouache on archival inkjet print on Hahnemühle paper, 18 x 24 inches, from the R&R(...&R) series. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988778375-D41CN0AU5V4K3STFH2B6/RockingHorse_pp.jpg CURATORIAL - Susanne Slavick Rocking Horse, gouache on archival inkjet print on Hahnemühle paper, 18 x 24 inches, from the Horsepower Hubris series. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984084135-FRA8NU5P0VYL39TOR9TH/KABUL+RED+CROSS+WAREHOUSE+2001.jpg CURATORIAL - Elaine Spatz-Rabinowitz Kabul Red Cross Warehouse 2001, 2010, Oilon frosted mylar mounted on Plexiglass with painted steel backing, 14.5 x 15 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984110797-L59IUCH8YUU4UQL3ZGPO/MARKETPLACE+BOMBING+ISRAEL+1997.jpg CURATORIAL - Elaine Spatz-Rabinowitz Marketplace Bombing, Israel, 1997, 2010, Oilon frosted mylar mounted on Plexiglass with painted steel backing, 14.25 x 14 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984117542-09SO6PXS8TVLLBQEHUJV/GAZA+CITY+HOME+2006.jpg CURATORIAL - Elaine Spatz-Rabinowitz Gaza City, Home, 2006, 2010, Oilon frosted mylar mounted on Plexiglass with painted steel backing, 11 x 11.25 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525831437612-7UVHORMJ9I4DGYS0ZW38/Marx%40200+poster_FINAL.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636811358-M6N8IOBMUGJ365X76K2V/Karl-Marx-Luanda-for-cards.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636879698-32VRA0OVKS8O8B5SO43V/Chin.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636882546-91JIZJY421CY13VS3N65/LaFollette_Smoking+Marx_papers.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636884268-HBXDC18PMY46IZPJU9ZJ/Ottmar+Horl.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636885243-06RBWLBO0ASY95VS7EB5/Shinique+Smith.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636969146-X1RC587FJ7N2ERHFYI83/Fahey_Make+Revolution.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636988499-Y8N9V0GADILL6SI30ZDI/Jaar_September+15%2C+2009.jpg CURATORIAL - ALFREDO JAAR, September 15, 2009 Manila envelope with text and photograph; 13.75 x 9 inches Alfredo Jaar is a self-described news fanatic whose conceptual works attempt to decode the true meanings of images, thus exposing their subliminal effect on our consciousness. In September 15, he withholds the image, with instructions for limited viewing: “This envelope contains a photograph by Alfredo Jaar of Karl Marx’s grave in Highgate Cemetery, London. The purchaser of this work agrees to view this image only once a year, on September 15, the anniversary of the day Lehman Brothers declared bankruptcy in New York.” In 2008, Lehman Brothers was just one of the major financial institutions that were supposedly “too big to fail” in the worst global financial crisis since The Great Depression. It was the Pearl Harbor of Wall Street, but some were not surprised. Many saw the crisis as the inevitable result of the fatal flaws of capitalism. Some awaited its collapse and hoped for the revolution that Marx believed arose from such crises. Jaar describes himself as an intellectual pessimist with an optimistic will. The once-a-year access to his enveloped image is a reminder that vacillates between the promise of revolution—and its endless deferral. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637041640-SXWSUYKFLC7Q76DQU9BH/Bollinger+The+Lot+Install+hi+res.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637053452-43U12C7SI1O0NIQK0QM1/Lungiswa+Gqunta_Together%2C+hand+in+hand%2C+with+our+matches+and+our+necklaces%2C+we+shall+liberate+this+country%E2%80%99+13+April+1986+-+Winnie+Madikizela+Mandela.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637971847-IHQQCCAGSNPHAYCLR5PN/31671315_10215108804887355_8275462665749397504_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637972184-9Q8VHXAS9Q1PUG2WZV3I/31732033_10215108808647449_3198771073738866688_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637973883-2ZRJAXNBEMP7515I7U6V/31389385_10215087394712114_9047625763263610880_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637973510-1S5U9XW4PL01CNBUOQAI/31113540_10215030740415792_8304227564969263104_n.jpg CURATORIAL - MICHAEL MALLIS, Natural Selection: The Rise of the Proletariat, 2008 Natural Selection: The Rise of the Proletariat, one of Michael Mallis’ first animations, presents an absurdist encounter between Karl Marx and Charles Darwin—two major revolutionary thinkers of the 19th century. The men did not know each other personally, but, in 1860, Marx praises The Origins of the Species: “Darwin’s work is most important and suits my purpose in that it provides a basis in natural science for the historical class struggle.” Mallis shows all kinds of struggle in his animation, set on the Galápagos Islands. It begins with an exhausted proletariat and a bourgeoisie celebrating its greatness and proceeds through a dubious evolution and a frenzied revolution. Once equality is attained, de-evolution ensues, ending with a dictatorship of the proletariat and Marx hammering away on a mountaintop. Pools of blood blossom continuously, accompanied by a mournful accordion and nonsensical yodeling. Darwin and Marx are both to blame, and Darwin ends up dead, too. Though Darwin never finished reading Das Kapital, he politely wrote to its author: “Though our studies have been so different, I believe that we both earnestly desire the extension of Knowledge, & that this is in the long run sure to add to the happiness of mankind.” With the resurgence of social Darwinism and the continued abuses of capitalism, Mallis is not so sure. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637977494-HNG4EDX4ANNZ4K2VWXQD/30738185_10215017691369574_2711475053681180672_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637977599-YHNNU44AI9XM0TWOOYCP/30708017_10215017696129693_5796515101364191232_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637984495-Z16CFAQ2JI6S3DAM20K7/30704054_10215017693329623_6288073326707343360_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637983486-PMHSN28TBMI9Q2EPFQDK/30741914_10215017701489827_2141409812624179200_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637985984-1AKGR7SECQ41FA9AEGTG/30738107_10215017688929513_9122899162524811264_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637988861-OYW5WQIKEE4N8JY4RFKX/30594824_10214956196352237_3603814119276281856_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637993806-5NRGAMPBY8PJSABJUJUY/30595094_10214956198032279_5817472394285023232_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637993857-G0HHMO9PGR7A53YMXOR7/30414574_10214945885734478_744676432101244928_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637994454-9H8SA1UEEVD3YOG9HXZ8/30412648_10214945885254466_3589536312249548800_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637994557-R4DL5RVEXS13VO8Q26IK/30415174_10214943570596601_7993928998310641664_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637994957-OLY54IS0Z9NXHNUTZEOR/30264727_10214943569596576_2801053000435499008_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637995665-PCH5H71MWMZQ1SYD0BGT/30440728_10214943569756580_4350678334703665152_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637995775-AFS75FO1LBMYA2PR2Y1Z/30264761_10214943569476573_4211960425870262272_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637996359-UBXF3INVGI4R68W71J0T/30412169_10214943569436572_6133638685133897728_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637996262-XZT14B0E10TXXIEH5IT3/30414904_10214943470514099_5454268837086101504_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637996982-41IAKFTZ5PGC4DFCTS25/30265085_10214943470634102_4589229365308424192_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637997084-PNJZ3PWOGHEZW5KABET4/30415191_10214943470554100_2600177435836153856_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637997384-O9DZMLG5S7RH6WFPE6SN/30414590_10214942902579901_49027983691743232_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637997442-KELMVK33WNBOU3J3NJJY/30441822_10214942902259893_3633525530503938048_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637997789-LJUH7TR3MTM993M3VYLF/30412500_10214942887779531_305173480968552448_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637997859-MZBCWKJ2O4Y0VEBCF8LP/30412101_10214942885499474_2964948617443409920_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637998339-62CLCSVOOYI0KKZMP9FJ/30264884_10214942881979386_9093203445107654656_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637998396-96ALQYOARJ13QKVGOKUC/30265001_10214942880219342_5920901052223193088_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637998692-UMMJTE8F5J1TNB5ZPCA7/30414787_10214942879339320_1758712597164589056_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637999067-HH5GD9LS1YPZ1KQPU1UH/30415145_10214943583676928_8512570832155836416_o.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638334986-3QBIEFSVTD9R25RNTP4N/31946974_10215144734585575_1176528646320422912_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638334886-3CLGIHTA67P4LQAOMI3P/31946293_10215144734105563_2642959523467231232_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638335307-CT9N6XP0F5VXO1TJ1PFW/31944785_10215144732025511_8940637414955679744_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638335381-9GIEPGH45XYC0F7EIZQI/31945598_10215144730745479_6945392022383493120_n.jpg CURATORIAL - MICHAEL MALLIS, Natural Selection: The Rise of the Proletariat, 2008 Video, 7:15 Natural Selection: The Rise of the Proletariat, one of Michael Mallis’ first animations, presents an absurdist encounter between Karl Marx and Charles Darwin—two major revolutionary thinkers of the 19th century. The men did not know each other personally, but, in 1860, Marx praises The Origins of the Species: “Darwin’s work is most important and suits my purpose in that it provides a basis in natural science for the historical class struggle.” Mallis shows all kinds of struggle in his animation, set on the Galápagos Islands. It begins with an exhausted proletariat and a bourgeoisie celebrating its greatness and proceeds through a dubious evolution and a frenzied revolution. Once equality is attained, de-evolution ensues, ending with a dictatorship of the proletariat and Marx hammering away on a mountaintop. Pools of blood blossom continuously, accompanied by a mournful accordion and nonsensical yodeling. Darwin and Marx are both to blame, and Darwin ends up dead, too. Though Darwin never finished reading Das Kapital, he politely wrote to its author: “Though our studies have been so different, I believe that we both earnestly desire the extension of Knowledge, & that this is in the long run sure to add to the happiness of mankind.” With the resurgence of social Darwinism and the continued abuses of capitalism, Mallis is not so sure. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638579147-T0DN54FRMCC9604MEMRM/MarxEngelsSupportGroupopti.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638585134-M5XF2YDE8EUAFGUM8ZUF/climateprintweb.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638652930-WP20FWF8EUN09G2VZ3OV/BIENKO_Warhol_Marx200_lo.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638710507-XZZTE8DKCCW9VDM5UU5G/30516490_10214942878299294_7376725039481094144_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638710508-M0WJ6Y941CVN4R2UMFKX/30442748_10214942878379296_2198122390456631296_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638711241-I6VAEDK5TF08CXXGH8PD/30412016_10214942878059288_8540949351822786560_n.jpg CURATORIAL https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603732095-NYCTCJWMBPT66ONP8TU2/When+the+Bough+Breaks_Charlton_YORK.jpg CURATORIAL - Flier for WHEN THE BOUGH BREAKS at York College https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603781602-72CDBNN9XVJ6IAW9158B/When+the+Bough+Breaks_Harvey.jpg CURATORIAL - Flier for WHEN THE BOUGH BREAKS at GALLERY 937 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603826657-L2EBK0BIC6MRX03RUFR4/IMG_1630.jpg CURATORIAL - WHEN THE BOUGH BREAKS at YORK COLLEGE Marketview Arts Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603861189-UCUF9BUZ1FWXADO1K4NI/IMG_1644.jpg CURATORIAL - WHEN THE BOUGH BREAKS at YORK COLLEGE Zoe Charlton, Les Demoiselles (The Great Outdoors) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603921037-1OU25F0E3X6JCA4CMH0S/IMG_1642.jpg CURATORIAL - WHEN THE BOUGH BREAKS at YORK COLLEGE Patricia Bellan-Gillen, Phantom Limbs: Sentimental Void, 2015 Colored pencil, acrylic, gouache on birch; 96 x 164 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603927623-4FJ20GGSW9WLD4ED895V/IMG_1650.jpg CURATORIAL - WHEN THE BOUGH BREAKS at YORK COLLEGE Denise Burge, Flotsam, 2018, Fabric, embroidery, and paint; 55 x 89 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603930043-SRTOPIBBOCHPUXRKISP9/IMG_1651.jpg CURATORIAL - WHEN THE BOUGH BREAKS at YORK COLLEGE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603933337-KREKIN5NO5W3D064EBPJ/IMG_1652.jpg CURATORIAL - WHEN THE BOUGH BREAKS at YORK COLLEGE Left: Alex Lukas, Tree Graffiti, 2018 , Acrylic and screen prints on paper; 19 x 13 inches each Middle: Susanne Slavick, Recuperation: Nocturnal, 2007, Oil and acrylic on panels; 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603955388-KHX4G4VU2CYWZCQNX20W/IMG_1635.jpg CURATORIAL - ALEX LUKAS Detail from Tree Graffiti, 2018 Acrylic and screen prints on paper; 19 x 13 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604306619-9J3MYEY2ABZE9LP59STJ/IMG_1793.jpeg CURATORIAL - WHEN THE BOUGH BREAKS at GALLERY 937 Right image: Lavar Munroe, Spy Boy, 2018 Acrylic and earring stud on untrimmed canvas; 68 x 48 inches Courtesy Jenkins Johnson https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604347831-GWKWOV1IR4MH5D0L022J/IMG_1786.jpeg CURATORIAL - WHEN THE BOUGH BREAKS at GALLERY 937 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604370980-S4ONXTK22SE430NVKGU9/IMG_1792.jpeg CURATORIAL - WHEN THE BOUGH BREAKS at GALLERY 937 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604423176-1CKKJ3WE0KJ6982P0VVF/IMG_1782.jpeg CURATORIAL - WHEN THE BOUGH BREAKS at GALLERY 937 Sarah Slavick, Elegy to the Underground series, 2019, 30 x 22 inches each Ellen Harvey, New Forest, 2013 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604455173-ZC3J6M41IQILF7P11NSJ/IMG_1787.jpeg CURATORIAL - WHEN THE BOUGH BREAKS at GALLERY 937 Left to right: Susanne Slavick, Zoe Charlton, Alex Lukas https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611605410965-3L71N95MHR9AD97K0ZNO/IMG_1783.jpeg CURATORIAL - WHEN THE BOUGH BREAKS at GALLERY 937 Clayton Merrell, Greenhouse Ricochet and Flooded Flames Both 2016, Oil on canvas; 48 x 36 inches Diminishing Conversation, 2018, Gouache on paper; 30 x 22 inches https://www.susanneslavick.com/cutting-losses-1 daily 0.75 2017-07-24 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925755513-UKAS16NVBQ7LDIWWX0YS/Fasnacht_LondonBlitzIII_pp.jpg CUTTING LOSSES - Heide Fasnacht, London Blitz III, 2011 62 x 90 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925755513-UKAS16NVBQ7LDIWWX0YS/Fasnacht_LondonBlitzIII_pp.jpg CUTTING LOSSES - Heide Fasnacht, London Blitz III, 2011 62 x 90 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925705868-LHWORQ5UDYQ3G4WM0SQ8/Fasnacht_Trummerfrau_pp.jpg CUTTING LOSSES - Heide Fasnacht, Trummerfrau, 2010 16.25 x 12.5 x 7/8 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925736530-VWPNHJ618FLV5TAPNPBI/Fasnacht_Drone+Attack_pp.jpg CUTTING LOSSES - Heide Fasnacht, Drone Attack, Pakistan, 2011 62 x 90 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500925819954-24WFMCYGG1T9OQVRAUK0/Fasnacht_Konigsplatz_pp.jpg CUTTING LOSSES - Heide Fasnacht, Königsplatz, 2010 12 1/2 x 16 1/4 x 7/8 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926635034-Y0HAV3UFC0NEKRRUIXZP/Fasnacht_Collecting+Point+Ellingen_pp_300dpi.jpg CUTTING LOSSES - Heide Fasnacht, Collecting Point, Ellingen, 2010 12 1/2 x 16 1/4 x 7/8 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926796843-X6W7QCPE16WNVP44QYQX/DAAR_Facade+trio.jpg CUTTING LOSSES - Decolonizing Art and Architecture, Project: Return to Nature: Façade I, II and III, 2007 Digital photomontage prints, 5 x 22 inches each http://www.decolonizing.ps/site/texts/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926803865-2EP92Q2RJWGQUZJ4LQ3W/from+the+holes_nolayer_ss_pp.jpg CUTTING LOSSES - Decolonizing Art and Architecture (DAAR), Project: Return to Nature: From the Holes   15 x 20.437 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500926811926-P0HB4DO6RB4SAC9A5MV7/sequence+holes_3_PP.jpg CUTTING LOSSES - Decolonizing Art and Architecture (DAAR), 2007 15 x 18.583 inches http://www.kentfineart.net/attachment/en/5374fae0a9aa2cd3748b4568/News/53974716bbc1385c7ba10276 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500928514261-XEAZGRY8W2ORE77WG2HE/Clayton+Repairing+Lebanon+Set+top_pp.jpg CUTTING LOSSES - Lenka Clayton, Repairing Lebanon, 2007 Digitally altered photographs, 11.867 x 17.867 inches each http://www.lenkaclayton.com/repairing-lebanon/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500928514618-UVK7T41XGLMALPBF656U/repairing_lebanon_lenka_clayton_03_4_pp.jpg CUTTING LOSSES - Lenka Clayton, Repairing Lebanon, 2007 Digitally altered photographs, 11.867 x 17.867 inches each http://www.lenkaclayton.com/repairing-lebanon/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500928731506-CV0U1D5S6937HIHOOEWA/Clayton_Reparing+Lebanon+duo.jpg CUTTING LOSSES - Lenka Clayton, Repairing Lebanon, 2007 Digitally altered photographs, 11.867 x 17.867 inches each http://www.lenkaclayton.com/repairing-lebanon/ https://www.susanneslavick.com/maximum-minimum-in-unum-1 daily 0.75 2017-07-24 https://www.susanneslavick.com/no-glory-1 daily 0.75 2017-07-25 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989016032-W78QGCTEPGS7OP1MF17I/Amado+Al+Fadni+To+the+Martyrs_Trio_pp.jpg NO GLORY - Amado Alfadni, To the Martyrs I, II and III 2011, monoprints, 14 x 9.75, 10 x 13.75, and 13.75 x 10 inches. Left and right framed at 15.75 x 11.75 inches; center, 11.75 x 15.75 inches http://www.amadoalfadni.com/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989016032-W78QGCTEPGS7OP1MF17I/Amado+Al+Fadni+To+the+Martyrs_Trio_pp.jpg NO GLORY - Amado Alfadni, To the Martyrs I, II and III 2011, monoprints, 14 x 9.75, 10 x 13.75, and 13.75 x 10 inches. Left and right framed at 15.75 x 11.75 inches; center, 11.75 x 15.75 inches http://www.amadoalfadni.com/ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985544566-QF5JQ3GB5L4ZLUZA66QP/Castrejon_Remnants+of+House.jpg NO GLORY - Enrique Castrejon Remnants of a House, 2011, Newsprint image, glue, pencil on paper, https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985885420-HWRCBG6JG917GXBVY9ZA/Car+explosion+2.jpg NO GLORY - Enrique Castrejon Car Explosion, 2008, adhesive tape, ink or pencil https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983246500-EPTFZA5P2CQVI5F48O66/Shanghai+Station_PP.jpg NO GLORY - Hiro Fukawa, Shanghai Station II, 2005 20 x 62 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983414046-5EBTI4I5OTSZQ9E05VP3/5-Shanghai+Station-2f+copy.jpg NO GLORY - Hiro Fukawa, Shanghai Station I Inkjet print, 20 x 62 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500987934829-ZGHSDAK8IRRPYXRIT59H/6.jpg NO GLORY - Camille J. Gage War, Redacted, 2006, altered photograph, 16 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988227009-Y26PA8OKQH2SZP6BMCJD/8.jpg NO GLORY - Camille J. Gage War, Redacted, 2006, altered photograph, 16 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989568138-SXKHPPOR0O6EHS9PS6UW/Haller8_LukeLeonard_Iraq+copy.jpg NO GLORY - Monica Haller, Luke Leonard, Iraq, 2003 Published in 2010 as part of the Veterans Book Project, digital prints in softbound books, 12 x 6 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989572013-FEXA7DW7M9PIKANZENKK/Haller_NateLewis_Iraq.jpg NO GLORY - Monica Haller, Nate Lewis, Iraq, 2003 Published in 2010 as part of the Veterans Book Project, digital prints in softbound books, 12 x 6 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500989843507-QES7RSVZ33XVITMTNH4I/incinerated_het.jpeg NO GLORY - Aaron Hughes, Incinerated HET, 2006 11 x14 inches From Dust Memories, 2008, edition of 10, in a clam shell box, 88 pages, ink jet print, H10.5" x W14" x T1", accordion fold, printed on both sides, total length 52 feet. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500991533123-82N7NUSTWTGNJ7RP8415/26%2BIncinerated%2BHET.png NO GLORY - Andrew Ellis Johnson, Flower, 2005 11 x14 inches From Dust Memories, 2008, edition of 10, in a clam shell box, 88 pages, ink jet print, H10.5" x W14" x T1", accordion fold, printed on both sides, total length 52 feet. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500986704037-XTEJY30U69JI2PAKR2RP/p.+32+%28Ba%E2%80%99%29+Aluminum_pp.jpg NO GLORY - Andrew Ellis Johnson Formal Graffiti: p. 32 (Ba’) Aluminum, 2011, archival color inkjet print on Hahnemühle paper, 12.125 x 9.125 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500986906293-ZBYFBAS15D20DF3H9FMU/p.+29+%28Fa%2C+Ayn%29+Rust_email.jpg NO GLORY - Andrew Ellis Johnson Formal Graffiti: p. 29 (Fa, Ayn) Rust, 2011, archival color inkjet print on Hahnemühle paper, 9.125 x 12.125 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500987103564-D0Q8G3I26YQ0QIK6YNMN/p.30+%28Lam%2C+Miim%2C+Noun%2C+Ha%E2%80%99%2C+La%E2%80%99%29+Glass_pp.jpg NO GLORY - Andrew Ellis Johnson Formal Graffiti: p. 30 (Lam, Miim, Noun, Ha’, La’) Plywood, 2011, archival color inkjet print on Hahnemühle paper, 9.125 x 12.125 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500986205717-WXGBYYHT47HO071MO3PY/Mansuri_quartet_LEFT.jpg NO GLORY - Samina Mansuri Digar (4), Digar (17), Sidadarae (10), Olara (12), 2008, Giclee print on archival Hahnemuhle paper, 11 1/4 x 14.5 inches each   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985294887-02M9S7GNKCWZ7BFG5UJ5/July+14%2C+%2706+no.1%2C+10.5+x+11.5%2C+pastel%2C+oil+pastel%2C+pencil+on+paper%2C2006.jpg NO GLORY - Rocio Rodriguez July 14, '06 no.1, 2006, pastel, oil pastel, pencil on paper, 10.5 x 11.5, inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500985140585-YGCF3XTX22P7VVFNS4DG/July+5%2C+%2706+no.1%2C+pastel%2C+oil+pastel%2C+pencil+on+paper%2C+2006.jpg NO GLORY - Rocio Rodriguez July 5, '06 no.1, 2006, Pastel, oil pastel, pencil on paper https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500987349159-86KTY43GFAJCFSK2514V/6777_3-4AlpharettaGA.jpg NO GLORY - Paul Shambroom From "Shrines: Public Weapons in America," Edition of 8, UH-1 “Huey” helicopter, American Legion Post 201, Alpharetta, Georgia, 2008, Pigmented inkjet on paper, 24x30 inches Also exhibited: 24-pounder flank defense howitzer, Wood National Cemetery, Milwaukee, Wisconsin, 2009 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983688914-1AN6B3F8D7FCVHNAI5C6/Afghanistan.jpg NO GLORY - Elin Slavick, Afghanistan I From Protesting Cartography, 30"x 22" unframed / 34" x 26" framed   https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500983850259-Y5XLOVV7CSEL96ZDVISE/Baghdad.jpg NO GLORY - Elin Slavick, Baghdad, the First 24 Hours of the "Gulf War," 1990 30"x 22" unframed / 34" x 26" framed, from Protesting Cartography https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984080329-QS1CGBBS0L8YDI3XESUG/BAGHDAD+CAFE+2005.jpg NO GLORY - Elaine Spatz-Rabinowitz Baghdad Cafe, 2005, 2010, Oil on frosted mylar mounted on Plexiglass with painted steel backing, 13 x 17.5 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988355265-82VV7V60PFZ3NF9C32LP/Redoubt_pp.jpg NO GLORY - Susanne Slavick Redoubt, 2010, gouache on archival inkjet print on Hahnemuhle paper, 8 x 6 inches, 15 x 12.625 inches framed. From R&R(...&R) series. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988577478-UW2RB0OM4MXUTRM48DZC/Resilience+II_pp.jpg NO GLORY - Susanne Slavick Resilience II, 2008, gouache on archival inkjet print on Hahnemühle paper, 18 x 24 inches, from the R&R(...&R) series. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500988778375-D41CN0AU5V4K3STFH2B6/RockingHorse_pp.jpg NO GLORY - Susanne Slavick Rocking Horse, gouache on archival inkjet print on Hahnemühle paper, 18 x 24 inches, from the Horsepower Hubris series. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984084135-FRA8NU5P0VYL39TOR9TH/KABUL+RED+CROSS+WAREHOUSE+2001.jpg NO GLORY - Elaine Spatz-Rabinowitz Kabul Red Cross Warehouse 2001, 2010, Oilon frosted mylar mounted on Plexiglass with painted steel backing, 14.5 x 15 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984110797-L59IUCH8YUU4UQL3ZGPO/MARKETPLACE+BOMBING+ISRAEL+1997.jpg NO GLORY - Elaine Spatz-Rabinowitz Marketplace Bombing, Israel, 1997, 2010, Oilon frosted mylar mounted on Plexiglass with painted steel backing, 14.25 x 14 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1500984117542-09SO6PXS8TVLLBQEHUJV/GAZA+CITY+HOME+2006.jpg NO GLORY - Elaine Spatz-Rabinowitz Gaza City, Home, 2006, 2010, Oilon frosted mylar mounted on Plexiglass with painted steel backing, 11 x 11.25 inches https://www.susanneslavick.com/pillow-talk-1 daily 0.75 2017-08-01 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602947570-E35RHNFKIBCCLWKQH19L/Pillow1.jpg PILLOW TALK - PILLOW TALK I, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602947570-E35RHNFKIBCCLWKQH19L/Pillow1.jpg PILLOW TALK - PILLOW TALK I, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602954045-EKDWLA8GOYWQRNJK55RG/Pillow2.jpg PILLOW TALK - PILLOW TALK II, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602955610-D9H2OTFH4BIXAVKSQNZ2/Pillow3.jpg PILLOW TALK - PILLOW TALK III, 2003 Oil and acrylic on wood panel, 28 x 36 inches On loan to Ayanah Moor https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602947552-NHDCBIK4RRY8Z58XI2XG/HeadsWilRoll_2003_80x71in.jpg PILLOW TALK - HEADS WILL ROLL, 2003 Oil and acrylic on two wood panels, 80 x 71 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501603444109-0FUB7GP1RA6DNABVXKCB/Pillow+4.jpg PILLOW TALK - PILLOW TALK IV, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602964776-AQAJYO8BR0YPJIHXOOZL/Pillow5.jpg PILLOW TALK - PILLOW TALK V, 2003 Oil and acrylic on wood panel, 28 x 36 inches On loan to Ayanah Moor https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1501602966194-RE7XFQOCA59QKPHBW45V/Pillow6.jpg PILLOW TALK - PILLOW TALK VI, 2003 Oil and acrylic on wood panel, 28 x 36 inches https://www.susanneslavick.com/targets-1 daily 0.75 2024-04-12 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511106939698-X2PJWZFPB3PVCZ1B43Q2/%28Re%29Setting+Sights5_pink_2002_22x30in_pp.jpg TARGETS - (RE)SETTINGS SIGHTS V, 2002 Screenprint on Stonehenge paper, 22 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511106939698-X2PJWZFPB3PVCZ1B43Q2/%28Re%29Setting+Sights5_pink_2002_22x30in_pp.jpg TARGETS - (RE)SETTINGS SIGHTS V, 2002 Screenprint on Stonehenge paper, 22 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511106911051-FXXRQUQH8CY1G6P0OK3X/%28Re%29SettingSights_2002_pink_SET_20MB.jpg TARGETS - (RE)SETTING SIGHTS I-VI, 2002 Screenprints on Stonehenge paper, 22” x 30” each. 27 1/2” x 35 3/4" framed. Printed at Artists Image Resource, Pittsburgh. (Re)setting Sights suggests just that — a reconsideration of our targets, both metaphorical and real. The work speaks to both domestic violence and gun violence, painful issues that have plagued our country over numerous election cycles including this one. The pillow is an object of domestic comfort. In bed or in our homes, where we are our most intimate and vulnerable selves, we should be safe. But in the USA, 1 in 3 women and 1 in 4 men have been victimized by physical violence by an intimate partner within their lifetimes. And, on average, 297 people in America are shot every day in murders, assaults, suicides & suicide attempts, unintentional shootings, and police interventions. I wish that our aim would inspire rather than inflict—and nurture rather than annihilate. In layering several modes of representation, "(Re)setting Sights" injects doubts about its own claims. Artifice lies upon artifice. The image borrows hand-drawn observations etched by Albrecht Durer, which were then photographed and screened onto real pillowcases, slipped over real pillows and then subjected to a simulated impact of a punch or bullet. They were then re-photographed and digitally manipulated. When framed, a gun reticle is printed on the glass that hovers above the print. In one print, an actual bullet pierces the glass. Perhaps these multiple and contradictory deceptions, like double negatives, can convert to a positive recalibration or refocus of our individual and collective aims. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107676497-V4TG1LAJUQ25AE9WKMKW/%28Re%29SettingSights1_pink_2002-22x30in.jpg TARGETS - (RE)SETTINGS SIGHTS I, 2002 Screenprint on Stonehenge. 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107038788-7UK6WJR7HMHT4T2UP7M8/%28Re%29SettingSights3_pink_2002_22x30in.jpg TARGETS - (RE)SETTINGS SIGHTS III, 2002 Screenprint on Stonehenge, 22 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107140024-AZWA7OHS7NXBAHVK15C0/%28Re%29SettingSights4_pink_2002_22x30in.jpg TARGETS - (RE)SETTING SIGHTS IV, 2002 Screenprint on Stonehenge, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107147706-YLEE8R5LJ02AJXUDVR0F/%28Re%29SettingSights6_pink_2002_22x30in.jpg TARGETS - (RE)SETTINGS SIGHTS VI, 2002 Screenprint on Stonehenge. 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511109778693-HHWYQUW8QT8WPKSDUBGE/160429__MG_0682.jpg TARGETS - Detail of (RE)SETTINGS SIGHTS at UICA https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511109791638-YM3R8DOB0P3QKIO8WLOB/160429__MG_0683.jpg TARGETS - Detail of (RE)SETTINGS SIGHTS at UICA https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107236902-P7V2B7S905EOW3HA77OA/%28Re%29SettingSightsBW_SET_2002_20MB.jpg TARGETS - (RE)SETTING SIGHTS I-VI, 2002 Screenprints on Stonehenge paper, 22” x 30” each. 27 1/2” x 35 3/4" framed. Printed at Artists Image Resource, Pittsburgh. (Re)setting Sights suggests just that — a reconsideration of our targets, both metaphorical and real. The work speaks to both domestic violence and gun violence, painful issues that have plagued our country over numerous election cycles including this one. The pillow is an object of domestic comfort. In bed or in our homes, where we are our most intimate and vulnerable selves, we should be safe. But in the USA, 1 in 3 women and 1 in 4 men have been victimized by physical violence by an intimate partner within their lifetimes. And, on average, 297 people in America are shot every day in murders, assaults, suicides & suicide attempts, unintentional shootings, and police interventions. I wish that our aim would inspire rather than inflict—and nurture rather than annihilate. In layering several modes of representation, "(Re)setting Sights" injects doubts about its own claims. Artifice lies upon artifice. The image borrows hand-drawn observations etched by Albrecht Durer, which were then photographed and screened onto real pillowcases, slipped over real pillows and then subjected to a simulated impact of a punch or bullet. They were then re-photographed and digitally manipulated. When framed, a gun reticle is printed on the glass that hovers above the print. In one print, an actual bullet pierces the glass. Perhaps these multiple and contradictory deceptions, like double negatives, can convert to a positive recalibration or refocus of our individual and collective aims. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107777627-6TY84P9TRVS8P4MZVVIK/bullet+detail.JPG TARGETS - (RE)SETTINGS SIGHTS, 2002 Detail of bullet piercing plexiglass of frame. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107897081-IH70X1VO3N9LUSJLQ2NJ/%28Re%29SettingSights2_white_2002_22x30in.jpg TARGETS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511107903552-C632AHXL0X71MJIR4YRY/%28Re%29SettingSights3_black_2002_22x30in.jpg TARGETS - (RE)SETTINGS SIGHTS III, 2002 (black) Screenprint on Stonehenge, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108112662-2SI35SXPJ7G4QV1OPNXR/%28Re%29SettingSights5_2002_pp_22x30in.jpg TARGETS - (RE)SETTINGS SIGHTS V, 2002 (black) Screenprint on Stonehenge, 22 x 30 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108256883-O6M58TV5R566Q739N5JU/Romantic+Resistance_UICA.jpg TARGETS - ROMANTIC RESISTANCE 2002 Oil and acrylic on 15 circular panels, 68 x 40 inches installed. ROMANTIC RESISTANCE addresses violence on the domestic front, and violence that confuses instincts regarding pain and pleasure. A necklace of pearls, representing beauty born of pain, remains coherent despite the gaps in its arrangement. The strand persists despite the bullet holes that pierce each panel. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108274790-6BNPI1TX2UIBD8CJGWR8/Romantic+Resistance+Detail.jpg TARGETS - Detail of ROMANTIC RESISTANCE 2002 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511108276526-B0RCF73LJ5HW8XZAHAEA/Romantic+Resistance+Detail+single.jpg TARGETS - Detail of ROMANTIC RESISTANCE 2002 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110362203-6PDAOOHZZLQWQ5BHOTK6/Sleep+Tight_etching.jpg TARGETS - SLEEP TIGHT 2002 Two color Intaglio, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed This series, based on Albrecht Dürer's Six Studies of Pillows, extends a body of work that portrays mattresses, pillows or cushions, typically soft (and often gendered as female) objects and sites that are both functional and sentimental. The respite they normally provide is disrupted through bifurcation, punctures, amputations and other acts infused with ideological zealotry, violence, or ‘acts of passion.’ https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110389375-OL8BSHC35T4B7M6NE0FY/Sleep+Tight_silver.jpg TARGETS - SLEEP TIGHT 2002 Intaglio with silver and red ink, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed This series, based on Albrecht Dürer's Six Studies of Pillows, extends a body of work that portrays mattresses, pillows or cushions, typically soft (and often gendered as female) objects and sites that are both functional and sentimental. The respite they normally provide is disrupted through bifurcation, punctures, amputations and other acts infused with ideological zealotry, violence, or “acts of passion’. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110362214-UGPSBGCNZV9ZHV9PMY7E/Sleep+Tight+II.jpg TARGETS - SLEEP TIGHT 2002 Hand-colored etching, mixed media, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1511110386524-K0Q7S0T9OYARG4PRY2XZ/Sleep+Tight.jpg TARGETS - SLEEP TIGHT 2002 Hand-colored etching, mixed media, 11.5 x 8.5 inches imprint. 31.25 x 24 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1712929836697-FD2LEB80ICG7RX6YZ8WE/Front+cover.jpg TARGETS - ART, ACTIVISM, AND SEXUAL VIOLENCE Published by University of Washington Press Edited by Sally L. Kitch and Dawn R. Gilpin Includes my work on the cover and an essay, Resetting Sights. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1712929836648-NLB2XEKJT3VR89E8KTVN/Back+cover.jpg TARGETS - BACK COVER OF ART, ACTIVISM, AND SEXUAL VIOLENCE Published by University of Washington Press Edited by Sally L. Kitch and Dawn R. Gilpin Includes my work on the cover and an essay, Resetting Sights. https://www.susanneslavick.com/miracles-and-massacres daily 0.75 2017-12-02 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246766401-ND1FPLB8UBTSSNX48GQV/Recuperation_Diurnalj.jpg MIRACLES AND MASSACRES - RECUPERATION (DIURNAL), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches The convalescing Cedar of Lebanon in Recuperation simultaneously embodies bleak realism and hopeful romanticism. It is a metaphor for the damage we do to ourselves and how we try to recover. Pale atmosphere alternates with raw flesh color, suggesting both cruelty and compassion. In 2006, I visited Isola Bella on Lago Maggiore in Italy. That summer, the gardens were in disarray caused by a freak tornado, including an uprooted ancient Cedar of Lebanon. Maintenance workers and gardeners had propped up this huge specimen with pulleys, slings, and guy ropes. Bandages wrapping limbs and sprinkler systems suspended in branches contributed further to its potential resuscitation. At the time of making this painting, they were still waiting for the results. I photographed this poignant spectacle partly because it coincided with my prior research into landscapes of ruin, especially those devastated by war. That summer, the world watched as the 2006 Lebanon War decimated the country, all while the larger war in Iraq raged. The Lebanese town of Qana (or Cana) was attacked for the second time in a decade and suffered extraordinary numbers of civilian deaths. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246766401-ND1FPLB8UBTSSNX48GQV/Recuperation_Diurnalj.jpg MIRACLES AND MASSACRES - RECUPERATION (DIURNAL), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches The convalescing Cedar of Lebanon in Recuperation simultaneously embodies bleak realism and hopeful romanticism. It is a metaphor for the damage we do to ourselves and how we try to recover. Pale atmosphere alternates with raw flesh color, suggesting both cruelty and compassion. In 2006, I visited Isola Bella on Lago Maggiore in Italy. That summer, the gardens were in disarray caused by a freak tornado, including an uprooted ancient Cedar of Lebanon. Maintenance workers and gardeners had propped up this huge specimen with pulleys, slings, and guy ropes. Bandages wrapping limbs and sprinkler systems suspended in branches contributed further to its potential resuscitation. At the time of making this painting, they were still waiting for the results. I photographed this poignant spectacle partly because it coincided with my prior research into landscapes of ruin, especially those devastated by war. That summer, the world watched as the 2006 Lebanon War decimated the country, all while the larger war in Iraq raged. The Lebanese town of Qana (or Cana) was attacked for the second time in a decade and suffered extraordinary numbers of civilian deaths. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246772794-ZRJLEZ528WNB3LJJ7EE6/Recuperation+detail+8.jpg MIRACLES AND MASSACRES - RECUPERATION (DIURNAL) detail Oil, acrylic and Galkyd on three panels, 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246836205-S5WEDP7WL1ECN90BFCXY/Recuperation+detail+4.jpg MIRACLES AND MASSACRES - RECUPERATION (DIURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246875733-AWASG79J1IRI9FEQ7BWH/Recuperation+detail+3.jpg MIRACLES AND MASSACRES - RECUPERATION (DIURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246913005-3AAFAI2SN78O568GYYEZ/Recuperation+detail.jpg MIRACLES AND MASSACRES - RECUPERATION (DIURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246969524-NIMZ4OH0CDZUOOF6IE0S/03_Recuperation_Nocturnal+copy.jpg MIRACLES AND MASSACRES - RECUPERATION (NOCTURNAL) 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches The convalescing Cedar of Lebanon in Recuperation simultaneously embodies bleak realism and hopeful romanticism. It is a metaphor for the damage we do to ourselves and how we try to recover. Pale atmosphere alternates with raw flesh color, suggesting both cruelty and compassion. In 2006, I visited Isola Bella on Lago Maggiore in Italy. That summer, the gardens were in disarray caused by a freak tornado, including an uprooted ancient Cedar of Lebanon. Maintenance workers and gardeners had propped up this huge specimen with pulleys, slings, and guy ropes. Bandages wrapping limbs and sprinkler systems suspended in branches contributed further to its potential resuscitation. At the time of making this painting, they were still waiting for the results. I photographed this poignant spectacle partly because it coincided with my prior research into landscapes of ruin, especially those devastated by war. That summer, the world watched as the 2006 Lebanon War decimated the country, all while the larger war in Iraq raged. The Lebanese town of Qana (or Cana) was attacked for the second time in a decade and suffered extraordinary numbers of civilian deaths. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512246986398-ZLHHZQNIX316YLJDP4QB/Recuperation_NocturnalDetail.jpg MIRACLES AND MASSACRES - RECUPERATION (NOCTURNAL) detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247635112-1J2FIL0SK6LH20ICBZFI/1.Cana+2007.jpg MIRACLES AND MASSACRES - CANA (QANA) 2007 Oil and acrylic on two panels, 80 x 72 inches There is the falsely mystical view of art that assumes a kind of supernatural inspiration, a possession by universal forces unrelated to questions of power and privilege or the artist's relation to bread and blood. In this view, the channel of art can only become clogged and misdirected by the artist's concern with merely temporary and local disturbances. The song is higher than the struggle. Adrienne Rich, from Blood, Bread and Poetry (1986) Cana is named after two towns: the town where Christ’s first miracle occurred, where water was turned into wine; and the Lebanese town of Qana, where blood has flowed instead of wine. Qana is probably not the same as the biblical town of Cana, but I am drawn to the confluence of references to miracle and massacre. Numerous and profound injustices abound in the Middle East, often leading to invasions and intifadas. In July, 2006, Israel went to war with Hezbollah in Lebanon. More than a thousand people, most of whom were Lebanese civilians, were killed. Two thirds of them were children. Almost a million Lebanese and between 300,000 and 500,000 Israelis were displaced. The infrastructure of Lebanon was severely compromised, and especially ruined in Beirut. We have seen similar repeated destruction in Gaza. The town of Qana was particularly hit by the Israeli Defense Forces during Operation Change Direction, resulting in 28 deaths, 16 of them children with 13 missing. Human Rights Watch warned that "consistent failure to distinguish combatants and civilians is a war crime” and Amnesty International described Israel’s subsequent inquiry as flawed and "a whitewash." Ten years earlier, the IDF conducted Operation Grapes of Wrath in Lebanon, in which over 150 civilians were killed during the fighting. Again, Qana suffered extraordinarily. One hundred civilians alone were killed in the April 18, 1996 attack on the UN Compound there. No matter where such massacres are occurring or why, the world often stands by. We go about our daily business, stepping over the limbs and ignoring the stains on our table. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247636571-IX0FRLYNVXRSPZQQMY1R/2.+Cana+detail+2.JPG MIRACLES AND MASSACRES - CANA (QANA) 2007 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247731538-9OHBB8GW2V94AOO7I6IB/Disguised+Relief_alt2.jpg MIRACLES AND MASSACRES - DISGUISED RELIEF, 1999 Oil and acrylic on three panels, 80 x 93 inches And the mixt multitude that was among them fell a lusting: and the children of Israel also wept again, and said, Who shall give us flesh to eat? We remember the fish, which we did eat in Egypt freely; the cucumbers, and the melons, and the leeks, and the onions, and the garlick: But now our soul is dried away: there is nothing at all, beside this manna, before our eyes. – King James Bible, Numbers 11: 4-6 Both Disguised Relief and Caritas/Workfare address the invisibility of “wicked” problems such as poverty. The two works also fuse my love of Flemish painting with my dismay at our tolerance of poverty and the contorted solutions we sanction. According to UN figures released just days ago, about 805 million, or one in nine of the people on this planet suffers from hunger. These works were inspired by two paintings: Juan de Flandes' Marriage at the Feast of Cana and The Life and Miracles of Saint Godelieve altarpiece depicting a benefactress of the poor. The legend conveys how Godelieve's charity was considered excessive or inappropriate by her prosperous parents and wicked mother-in-law. Against her parents' wishes, she fed delicacies prepared for a count's feast to the poor; and, increasing her mother-in-law's suspicion, she persuaded the crows not to eat the growing grain. On the verge of being exposed, the bread she distributed turned to wood shavings. Her beneficence had to be camouflaged. The reverse happens with Christ at Cana, site of his first miracle. Where there is no wine, he creates some, (and, again, of the best quality), a public display of plenitude and altruism. Juan de Flandes' painting shows the moment before the miracle, an empty table prepared to receive. The table in Disguised Relief is also empty, waiting for a miracle that seems endlessly deferred. Shavings drift down and settle like manna from heaven, dubious offerings from trickle down economies. Are they truly sustenance? Are they wood, bread or flesh? Must the poor work even harder to earn even less? Must they cannibalize themselves while others gorge? The USA Census Bureau declared that roughly one in seven Americans were poor in 2010. Underpaid workers are forced to choose between rent, health care and adequate diet. In developing countries, the poor do not even have this "luxury" of choice. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247738792-BGBTD8A7ZG7KOFSUKM88/Slavick_Disguised+Relief_center_alt2_6in.jpg MIRACLES AND MASSACRES - DISGUISED RELIEF, 1999 Center panel of three panels https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247753807-4U49OGMCQAOVHANQ6UOF/Disguised+Relief+detaila72dpi.jpg MIRACLES AND MASSACRES - DISGUISED RELIEF, 1999 Detail of linen napkin https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512247777361-2P9UPTXRP2VCF8O2RYST/Disguised+ReliefDetailb72dpi.jpg MIRACLES AND MASSACRES - DISGUISED RELIEF, 1999 Detail of linen napkin https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512250122611-SCNFHQSPN30UJ0XAXEVZ/Caritas_20MB.jpg MIRACLES AND MASSACRES - CARITAS 1999 Oil and acrylic on three wood panels, each 12 inches square. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512250136894-WSD3ZVFZXXL87H09F72E/Caritas_center.jpg MIRACLES AND MASSACRES - CARITAS 2009 Center panel of three wood panels. Oil and acrylic. 12 inches square. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512250151849-JZE2IZNYPA60T598GGD5/Caritas_left+panel.jpg MIRACLES AND MASSACRES - CARITAS 1999 Left panel of three wood panels. Oil and acrylic. 12 inches square. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512248522767-6NRZLY9UW35ZV6CSKTE3/Resurgency_2008oil_60x96inFIN.jpg MIRACLES AND MASSACRES - RESURGENCY 2008 Oil and acrylic on panel, 60 x 96 inches In Resurgency, a Cedar of Lebanon stands in front of Ghaziyeh, a town destroyed by an IDF air strike. A flowering branch from The Hero Rustam Slays the Witch of the Cosmic Illusion, an illustration attributed to Qadîmî for Firdawsî’s Book of Kings, blooms amidst a panoramic composite landscape of rubble in Ghaziyeh, Lebanon. The Cedar here is a funereal silhouette. The victims here are not an illusion. The Cedar of Lebanon is Lebanon’s state symbol. The practical and symbolic uses of the Cedar of Lebanon throughout history are intertwined with death and renewal. Its resin was used in Egyptian mummification and its sawdust found in pharaoh’s tombs. The Sumerian epic Gilgamesh treats cedar groves as dwellings of the gods. Moses ordered Jewish priests to use its bark to treat leprosy. Its wood was used to build King Solomon’s Temple in Jerusalem and was once burned to announce the New Year. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512248541709-W26NFECT4APG67J80V93/ResurgencyCenterDetail.jpg MIRACLES AND MASSACRES - RESURGENCY 2008 detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1512248794213-8DJ9WW5OLDXS5CLL5D8B/Resurgency+Flower+Detail.jpg MIRACLES AND MASSACRES - RESURGENCY 2008 detail https://www.susanneslavick.com/ghost-ships-1 daily 0.75 2019-08-18 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828645751-SVW3TS8EN77E0AJXBURT/Ghost+Ship+_2017%2C14.25+x+15.25%2C4x6image_Giovanni+di+Paolo%2C+St.+Clare+Rescuing+the+Shipwrecked%2C+ca.+1455%2Ccrop.jpg Ghost Ships - GHOST SHIP 2017 Archival digital print on Hahnemuhle paper; 4 x 6 inches image size; 14.25 x 15.25 inches paper size Source: Giovanni di Paolo, St. Clare Rescuing the Shipwrecked, ca. 1455 a cross nailed from the ribs of your sunk ships, paper prayer scraps, one million calls to the wrong God. Eliza Griswold, from Lampedusa II in Everyone is an Immigrant from Poetry Magazine, January 3, 2012 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828645751-SVW3TS8EN77E0AJXBURT/Ghost+Ship+_2017%2C14.25+x+15.25%2C4x6image_Giovanni+di+Paolo%2C+St.+Clare+Rescuing+the+Shipwrecked%2C+ca.+1455%2Ccrop.jpg Ghost Ships - GHOST SHIP 2017 Archival digital print on Hahnemuhle paper; 4 x 6 inches image size; 14.25 x 15.25 inches paper size Source: Giovanni di Paolo, St. Clare Rescuing the Shipwrecked, ca. 1455 a cross nailed from the ribs of your sunk ships, paper prayer scraps, one million calls to the wrong God. Eliza Griswold, from Lampedusa II in Everyone is an Immigrant from Poetry Magazine, January 3, 2012 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828716368-358OJFXFQOCHXOULBXQB/Ark+I%2C+2017%2C+25.25+x+23.75+_Noah%27s+Ark.+Psalterius+%5Bpsautier+latin+dit+de+saint+Louis+et+de+Blanche+de+Castille%5D%2C+c.+XIII+century%2C+Ms-1186+re%CC%81serve%2C+f.+13v%2C+Bibliothe%CC%80que+de+l%27Arsenal%2Ccrop.jpg Ghost Ships - ARK I, 2017 Archival digital print on Hahnemuhle paper; 24 x 18 inches paper size; 25.25 x 19.25 inches framed. Source: Noah's Ark. Psalterius [psautier latin dit de saint Louis et de Blanche de Castille], c. XIII century, Ms-1186 réserve, f. 13v, Bibliothèque de l'Arsenal … The mothers will ask us About the sea … We shall tell them about the sea How it threw us to our death So we ploughed through Europe’s fields In order to flip the dice of life We shall tell how we crossed the Aegean Sea And were lost like Ulysses How we travelled the sea to a jungle in France And the rescuers surrounded us with barbed wire and presents Husam Eddin Mohammad, from Andalucia of the Trains Syrian poet based in London, recited at Calais Refugee Camp, October 2015 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828678197-YNLQZW0CFMY7C1LLEUK6/Windblown+lo.jpg Ghost Ships - WINDBLOWN 2017 Archival Digital print on Hahnemuhle paper; 24 x 18 inches paper size; 7.75 x 6 inches image size; 25.25 x 19.25 inches framed. Source: Mahajanaka’s rescue, Thai manuscript 18th c, British Library, Or.14068, f. 3 Somewhere I am a meal of the sea. Ali Johar, from I Am Rohingya https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828726091-8LCDZK53SNC3YFMC14AG/05_Black+Ark%2C2017%2C+25.25+x+19.25_Miniature+from+Hafiz-i+Abru%27s+Majma+al-tawarikh.+Noah%27s+Ark+Iran+%28Afghanistan%29%2C+Herat_24x18+copy.jpg Ghost Ships - BLACK ARK 2017 Archival digital print on Hahnemuhle paper; 25.25 x 19.25 inches framed. Source: Miniature from Hafiz-i Abru's Majma al-tawarikh. Noah's Ark Iran (Afghanistan), Herat The dinghy sank and my heart, hot for Europe, went cold Yasser Niksada Afghan poet living in Germany, written at age 15 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828694652-1324DE3ME5OLF5XDHSHP/Dark+Ark_lo.jpg Ghost Ships - DARK ARK, 2017 Archival digital print on Hahnemuhle paper; 10 x 6.5 inches image size; 25.25 x 19.25 inches framed. Source: Noah's Ark, Anonymous, 15th century No one leaves home unless home is the mouth of a shark From Home by Warsan Shire https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525828849732-OEOQ62BGDPSU664OZPFC/Ark+II_2017%2C+25.25+x+23.75%2C+Noah%27s+Ark+Psalterius_web.jpg Ghost Ships - ARK II, 2017 Archival digital print on Hahnemuhle paper; 24 x 18 inches paper size; 25.25 x 19.25 inches framed. Source: Noah's Ark. Psalterius [psautier latin dit de saint Louis et de Blanche de Castille], c. XIII century, Ms-1186 réserve, f. 13v, Bibliothèque de l'Arsenal Home no one leaves home unless home is the mouth of a shark you only run for the border when you see the whole city running as well your neighbors running faster than you breath bloody in their throats the boy you went to school with who kissed you dizzy behind the old tin factory is holding a gun bigger than his body you only leave home when home won’t let you stay. no one leaves home unless home chases you fire under feet hot blood in your belly it’s not something you ever thought of doing until the blade burnt threats into your neck and even then you carried the anthem under your breath only tearing up your passport in an airport toilet sobbing as each mouthful of paper made it clear that you wouldn’t be going back. you have to understand, that no one puts their children in a boat unless the water is safer than the land no one burns their palms under trains beneath carriages no one spends days and nights in the stomach of a truck feeding on newspaper unless the miles travelled means something more than journey. no one crawls under fences no one wants to be beaten pitied no one chooses refugee camps or strip searches where your body is left aching or prison, because prison is safer than a city of fire and one prison guard in the night is better than a truckload of men who look like your father no one could take it no one could stomach it no one skin would be tough enough the go home blacks refugees dirty immigrants asylum seekers sucking our country dry niggers with their hands out they smell strange savage messed up their country and now they want to mess ours up how do the words the dirty looks roll off your backs maybe because the blow is softer than a limb torn off or the words are more tender than fourteen men between your legs or the insults are easier to swallow than rubble than bone than your child body in pieces. i want to go home, but home is the mouth of a shark home is the barrel of the gun and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hunger beg forget pride your survival is more important no one leaves home until home is a sweaty voice in your ear saying- leave, run away from me now i dont know what i’ve become but i know that anywhere is safer than here https://www.susanneslavick.com/marx200-1 daily 0.75 2018-08-02 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525831437612-7UVHORMJ9I4DGYS0ZW38/Marx%40200+poster_FINAL.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1525831437612-7UVHORMJ9I4DGYS0ZW38/Marx%40200+poster_FINAL.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636811358-M6N8IOBMUGJ365X76K2V/Karl-Marx-Luanda-for-cards.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636879698-32VRA0OVKS8O8B5SO43V/Chin.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636882546-91JIZJY421CY13VS3N65/LaFollette_Smoking+Marx_papers.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636884268-HBXDC18PMY46IZPJU9ZJ/Ottmar+Horl.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636885243-06RBWLBO0ASY95VS7EB5/Shinique+Smith.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636969146-X1RC587FJ7N2ERHFYI83/Fahey_Make+Revolution.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532636988499-Y8N9V0GADILL6SI30ZDI/Jaar_September+15%2C+2009.jpg Marx@200 - ALFREDO JAAR, September 15, 2009 Manila envelope with text and photograph; 13.75 x 9 inches Alfredo Jaar is a self-described news fanatic whose conceptual works attempt to decode the true meanings of images, thus exposing their subliminal effect on our consciousness. In September 15, he withholds the image, with instructions for limited viewing: “This envelope contains a photograph by Alfredo Jaar of Karl Marx’s grave in Highgate Cemetery, London. The purchaser of this work agrees to view this image only once a year, on September 15, the anniversary of the day Lehman Brothers declared bankruptcy in New York.” In 2008, Lehman Brothers was just one of the major financial institutions that were supposedly “too big to fail” in the worst global financial crisis since The Great Depression. It was the Pearl Harbor of Wall Street, but some were not surprised. Many saw the crisis as the inevitable result of the fatal flaws of capitalism. Some awaited its collapse and hoped for the revolution that Marx believed arose from such crises. Jaar describes himself as an intellectual pessimist with an optimistic will. The once-a-year access to his enveloped image is a reminder that vacillates between the promise of revolution—and its endless deferral. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637041640-SXWSUYKFLC7Q76DQU9BH/Bollinger+The+Lot+Install+hi+res.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637053452-43U12C7SI1O0NIQK0QM1/Lungiswa+Gqunta_Together%2C+hand+in+hand%2C+with+our+matches+and+our+necklaces%2C+we+shall+liberate+this+country%E2%80%99+13+April+1986+-+Winnie+Madikizela+Mandela.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637971847-IHQQCCAGSNPHAYCLR5PN/31671315_10215108804887355_8275462665749397504_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637972184-9Q8VHXAS9Q1PUG2WZV3I/31732033_10215108808647449_3198771073738866688_o.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637973883-2ZRJAXNBEMP7515I7U6V/31389385_10215087394712114_9047625763263610880_o.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637973510-1S5U9XW4PL01CNBUOQAI/31113540_10215030740415792_8304227564969263104_n.jpg Marx@200 - MICHAEL MALLIS, Natural Selection: The Rise of the Proletariat, 2008 Natural Selection: The Rise of the Proletariat, one of Michael Mallis’ first animations, presents an absurdist encounter between Karl Marx and Charles Darwin—two major revolutionary thinkers of the 19th century. The men did not know each other personally, but, in 1860, Marx praises The Origins of the Species: “Darwin’s work is most important and suits my purpose in that it provides a basis in natural science for the historical class struggle.” Mallis shows all kinds of struggle in his animation, set on the Galápagos Islands. It begins with an exhausted proletariat and a bourgeoisie celebrating its greatness and proceeds through a dubious evolution and a frenzied revolution. Once equality is attained, de-evolution ensues, ending with a dictatorship of the proletariat and Marx hammering away on a mountaintop. Pools of blood blossom continuously, accompanied by a mournful accordion and nonsensical yodeling. Darwin and Marx are both to blame, and Darwin ends up dead, too. Though Darwin never finished reading Das Kapital, he politely wrote to its author: “Though our studies have been so different, I believe that we both earnestly desire the extension of Knowledge, & that this is in the long run sure to add to the happiness of mankind.” With the resurgence of social Darwinism and the continued abuses of capitalism, Mallis is not so sure. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637977494-HNG4EDX4ANNZ4K2VWXQD/30738185_10215017691369574_2711475053681180672_o.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637977599-YHNNU44AI9XM0TWOOYCP/30708017_10215017696129693_5796515101364191232_o.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637984495-Z16CFAQ2JI6S3DAM20K7/30704054_10215017693329623_6288073326707343360_o.jpg Marx@200 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Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637994557-R4DL5RVEXS13VO8Q26IK/30415174_10214943570596601_7993928998310641664_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637994957-OLY54IS0Z9NXHNUTZEOR/30264727_10214943569596576_2801053000435499008_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637995665-PCH5H71MWMZQ1SYD0BGT/30440728_10214943569756580_4350678334703665152_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637995775-AFS75FO1LBMYA2PR2Y1Z/30264761_10214943569476573_4211960425870262272_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637996359-UBXF3INVGI4R68W71J0T/30412169_10214943569436572_6133638685133897728_n.jpg Marx@200 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Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637997859-MZBCWKJ2O4Y0VEBCF8LP/30412101_10214942885499474_2964948617443409920_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637998339-62CLCSVOOYI0KKZMP9FJ/30264884_10214942881979386_9093203445107654656_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637998396-96ALQYOARJ13QKVGOKUC/30265001_10214942880219342_5920901052223193088_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637998692-UMMJTE8F5J1TNB5ZPCA7/30414787_10214942879339320_1758712597164589056_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532637999067-HH5GD9LS1YPZ1KQPU1UH/30415145_10214943583676928_8512570832155836416_o.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638334986-3QBIEFSVTD9R25RNTP4N/31946974_10215144734585575_1176528646320422912_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638334886-3CLGIHTA67P4LQAOMI3P/31946293_10215144734105563_2642959523467231232_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638335307-CT9N6XP0F5VXO1TJ1PFW/31944785_10215144732025511_8940637414955679744_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638335381-9GIEPGH45XYC0F7EIZQI/31945598_10215144730745479_6945392022383493120_n.jpg Marx@200 - MICHAEL MALLIS, Natural Selection: The Rise of the Proletariat, 2008 Video, 7:15 Natural Selection: The Rise of the Proletariat, one of Michael Mallis’ first animations, presents an absurdist encounter between Karl Marx and Charles Darwin—two major revolutionary thinkers of the 19th century. The men did not know each other personally, but, in 1860, Marx praises The Origins of the Species: “Darwin’s work is most important and suits my purpose in that it provides a basis in natural science for the historical class struggle.” Mallis shows all kinds of struggle in his animation, set on the Galápagos Islands. It begins with an exhausted proletariat and a bourgeoisie celebrating its greatness and proceeds through a dubious evolution and a frenzied revolution. Once equality is attained, de-evolution ensues, ending with a dictatorship of the proletariat and Marx hammering away on a mountaintop. Pools of blood blossom continuously, accompanied by a mournful accordion and nonsensical yodeling. Darwin and Marx are both to blame, and Darwin ends up dead, too. Though Darwin never finished reading Das Kapital, he politely wrote to its author: “Though our studies have been so different, I believe that we both earnestly desire the extension of Knowledge, & that this is in the long run sure to add to the happiness of mankind.” With the resurgence of social Darwinism and the continued abuses of capitalism, Mallis is not so sure. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638579147-T0DN54FRMCC9604MEMRM/MarxEngelsSupportGroupopti.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638585134-M5XF2YDE8EUAFGUM8ZUF/climateprintweb.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638652930-WP20FWF8EUN09G2VZ3OV/BIENKO_Warhol_Marx200_lo.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638710507-XZZTE8DKCCW9VDM5UU5G/30516490_10214942878299294_7376725039481094144_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638710508-M0WJ6Y941CVN4R2UMFKX/30442748_10214942878379296_2198122390456631296_n.jpg Marx@200 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1532638711241-I6VAEDK5TF08CXXGH8PD/30412016_10214942878059288_8540949351822786560_n.jpg Marx@200 https://www.susanneslavick.com/resort-gallery daily 0.75 2018-10-09 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047154204-SDTAWEHC2BT8FKEA2IEX/41180512_1874605595949105_8608968327982743552_o.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047154204-SDTAWEHC2BT8FKEA2IEX/41180512_1874605595949105_8608968327982743552_o.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047171074-7ZH6DLVFB42TUQKUQ3ZH/Dead+Reckoning+2018.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047166314-79QTFXEREMG1AQM5XLQJ/41336431_10216109047012783_4451336068721016832_o.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047264504-KT0NBAOQV6J2MF44KFKA/IMG_0302.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047188785-BUND0WZHD9613GQM72XF/IMG_0310.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047213416-9P7PB1R4L6SBLIZ7Q3Q6/IMG_0311.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047195479-QBD002L9N67DHXEOYGA3/IMG_0307.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047196494-X9COPTLXKLRO7TT6PEPS/41277092_2401844119833279_2044766627488071680_o.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047207614-BSL8SYZGWL994FZM6LSL/IMG_0336.jpg RESORT Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539047348145-4NQG5R475VDDYRHXLU23/f_2018_poster_final_blue_no+marks_Page_2+copy.jpg RESORT Gallery https://www.susanneslavick.com/dead-reckoning-1 daily 0.75 2019-08-18 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048181828-1UK3V6V1UA38440VDU89/Dead+Reckoning_trio+2018.jpg Dead Reckoning - Dead Reckoning, 2018 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048181828-1UK3V6V1UA38440VDU89/Dead+Reckoning_trio+2018.jpg Dead Reckoning - Dead Reckoning, 2018 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048122203-8YVH4YUNGFVKL4NGXWBY/Azzurro+Mare%2C+2018%2C84x48.jpg Dead Reckoning - AZZURRO MARE AM330 84 x 48 inches “Now comes with FREE boat tubes cover to protect boat from damaging UV rays and to extend boat lifespan. Is great as a ship-to-shore dinghy or tender for main ship.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048158624-OA2J7EH0TKJC1CNSIP46/Azzurro+Mare+detail.jpg Dead Reckoning - Detail of AZZURRO MARE AM330 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048132734-KF4GUP97YS8RXDZKW8I0/Saturn+SD500G-05%2C+2018%2C+96+x+48.jpg Dead Reckoning - SATURN SD500G-05 96 x 48 inches “Largest vessel in our budget price.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048143394-YH3LVBIXCSI0S2OC515P/Sea+Eagle%2C126SR%2C+2018%2C+84+x+48.jpg Dead Reckoning - SEA EAGLE 126SR 84 x 48 inches “Best suited for those wishing to have more roomy space.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048081188-HJN5IXT78SRV0XE2Q2GC/Dead+Reckoning+2018.jpg Dead Reckoning - DEAD RECKONING Installed at the McDonough Museum fo Art, Youngstown, Ohio Home By Warsan Shire no one leaves home unless home is the mouth of a shark you only run for the border when you see the whole city running as well your neighbors running faster than you breath bloody in their throats the boy you went to school with who kissed you dizzy behind the old tin factory is holding a gun bigger than his body you only leave home when home won’t let you stay. no one leaves home unless home chases you fire under feet hot blood in your belly it’s not something you ever thought of doing until the blade burnt threats into your neck and even then you carried the anthem under your breath only tearing up your passport in an airport toilet sobbing as each mouthful of paper made it clear that you wouldn’t be going back. you have to understand, that no one puts their children in a boat unless the water is safer than the land no one burns their palms under trains beneath carriages no one spends days and nights in the stomach of a truck feeding on newspaper unless the miles travelled means something more than journey. no one crawls under fences no one wants to be beaten pitied no one chooses refugee camps or strip searches where your body is left aching or prison, because prison is safer than a city of fire and one prison guard in the night is better than a truckload of men who look like your father no one could take it no one could stomach it no one skin would be tough enough the go home blacks refugees dirty immigrants asylum seekers sucking our country dry niggers with their hands out they smell strange savage messed up their country and now they want to mess ours up how do the words the dirty looks roll off your backs maybe because the blow is softer than a limb torn off or the words are more tender than fourteen men between your legs or the insults are easier to swallow than rubble than bone than your child body in pieces. i want to go home, but home is the mouth of a shark home is the barrel of the gun and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hunger beg forget pride your survival is more important no one leaves home until home is a sweaty voice in your ear saying- leave, run away from me now i dont know what i’ve become but i know that anywhere is safer than here https://www.susanneslavick.com/all-over-the-map-1 daily 0.75 2019-06-21 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1542915344281-8E4KYTVO9D9IHRPOTEGV/Disicpline+of+Geography+quartet.jpg ALL OVER THE MAP - DISCIPLINE OF GEOGRAPHY 1988 Mixed media on paper. 8 x 8 inches each. Series of nine works. The questions of “what is the relationship between the map and the territory” or “when is a map not a map, but a picture?” are problematic and sometimes amusing. Korzybski in Science and Sanity states that “the map is not the territory”. Otherwise, we would arrive at Lewis Carroll’s scenario of a country where the cartographers finally made a map with a scale of a mile to a mile. A professor explains “It has never been spread out, yet….the farmers objected: they said it would cover the whole country, and shut out the sunlight! So now we use the country itself, as its own map, and I assure you it does nearly as well.” The confusion between the map and the territory is also in On Exactitude in Science by Jorge Luis Borges, translated by Andrew Hurley below. …In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography. —Suarez Miranda,Viajes devarones prudentes, Libro IV,Cap. XLV, Lerida, 1658 This story inspired my Discipline of Geography series of small works on paper. Works like these showed gridded nets (my versions of longitudes and latitudes) that descend in ambiguous purpose. Will they blanket and protect or constrict and oppress the earth? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1542915344281-8E4KYTVO9D9IHRPOTEGV/Disicpline+of+Geography+quartet.jpg ALL OVER THE MAP - DISCIPLINE OF GEOGRAPHY 1988 Mixed media on paper. 8 x 8 inches each. Series of nine works. The questions of “what is the relationship between the map and the territory” or “when is a map not a map, but a picture?” are problematic and sometimes amusing. Korzybski in Science and Sanity states that “the map is not the territory”. Otherwise, we would arrive at Lewis Carroll’s scenario of a country where the cartographers finally made a map with a scale of a mile to a mile. A professor explains “It has never been spread out, yet….the farmers objected: they said it would cover the whole country, and shut out the sunlight! So now we use the country itself, as its own map, and I assure you it does nearly as well.” The confusion between the map and the territory is also in On Exactitude in Science by Jorge Luis Borges, translated by Andrew Hurley below. …In that Empire, the Art of Cartography attained such Perfection that the map of a single Province occupied the entirety of a City, and the map of the Empire, the entirety of a Province. In time, those Unconscionable Maps no longer satisfied, and the Cartographers Guilds struck a Map of the Empire whose size was that of the Empire, and which coincided point for point with it. The following Generations, who were not so fond of the Study of Cartography as their Forebears had been, saw that that vast Map was Useless, and not without some Pitilessness was it, that they delivered it up to the Inclemencies of Sun and Winters. In the Deserts of the West, still today, there are Tattered Ruins of that Map, inhabited by Animals and Beggars; in all the Land there is no other Relic of the Disciplines of Geography. —Suarez Miranda,Viajes devarones prudentes, Libro IV,Cap. XLV, Lerida, 1658 This story inspired my Discipline of Geography series of small works on paper. Works like these showed gridded nets (my versions of longitudes and latitudes) that descend in ambiguous purpose. Will they blanket and protect or constrict and oppress the earth? https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1542914471192-VEV8EBSVM09BXVIZP6UP/Disicipline_of_Geography_88_8x8.jpg ALL OVER THE MAP - DISCIPLINE OF GEOGRAPHY I, 1988 Mixed media on paper, 8 x8 inches. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543187476802-T0FE0SMNZYJQBBU6UXRW/PulseOfRomeOpenVein86.jpg ALL OVER THE MAP - THE PULSE OF ROME, THE OPEN VEIN 1986 Eventually I arrived at combining maps that had actual physical properties with representations of deep space. Pulse of Rome, The Open Vein was an early awkward attempt to juxtapose multiple treatments of the picture plane. On the right is a flat painting of a deep space, with an actual physical lattice attached to the surface. On the left is a map of Rome, an inherently flat and abstract representation of space made physical by a relief simulating an unfolded map. Painted shadows of the real lattice on the right extend the trompe-l’oeil affect. I chose Rome and maps of other sacred cities like Jerusalem as destinations for pilgrimages, crusades and other religiously motivated journeys to contrast with the agnosticism of the unknown destination. About 48 inches in height. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543187817885-MUKJ4IYDR9NFGUM0T24Q/Hollow+Borders.jpg ALL OVER THE MAP - HOLLOW BORDERS 1986 Oil and acrylic on canvas with wood extension. 48 inches width. Paradise and Eden and their garden iterations are suggestive of the Utopian thinking that is at the core St. Sir Thomas More’s Island of Utopia 1516 and that’s at the core of the cartographic imagination, motivating us to go to or build the good place, the perfect world. Hollow Borders embodies this utopic thinking by contrasting an exaggerated volumetric globe with the artificiality of abstract boundaries revealed through arbitrary color assignments to nation states. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474669754-A0JPS6R5SKQUR6X84FL7/Prognosis+in+the+Garden_5MB.jpg ALL OVER THE MAP - PROGNOSIS IN THE GARDEN 1986 Oil on canvas, 54 x 94 inches Prognosis in the Garden contrasts a garden map of manipulated nature with untrammeled space on land or in sky. Processes like staining and dripping introduced chance and surrendered control to contrast the more measured spaces. The centers of these labyrinthine paths are often symbolic locations of transformation or redemption. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543188083734-DV7N786DFFQZ4MDLX50F/CosmicCage_1987_30x94in.jpg ALL OVER THE MAP - COSMIC CAGE 1987 Oil on canvas, 30 x 94 inches The most abstract feature of the good place, the destination, is that it is the center of the cosmos, the axis mundi. The axis mundi is often represented by a tree, sacred mound or a sacred city such as Jerusalem. Samuel Y. Edgerton, Jr. calls this perception of the center the omphalos syndrome, the tendency of cultures to see themselves as the center of the universe. We see it on a cosmic scale with any representation of a Ptolemaic system of the universe with Earth at its center. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543188416906-HPX7LND0GP84OV2WRKUZ/Gravitational+pull3.2M.jpg ALL OVER THE MAP - GRAVITATIONAL PULL 1994 Oil on wood panel, about 10 inches square In Gravitational Pull, I used a more literal axis mundi along which a struggle for power ensues. In researching cartography, I was drawn to Ptolemy’s world maps, especially one illustrated as an almond shape framed by a sling. I had been working with the mandorla (the shape created by the intersecting circles of heaven and earth). https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473848524-PYUQYWD5ZRYQ7Y9YJHL3/Ptolemy%27s+Task_24+x+24.jpg ALL OVER THE MAP - PTOLEMY'S TASK 1992 Oil, earth and glue on panel,24 x 24 inches In the early 1400’s, Ptolemy’s 2nd Century AD Geographia arrived in Europe, concurrently with Brunelleschi’s development of perspective geometry and its application to architecture. The Geographia mapped the entire world and presented all the known information in a standardized way with grid lines of latitude and longitude. Distances and directions could be established between one place and another and even unknown places could be given coordinates. Synthesis of perspective geometry and Ptolemy’s work enabled the grid, an entirely human construct, to be imposed on the world (at least in the west as the grid had actually been used in Chinese maps as early as the 1st century AD. Several cultures used grid systems, systems that require real conventions, negotiations and agreements. They have to be literally conventional. (0 longitude passing through Greenwich). The power of maps does not lie only in their accuracy or correspondence with reality, but in their having incorporated a set of conventions that make them combinable in one central place, enabling both the accumulation of power and knowledge at that center. Ptolemy’s map allowed the co-ordination of maps of disparate lands into one map of the world.* In voiding the center and obscuring the grid, that power might be decentralized. I emptied out the map of all that it purported to measure and represent for several reasons. It was always incomplete anyway, a record of the state of knowledge at the point of its creation and immediately on its way to becoming obsolete. The information presented by maps implied control of the territory represented. Knowledge equaled power; but, as history has shown, that power has often been abused. JB Harley and Denis Cosgrove in The New Nature of Maps: Essays in the History of Cartography), frame the rediscovery of the Ptolemaic system of co-ordinate geometry in the 15th century as a critical cartographic event privileging a 'Euclidean syntax' which structured European territorial control, giving its imperial users an arbitrary power that was easily divorced from the social responsibilities and consequences of its exercise. The world would be carved up on paper. (Denis Cosgrove, 1988: 282) Ptolemy’s Task 1992 substituted cracked mud for the entire world as it was known, a barrier field that insisted on the here and now, denied that abstract space in which we can mentally wander and conquer in reality, hinted at the often barren and depleting consequences of our exploration. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541475033150-10VUOC5GKUXLT8M342O4/Lady+Alice.jpg ALL OVER THE MAP - LADY ALICE 1992 Oil and wax medium on canvas, 60 x 72 inches LADY ALICE is titled after Henry Stanley’s portable steamboat that navigated Lake Victoria. It hovers like an apparition in this black hole void amidst another blank chart. Navigational lines on the blank map show the bloody consequences of the Age of Exploration and of Stanley’s own ruthless journey. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474958289-92VMPD56FWN726SE57PD/Lady+Alice+detail.jpg ALL OVER THE MAP - Detail of LADY ALICE LADY ALICE is titled after Henry Stanley’s portable steamboat that navigated Lake Victoria. It hovers like an apparition in this black hole void amidst another blank chart. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474405008-MOFZ4JX0DUUSMFPPY38K/Vapor+Choir92.jpg ALL OVER THE MAP - VAPOR CHOIR 1992 Oil on canvas, 68 x 96 inches In Sebastian Munster Typus Universalis after Ptolemy 1540, you see 10 of the 12 directional winds originally designated by Aristotle and usually personified as cherubic faces with inflated cheeks. In VAPOR CHOIR , they become a chorus of voices/emissions. The vapor stains animate or contaminate a world emptied of measurement, a purified or purged atmosphere. They suggest fear of intimacy, the fluids of birth and death, the visceral vs. the virginal. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474446223-HQXFBHAQ8QB0PQIMH6CR/VaporChoirDetaila.jpg ALL OVER THE MAP - VAPOR CHOIR 1992 Detail of directional winds as orifices. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476122821-ZY7XUL7QPJK0SAWH15RX/Casting+Lots_1992_60x84_5MB_Slavick.jpg ALL OVER THE MAP - CASTING LOTS 1992 Oil on canvas, 60 x 84 inches In Sebastian Munster Typus Universalis after Ptolemy ca 1550, you see 10 of the 12 directional winds originally designated by Aristotle and usually personified as cherubic faces with inflated cheeks. In Casting Lots, these directional winds become gloved hands anonymously enacting an inadequate altruism — toward any imagined need, a need that is infinite. They surround an emptied world, measured only by ghostly traces of longitudes and latitudes. The resulting black hole is not one of nihilism, but a space for re-imagining, reawakening — much like the pregnant absences of the Buddhist plenum void, the empty space full of potential. It is a realm from which anything can spring forth. This image was featured on the cover of Cartographic Perspectives, North American Cartographic Information Society, #63, Spring 2009. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476301000-MKE2XQ3OQN4J9XKUMQK9/Casting+Lots_1992_detail.jpg ALL OVER THE MAP - Detail of CASTING LOTS https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474284033-JBF14M999O7NQ643IRLK/Triumverate_1994_24x24in.jpg ALL OVER THE MAP - TRIUMVERATE 1994 Oil on panel, 24 x 24 inches From a series that experimented with shapes derived from diverse map projections, particularly the more organically or body-shaped projections into which all sorts of bodily entities or emissions could pour. TRIUMVERATE is based on the Fool’s Cap Map. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476338248-Y3K5RPS1D0LMY4E7QLI9/milk+necklace4M.jpg ALL OVER THE MAP - MILK NECKLACE 1994 I experimented with shapes derived from diverse map projections, particularly the more organically or body-shaped projections into which all sorts of bodily entities or emissions could pour. The kidney shapes of Salamanca’s Cordiform Projection became MILK NECKLACE where feminine pain is transformed into ornamental beauty. The kidney stone becomes an irritating grain of sand transformed into a pearl, beauty born of grief or suffering. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474732903-SL86VQ674P3Z4FS5ITKV/Polar+Paine_pub.jpg ALL OVER THE MAP - POLAR PAIN 1994 Oil on panel, 10.75 x 10.75 inches Intertwining the feminine with types of geometric map projections. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474774983-46E8XTG0RAF71UJM79MY/Polar+Plait_SLavick_Hi.jpg ALL OVER THE MAP - POLAR PLAIT 1994 Oil and acrylic on wood panel, 10.75 x 10.75 inches This image was featured on the cover of Cartographic Perspectives, the journal of North American Cartographic Information Society, #61 Fall 2008. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541476773983-ZQZU859CKT490E2NS181/Hiding+place.jpg ALL OVER THE MAP - HIDING PLACE Oil on panel, 10.75 x 10.75 inches Intertwining the feminine with types of geometric map projections. In this case, the projection reminded me of the grandmother’s skirt at the opening of Gunter Grass’ The Tin Drum, under which Oskar hides. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189405771-TLZS9C9V8RGF54HMWB3Z/Amnesia+Embellished_1994_oil_36x46in_91.44+x116.8cm.jpg ALL OVER THE MAP - AMNESIA EMBELLISHED 1994 Oil and acrylic on canvas, 36 x 46 inches Amnesia Embellished maps an image of collective amnesia with one finger turning blue from loss of circulation rather than remembering that which we so conveniently forget about our own history. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189459788-O7RVB84TQ2QTDCUD7CMA/Amnesia+detail.jpg ALL OVER THE MAP - Amnesia Embellished Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474080382-WQLAVLSKZEXDF4ZZ5ZNY/Sorority_1993_48x96in.jpg ALL OVER THE MAP - SORORITY 1993 Oil/canvas, 48 x 96 inches Sorority takes the shape of the Waldseemuller World Map 1507 (the first to represent the New World) and feminizes the representation of world, placing the intuitive on equal footing with the analytical. Sinuous braids (from my childhood of five sisters all with long braids) drift or languish over the diminished rationality of the barely visible grid. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474177981-U9XC65PM2L5CY82F739W/SororityDetail72dpi.jpg ALL OVER THE MAP - SORORITY 1993 Detail of braid https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473813834-6W7K50TENO5UEJX3YDBS/Pretty+Lies+08.jpg ALL OVER THE MAP - PRETTY LIES 1995 Pretty Lies appropriates the shape of a 1511 map by Bernard Sylvanus. It speaks of deceit with what started out as forked tongues protecting (or violating?) two different projections of the world. It alludes to the falsity of maps’ presumed objectivity. This image was featured on the cover of Cartographic Perspectives, the journal of the North American Cartographic Information Society, #59 Winter 2008. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543341599072-J31Y3AS81DC527CUYIOM/Pretty+Lies+_Detail3.jpg ALL OVER THE MAP - PRETTY LIES Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189778364-Y43CI5XSTP1FARTE26K3/Dissemination+LO.jpg ALL OVER THE MAP - DISSEMINATION 1995 Oil and acrylic on wood panel, 24 x 24 inches. Collection of Judith Schachter Dissemination shows a bi-polar globe of the feminine as both active and passive, generator and receiver, trying to incorporate the paradoxes in which one truth is often surrendered to another. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543189927161-XJS2RTPLKP3W33TQHINH/demure+dominion.jpg ALL OVER THE MAP - DEMURE DOMINION 1993 Oil and acrylic on wood panel, 10.75 x 10.75 inches The grid eventually reasserted itself. Usually associated with Apollonian reason, it remerges in this series to be repossessed by the feminine. A hand gesture appropriated from Raphael’s Madonna reclaims the latitudes and longitudes in a gentle and demure gesture. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473665835-5LRMKRKUYMOXE8NPUTF5/Power+Strugglepp_2011.jpg ALL OVER THE MAP - POWER STRUGGLE Oil and acrylic on wood panel, 10.75 x 10.75 inches The grid is a prevalent motif of modernist painting generally dominated by a male pantheon of artists (like Robert Ryman). My reductivist representations of the world try to disturb, interrupt or subvert that male hegemony, pulling the grid in all directions as in Getting a Grip and Power Struggle. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543190301552-PNHG0G43S5OIK6IS0GGZ/Getting+a+Grip+3x3.jpg ALL OVER THE MAP - GETTING A GRIP Oil and acrylic on wood panel, 10.75 x 10.75 inches The grid is a prevalent motif of modernist painting generally dominated by a male pantheon of artists (like Robert Ryman). My reductivist representations of the world try to disturb, interrupt or subvert that male hegemony, pulling the grid in all directions as in Getting a Grip and Power Struggle. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541472074295-C3483ZWDKU64785A1NFY/Milk+and+Oil.jpg ALL OVER THE MAP - MILK AND OIL 1991 Oil and acrylic on canvas. 60 x 90 inches MILK AND OIL converts the poles of two hemispheric projections to breasts, weeping milk and oil. Food and fuel (and lack of such resources, especially with the consequences of climate change,) often motivate armed conflict. In emptying out the shapes of antiquated maps, I retained references to the type of marginal imagery seen in works like Munster’s Typus Cosmographicus Universalis 1532 rather than the territories they framed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473355554-A4CLSAPOSB5T017PMA3K/Milk+and+Oil+detail_16M.jpg ALL OVER THE MAP - Detail of MILK AND OIL 1991 Oil and acrylic on canvas. 60 x 90 inches Fanciful details of monsters in the margins of maps by Sebastian Munster distract from the painting’s symmetry and centralization. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561143302844-IH1V1F59TSGRSISDXHK0/Hail+Mary%2C+1993%2C+oil+on+canvas%2C+72x54+inches.jpg ALL OVER THE MAP - HAIL MARY 1993 Oil on Canvas, 72 x 54 inches My attraction to maps that assumed shapes of stylized human organs was a way of connecting the intimacy of the body to the global. Heart-shaped maps (i.e. by Peter Appian) were sources for my response to the first Gulf War that erupted the year I became a mother. The stories we tell ourselves to justify war preoccupy me to this day. Crusades in the past were bolstered by tales of forced circumcisions over baptismal fonts in Jerusalem. Such tales were told by Pope Urban II to deflect internal strife to an external enemy and to unify warring factions within European Christendom. In the first Gulf War, were motivated as a nation, just like Crusaders of the past, by other tales (later disproven) of babies ripped from Kuwaiti incubators. Hail Mary became a feminist pieta juxtaposing the heart (the metaphorical locus of love) with plans and diagrams of aggression along the margins. The directional winds first mentioned by Aristotle (and often characterized by cherubs blowing with puffed-out cheeks) become breast shields, emitting tears of milk in the trajectories of missiles. The latitudes create a kind of target over the black void of the heart. The black items above diagram the Joint Forces Chain of Command and the red elements below indicate the battle plan (named Hail Mary) that won the Gulf War. Hail Mary is also the name of a football play, so, whether in the arenas of war or entertainment, the painting’s title suggests a strange and aggressive co-opting of the maternal by the masculine. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561143315387-5HTQD9F0KV1QIUGAGMPQ/IMG_8686.jpeg ALL OVER THE MAP - HAIL MARY 1993 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1561143305929-0X3I34ODDHEXGN3WFBPD/IMG_8684.jpeg ALL OVER THE MAP - HAIL MARY 1993 Detail of Hail Mary battle plan https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543190711121-UL7PNTW59V3QEYFEN61Z/From+and+To+the+Land_48x72_1993.jpg ALL OVER THE MAP - FROM AND TO THE LAND OF MILK AND HONEY 1993 Oil and acrylic on canvas, 48 x 72 inches From and To the Land of Milk and Honey was a more general response to the nationalistic/imperialist land of milk and honey spirit of some maps, especially those that downplay the relation between places (and the cultures that inhabit them) that is essential in considering the world beyond one’s personal interests. The source map for this painting existed solely for a goal-oriented journey, getting from Point A to Point B with no care for the larger context or orientation. Each piece of the scroll had its own compass rose and one simply followed the path from one section to the next. Fingers pointing every which way also seem to assign blame anywhere else but with ourselves. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473275008-TNJRS2LUQAKO3XP51LZA/Measure+in+Mutiny_new.jpg ALL OVER THE MAP - MEASURE IN MUTINY 1994 Oil and acrylic n canvas. 60 x 80 inches. MEASURE IN MUTINY portrays the directional winds as black lungs, blowing and sticking out their tongues at falsely constructed worlds (with a made-up geography) and distorted world views. This image was featured on the cover of Cartographic Perspectives, the journal of the North American Cartographic Information Society, #63, Spring 2009. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473269595-FUVFDHNSZRPC0MNAINR0/Masure+in+Mutiny+_detail.jpg ALL OVER THE MAP - CASTING LOTS Detail of “black lung” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473976188-71Z8W97CBSXTIJETVZQD/SeasonalBlindness.jpg ALL OVER THE MAP - SEASONAL BLINDNESS 1995 Oil and acrylic on wood panel, 10.75 x 10.75 inches T-O maps such as Isidore of Seville's tripartite world map of 1472 are emblematic of those maps that did not purport to describe geography or topography but a world view that legitimizes the church or state. The three parts within the “O” (or squared “O”) that circumscribed a “T” stood for Asia, Africa and Europe, the three areas of the known world with the three great rivers. Asia is typically depicted on top as the birthplace of Christ and the original site of the Garden of Eden as in the 12th century edition of Bede's De natura rerum. Seasonal Blindness responds to this T-O structure, presenting our ignorance, indifference and acceptance of inequitable realities as if they were simply phases of the moon. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543341921015-BGPJEB66XTFSMGVYS8Y0/Expectancy%28T-O+Map%29.jpg ALL OVER THE MAP - EXPECTANCY 1996 Oil on panel, 10.75 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474337779-XGJK5KYT8KKXBTULMOP5/UnderTheSkin1995_10.75in_square.jpg ALL OVER THE MAP - UNDER THE SKIN 1995 Oil on panel, 10.75 x 10.75 inches This tri-partite division of T-O maps has been traced to the Biblical division of land between Noah’s three sons, a seminal account of private property and power inherited rather than earned. Under the Skin uses barbed wire to delineate private property. promising pain if trespass occurs. For me, the barbed wire is a secular version of Christ’s crown of thorns that is so often painstakingly rendered beneath translucent flesh in Flemish crucifixions. The palette and transparency of flesh and blood begins to emerge here. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474002073-F3FQEYH3I6GN3LECJ6GH/Seasonal+Sanctity.jpg ALL OVER THE MAP - SEASONAL SANCTITY 1995 Oil and acrylic on wood panel, 10.75 x 10.75 inches Seasonal Sanctity shows the institutional sanctions of inequity. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474578182-N2F8LB3T7MK6W14I1FMZ/Specimens.jpg ALL OVER THE MAP - SPECIMENS 1995 Oil and acrylic on wood panel, 10.75 x 10.75 inches SPECIMENS introduces elements of the body into a kind of carnal cartography that merges the microcosmic and the macrocosmic. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541473541636-C5MUNHL77B0AJ9RDPK9M/Opening+Act_a.jpg ALL OVER THE MAP - OPENING ACT Oil on panel, 10.75 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1541474556979-Y0XWWBFPM3FJ4LFRKWDE/tender+mercies.jpg ALL OVER THE MAP - TENDER MERCIES Oil on panel, 10.75 x 10.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543191648641-VBRYT0ZT5BKBNDEIAC5J/Slipped+Crowns%28b%29.jpg ALL OVER THE MAP - SLIPPED CROWNS 1995 Oil and acrylic on canvas, 72 x 72 inches I began to incorporate other diagrams of the world like the gores of Waldseemuller’s map of 1507. Slipped Crowns portrays the gores of a hemisphere as wounded and infected membranes, bodies that decay despite their worldly authorities, a reminder to first world countries that they are not immune. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543191915531-1FT3H5DG73OTOKY0PBSI/Slipped+Crowns+%28detail+1%29.jpg ALL OVER THE MAP - SLIPPED CROWNS Detail of slipped crown https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543191954716-DJBGQN0GZ2OXH6FDM04T/Repercussions.jpg ALL OVER THE MAP - REPERCUSSIONS 1996 Oil and acrylic on hollow core panels, 80 inches height In Repercussions the gores of the globe float in uneasy connection to each other. Like disciples wounded and beatified by shimmering haloes, they couple and decouple, infecting each other with disease and desire, apathy and ecstasy. Embalmed for burial or bandaged for recovery, they vacillate between the corporeal and the ethereal. They are a world body, the body as world, the world as body. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543341435258-UXUP6BJ5Q8CKU37S7AU9/Suspension%2C1996%2C24x24.jpg ALL OVER THE MAP - SUSPENSION 1996 Oil and acrylic on birch panel, 24 x 24 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543192460121-2AF65E0GEZA5YPVSVAS9/Tourniquet+at+0+%28degrees+latitude%29.jpg ALL OVER THE MAP - TOURNIQUET AT O DEGREES 1996 Oil and acrylic on canvas, 72 x 72 inches Tourniquet at 0 Degrees tries to acknowledge and reverse the map’s typical conversion of dimensional space to two dimensions. Here, the flattened gores of the globe are cinched at the equator(waist), implying a constricted volume. In Amnesia Embellished, the finger’s circulation was cut off in a wan struggle to remember. Here the tourniquet cuts off circulation in order to save the whole body, whether it’s the world with its gores or a single body with its extremities. The waist of the falling figure in distress, taken from Hieronymous Bosch’s Last Judgment, coincides with the equator, linking our personal destinies with that of the planet. https://www.susanneslavick.com/contrary-comforts-1 daily 0.75 2022-02-28 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543344015138-QH6NZX0EYY9ZTA20Q7MG/Contrary+Comfort_Point+of+Entry_1999_80x36.jpg CONTRARY COMFORTS - CONTRARY COMFORT and POINT OF ENTRY 1999 Oil and acrylic on wood panels, 80 x 36 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543344015138-QH6NZX0EYY9ZTA20Q7MG/Contrary+Comfort_Point+of+Entry_1999_80x36.jpg CONTRARY COMFORTS - CONTRARY COMFORT and POINT OF ENTRY 1999 Oil and acrylic on wood panels, 80 x 36 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543342461379-3OSHJU974HXUK47E41OU/Contrary+Comfort_1999_80x36.jpg CONTRARY COMFORTS - CONTRARY COMFORT 1999 Oil and acrylic on wood panels, 80 x 36 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1543342667546-86Y01PRWU2V1V5QVIKGQ/PointOfEntryDetail.jpg CONTRARY COMFORTS - POINT OF ENTRY Detail of “point of entry” https://www.susanneslavick.com/familytree daily 0.75 2019-07-02 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562090101567-5HQ5QY92P20MXWTLUY9H/Swoon.jpg FAMILY TREE - SWOON 1998 Oil and acrylic on four birch panels; 80 x 119 inches A 1997 residency in Poznan, Poland turned my work toward landscape. Rows of Polish trees with their random spheres of mistletoe became backdrops for invented genealogies. Such irregular rhythms in an agrarian geometry extended my exploration of visual metaphors for order undone. Mistletoe’s romantic reputation is complicated by its parasitic nature and medicinal value. Its berries are like pinkish pearls. Though born of irritation in the shell, pearls also have romantic allure. Mistletoe drains the life from its host, but prompts the lover’s kiss. The berries in Swoon are suspended in an idealized state and cast down, before and after the “fall”, the surrender, the loss of innocence. Swoon embraces this complication with an aleatory genealogical table that departs from a rational and patriarchal order of bloodlines. This impossible structure acts as an armature for the cascading drapery of Flemish painting, the surrender of grief and desire made incarnate. The eyes of the romantic and the realist are crossed in this painting. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562090101567-5HQ5QY92P20MXWTLUY9H/Swoon.jpg FAMILY TREE - SWOON 1998 Oil and acrylic on four birch panels; 80 x 119 inches A 1997 residency in Poznan, Poland turned my work toward landscape. Rows of Polish trees with their random spheres of mistletoe became backdrops for invented genealogies. Such irregular rhythms in an agrarian geometry extended my exploration of visual metaphors for order undone. Mistletoe’s romantic reputation is complicated by its parasitic nature and medicinal value. Its berries are like pinkish pearls. Though born of irritation in the shell, pearls also have romantic allure. Mistletoe drains the life from its host, but prompts the lover’s kiss. The berries in Swoon are suspended in an idealized state and cast down, before and after the “fall”, the surrender, the loss of innocence. Swoon embraces this complication with an aleatory genealogical table that departs from a rational and patriarchal order of bloodlines. This impossible structure acts as an armature for the cascading drapery of Flemish painting, the surrender of grief and desire made incarnate. The eyes of the romantic and the realist are crossed in this painting. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562095759175-JMUVFHG5KPBWBI6Y2NKB/swoon_pink.jpg FAMILY TREE - SWOON 1998 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089922925-0TJQ034QMIAR0WPZV4EU/Fly+in+the+Eye_A+Geneaology+of+Ecstasy_8.6MB.jpg FAMILY TREE - FLY IN THE EYE: A GENEALOGY OF DESIRE 1996 Oil and acrylic on two panels, 80 x 64 total The family trees in Familiar Secrets and Fly in the Eye: the Genealogy of Ecstasy are of biblical proportions, beginning from Adam and Eve and the progeny of Noah. Their representation of human origins is macrocosmic, multi-generational and projects a generic authority. In invoking the body, flesh and blood, I have attempted to transform, expand and (perhaps) deflate these sources, to fuse the more macrocosmic and impersonal with the microcosmic and personal, to allude to the moment as well as to eternity, to decentralize and to infuse with desire. Shimmering haloes float with tongue tendrils, petri dishes, microscopic specimens, dividing cells, and bloodstains. Veils of the boudoir hang with those of the altar and stage. The sterility of the X-ray contrasts with the fecundity of the cornucopia. Globes unmoored from their orbits are framed among blind spots and black holes. Piero Camporesi's Incorruptible Flesh enhanced my consideration of the world and the body, the world body, the body as world. His accounts of spiritual ecstasy numbing the body to external stimuli inspired Fly in the Eye; a Genealogy of Ecstasy. In rapture, one would not blink, even if disturbed by a fly. Such coincidences of the banal and miraculous embody the extremes of our experience, the measured and immeasurable. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089946908-UWNAT4WH0TQP47H051KU/fly+detail.jpg FAMILY TREE - FLY IN THE EYE: A GENEALOGY OF DESIRE 1996 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089271880-5B6B5CLGZUM7XPN88I7O/Familiar+Secrets.jpg FAMILY TREE - FAMILIAR SECRETS 1996 Oil and acrylic on four panels, 80 x 136 inches total The family trees in Familiar Secrets and Fly in the Eye: the Genealogy of Ecstasy are of biblical proportions, beginning from Adam and Eve and the progeny of Noah. Their representation of human origins is macrocosmic, multi-generational and projects a generic authority. In invoking the body, flesh and blood, I have attempted to transform, expand and (perhaps) deflate these sources, to fuse the more macrocosmic and impersonal with the microcosmic and personal, to allude to the moment as well as to eternity, to decentralize and to infuse with desire. Shimmering haloes float with tongue tendrils, petri dishes, microscopic specimens, dividing cells, and bloodstains. Veils of the boudoir hang with those of the altar and stage. The sterility of the X-ray contrasts with the fecundity of the cornucopia. Globes unmoored from their orbits are framed among blind spots and black holes. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562089609313-SNKLPERWGH5WCMDSNRHE/Familiar+Secrets_detail.jpg FAMILY TREE - FAMILIAR SECRETS 1996 Detail https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562096255204-9U1DKW2XX2O8QEPV3JNP/Connubial.jpg FAMILY TREE - CONNUBIAL Oil and acrylic on wood panel, 47.5 x 47.75 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1562096134528-7I6XMM6PDV7ETDVAKXPL/RandomGrace_1998_24x24in.jpg FAMILY TREE - RANDOM GRACE 1998 Oil and acrylic on birch panel, 24 x 24 inches https://www.susanneslavick.com/when-the-bough-breaks daily 0.75 2021-01-25 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1568732371098-TJZ8LUR8ZR8FJ0ZFBDS3/Bough+Breaks+card+front-5.5x8.5_Harvey.jpg When the Bough Breaks https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1568732371098-TJZ8LUR8ZR8FJ0ZFBDS3/Bough+Breaks+card+front-5.5x8.5_Harvey.jpg When the Bough Breaks https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603732095-NYCTCJWMBPT66ONP8TU2/When+the+Bough+Breaks_Charlton_YORK.jpg When the Bough Breaks - Flier for WHEN THE BOUGH BREAKS at York College https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603781602-72CDBNN9XVJ6IAW9158B/When+the+Bough+Breaks_Harvey.jpg When the Bough Breaks - Flier for WHEN THE BOUGH BREAKS at GALLERY 937 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603826657-L2EBK0BIC6MRX03RUFR4/IMG_1630.jpg When the Bough Breaks - WHEN THE BOUGH BREAKS at YORK COLLEGE Marketview Arts Gallery https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603861189-UCUF9BUZ1FWXADO1K4NI/IMG_1644.jpg When the Bough Breaks - WHEN THE BOUGH BREAKS at YORK COLLEGE Zoe Charlton, Les Demoiselles (The Great Outdoors) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603921037-1OU25F0E3X6JCA4CMH0S/IMG_1642.jpg When the Bough Breaks - WHEN THE BOUGH BREAKS at YORK COLLEGE Patricia Bellan-Gillen, Phantom Limbs: Sentimental Void, 2015 Colored pencil, acrylic, gouache on birch; 96 x 164 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603927623-4FJ20GGSW9WLD4ED895V/IMG_1650.jpg When the Bough Breaks - WHEN THE BOUGH BREAKS at YORK COLLEGE Denise Burge, Flotsam, 2018, Fabric, embroidery, and paint; 55 x 89 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603930043-SRTOPIBBOCHPUXRKISP9/IMG_1651.jpg When the Bough Breaks - WHEN THE BOUGH BREAKS at YORK COLLEGE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603933337-KREKIN5NO5W3D064EBPJ/IMG_1652.jpg When the Bough Breaks - WHEN THE BOUGH BREAKS at YORK COLLEGE Left: Alex Lukas, Tree Graffiti, 2018 , Acrylic and screen prints on paper; 19 x 13 inches each Middle: Susanne Slavick, Recuperation: Nocturnal, 2007, Oil and acrylic on panels; 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611603955388-KHX4G4VU2CYWZCQNX20W/IMG_1635.jpg When the Bough Breaks - ALEX LUKAS Detail from Tree Graffiti, 2018 Acrylic and screen prints on paper; 19 x 13 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604306619-9J3MYEY2ABZE9LP59STJ/IMG_1793.jpeg When the Bough Breaks - WHEN THE BOUGH BREAKS at GALLERY 937 Right image: Lavar Munroe, Spy Boy, 2018 Acrylic and earring stud on untrimmed canvas; 68 x 48 inches Courtesy Jenkins Johnson https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604347831-GWKWOV1IR4MH5D0L022J/IMG_1786.jpeg When the Bough Breaks - WHEN THE BOUGH BREAKS at GALLERY 937 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604370980-S4ONXTK22SE430NVKGU9/IMG_1792.jpeg When the Bough Breaks - WHEN THE BOUGH BREAKS at GALLERY 937 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604423176-1CKKJ3WE0KJ6982P0VVF/IMG_1782.jpeg When the Bough Breaks - WHEN THE BOUGH BREAKS at GALLERY 937 Sarah Slavick, Elegy to the Underground series, 2019, 30 x 22 inches each Ellen Harvey, New Forest, 2013 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611604455173-ZC3J6M41IQILF7P11NSJ/IMG_1787.jpeg When the Bough Breaks - WHEN THE BOUGH BREAKS at GALLERY 937 Left to right: Susanne Slavick, Zoe Charlton, Alex Lukas https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1611605410965-3L71N95MHR9AD97K0ZNO/IMG_1783.jpeg When the Bough Breaks - WHEN THE BOUGH BREAKS at GALLERY 937 Clayton Merrell, Greenhouse Ricochet and Flooded Flames Both 2016, Oil on canvas; 48 x 36 inches Diminishing Conversation, 2018, Gouache on paper; 30 x 22 inches https://www.susanneslavick.com/down-to-earth daily 0.75 2020-08-06 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741278716-RE1CNWEY2TU66VN7BIF7/Down_to_Earth_Domeof_Heaven_1991_30x22in.jpg Down to Earth - DOWN TO EARTH / DOME OF HEAVEN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741278716-RE1CNWEY2TU66VN7BIF7/Down_to_Earth_Domeof_Heaven_1991_30x22in.jpg Down to Earth - DOWN TO EARTH / DOME OF HEAVEN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739880086-P1AHCMZGNQU95OVMN2YN/Raindrops+in+white+dome.jpg Down to Earth - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739987314-KSENR5I48DCWTZC2WXOI/Down_to_Earth_Domeof_Heaven_1991_30x22in.jpg Down to Earth - Down to Earth / Domes of Heaven, 1991 Mixed media on paper, 30 x 22 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739952542-L8XAE04VVAN9JCXJVFOJ/Down_to_Earth_Series_1990_mud+spoked+wheel_.jpg Down to Earth - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596739943692-XRHNYX880ASDXTI9Z287/Down_to_Earth_series_1990.jpg Down to Earth - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596740415450-2UWC9K5CKMD4L7V3A9DX/Cloud+Lasso.jpg Down to Earth - Down to Earth / Domes of Heaven (Cloud Lasso) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596740914179-YYWZU7PT1J39LP7BMPPY/Down_to_Earth_series+1990_knot+at+top.jpg Down to Earth - Down to Earth / Domes of Heaven https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741322820-ZSNTXI4RS7KJOBZVRCUL/Net.jpg Down to Earth - DOWN TO EARTH / DOME OF HEAVEN https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1596741327990-J36XMSH628R9FVFTSPF2/Winged+Watering+Can.jpg Down to Earth - DOWN TO EARTH/ DOME OF HEAVEN https://www.susanneslavick.com/tree-of-life-1 daily 0.75 2022-12-12 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289071102-HTQE3VV18U8TFV1M7DVU/Tree+of+Life_Nepal.jpg TREE OF LIFE - TREE OF LIFE: NEPAL 2020 Gouache on archival inkjet print on Hahnemühle paper Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Simon de Trey White, World Wildlife Fund UK, Nepal firewood. Tree of Life design from English embroidered canvas, first half 17th century, Metropolitan Museum of Art, NY. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289071102-HTQE3VV18U8TFV1M7DVU/Tree+of+Life_Nepal.jpg TREE OF LIFE - TREE OF LIFE: NEPAL 2020 Gouache on archival inkjet print on Hahnemühle paper Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Simon de Trey White, World Wildlife Fund UK, Nepal firewood. Tree of Life design from English embroidered canvas, first half 17th century, Metropolitan Museum of Art, NY. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289431133-ZD1FLSSX1APFAFKAKWXW/Tree+of+Life_Chile.jpg TREE OF LIFE - TREE OF LIFE: CHILE 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Martin Bernetti AFP, “Chile's Forest Fires Will Cost Government $333M,” Voice of America. Tree of Life carpet design, Tehran, 2nd Quarter of 19th century. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289546008-KE2X0LE6FYM3A62LLBIG/Tree+of+Life_+Tegamami+Forest%2C+2020%2C+Gouache%2C+on+Hahnemu%CC%88hle+paper%2C+56+x+28+inches.JPG TREE OF LIFE - TREE OF LIFE: TEMAGAMI FOREST 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Earthroots, Logged forest in the Temagami Forest Management Unit, Canada. Kurdish Bijar Tree of Life carpet design, 3rd Quarter, 19th century. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289673341-QQH7EF53IXDUTE08CUN7/Tree+of+Life_Minnesota.jpg TREE OF LIFE - TREE OF LIFE: MINNESOTA 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 56 x 28 inches/ 142.24 x 71.12 cm; paper size: 66 x 36 inches Photo source: Dan Kraker | MPR News; Tree of Life Persian Silk Kashan Tree of Life carpet design, c.1910 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607289842710-OV0EKVJNZ90NZBFOCVRV/Tree+of+Life_Yellowstone%2C+2020.jpg TREE OF LIFE - TREE OF LIFE: YELLOWSTONE 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 60 x 30 inches; paper size: 66 x 36 inches Sources: Raymond Gehman, National Geographic, Yellowstone National Park, USA. Kurdish Tree of Life carpet design. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1651255692094-1TTPE9TW1BL1GTFEUF3H/Tree+of+Life_New+South+Wales%2C+2020.jpg TREE OF LIFE - TREE OF LIFE: New South Wales, 2020 Gouache on archival inkjet print on Hahnemühle paper, 55.75 x 28 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607290157438-FFU7825PVRZTWYO58BYS/Susanne+Slavick%2C+Tree+of+Life_Caucasus%2C+2020%2C+Gouache%2C+on+Hahnemu%CC%88hle+paper%2C+59.5+x+30+inches.JPG TREE OF LIFE - TREE OF LIFE: CAUCASUS 2020 Gouache on archival inkjet print on Hahnemühle paper. Image size: 60 x 30 inches; 152.4 x 81.28 cm; paper size: 66 x 36 inches Sources: Photo by Ayser Ghazaryan, former deputy minister of environmental protection, a scene from Ijevan, Armenia. Kazak carpet design Caucasus, ca. 1880 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607290395332-LAD6YHPZFEAKAQYR4R8U/Tree+of+Life_Red+Gymnosperm+Cone.jpg TREE OF LIFE - TREE OF LIFE: RED GYMNOSPERM 2020 Archival inkjet print on Hahnemühle Source: Kirman Persian Tree of Life carpet design, 1880 Paper size: 10.75 x 8.25 inches/27 x 21 cm. Framed: 40.6 x 28.4 cm https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1607290684536-KJAOZUA5QFJKIUIRVJHC/Tree+of+Life_Microcycas+calocoma.jpg TREE OF LIFE - TREE OF LIFE: MICROCYCAS CALOCOMA 2020 Archival inkjet print on Hahnemühle paper, Paper size: 15.943 x 11.22 inches/ 40.5 x 28.5 cm. Framed: 40.6 x 28.4 cm Cycads are seeds plants that typically have stout and woody trunks with crowns of large, hard, stiff evergreen leaves, usually pinnated. Microcycas calocoma is one of the most ancient cycad species. Endemic to a small area in western Cuba, it is critically endangered in the wild because of habitat destruction, loss of insect pollinators and over collection of plants for human use. Here it is pinned as a dried specimen approaching extinction, but it is also arranged to appear as if spliced to and growing out of a 19th century Persian ‘tree of life’ carpet design. https://www.susanneslavick.com/dowd-gallery daily 0.75 2022-11-01 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326330087-J4NP83XXTE7ZJRJ27L3Z/Family+Tree+Dowd+card+combined.jpg DOWD GALLERY https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326330087-J4NP83XXTE7ZJRJ27L3Z/Family+Tree+Dowd+card+combined.jpg DOWD GALLERY https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326368974-9Q0NWW9TGTAACYD5WQ1Q/Sister+trio+good.jpg DOWD GALLERY https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326378738-CMP2T47G18X9IX48YGYT/Central+gallery.JPG DOWD GALLERY https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326548747-HXXILSTERBXMXEPHEFVT/312936577_10221749688151785_8689918265226674275_n.jpg DOWD GALLERY - Sarah Slavick, Elegy to the Underground series, 2019-2021 Watercolor/ink on Arches paper, 22.5” x 30” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326427327-U5ESBD1BDU7NP449KVDC/Madeleine_Parking+Lot+Conversation.jpg DOWD GALLERY - Madeleine Slavick, Parking Lot Conversation, 2022 Archival inkjet prints, Diptych, 47 x 22 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328762821-777NKIHPPTJMAAZQPC2J/elin+heavy+persimmons.jpg DOWD GALLERY - elin o'Hara slavick, Fukushima Persimmon Tree Heavy with Contaminated Fruit, 2019 Silver gelatin prints manipulated in the darkroom, mounted, unframed, 11” x 14” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326455101-SETK80WBOAJ41ZATAO3B/Mad%2CSarah+and+elin+right+gallery.JPG DOWD GALLERY - Works by Madeleine, Sarah and elin o'Hara Slavick https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326562469-VLPX0E58KAX9OWG4VOCI/elin+chemicasl+dwgs.jpg DOWD GALLERY - Elin OHara Slavick, from "There Have Been 528 Nuclear Tests to Date, 2022 A selection from 528 chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326570131-A21DVXDXZJB9YSZB7VGJ/312259863_10221749688111784_1228487330974052620_n.jpg DOWD GALLERY - Susanne Slavick, Tree of Life series, 2022 Gouache on archival inkjet print on Hahnemühle paper https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326615131-0PUDKFVESET74RERPUMT/Madeliene+Lattice+straight+on.JPG DOWD GALLERY - Madeleine Slavick, Lattice, 2020 13 framed works , 13.25 x 19.25 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326618726-ORB2QJAL82T9VFXJ06AV/Left+gallery.jpg DOWD GALLERY - Susanne Slavick, Recuperation (Diurnal) and Recuperation (Nocturnal), 2008 and Madeleine Slavick: In Times Like These, 2022 Oil, acrylic and Galkyd on three panels, 80 x 109 inches each Archival inkjet prints, Triptych, 21.25 x 17.25 inches each, framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326624093-YMI524NYE8GGLY4GXXTV/elin+trio.jpg DOWD GALLERY - elin o'Hara slavick, A-Bombed Tree I and A-Bombed Tree I with Fukushima Persimmon Tree Heavy with Contaminated Fruit, 2019 Trees that survived the A-bomb in Hiroshima, solarized silver gelatin prints, framed, 8.5” x 11” Archival inkjet print from a scan of a solarized silver gelatin print, framed, 32.5” x 41” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326646204-6BRG1DVZJCIW7EYIYG2K/Sarah+red+oil.jpg DOWD GALLERY - Sarah Slavick, Elegy to the Underground 5, 2022 Oil/canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326666205-0VKIROO0K09D9ABLLU7F/132555323_10164707809670013_5547355664482436022_n.jpg DOWD GALLERY - Madeleine Slavick, Supermarket and Tree Archival inkjet print, 13.25 x 19.25 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326708488-EKAXKR4IGEYKN1K4KCP3/Sarah+right+window.jpg DOWD GALLERY - Sarah Slavick, Elegy to the Underground 3, 2021 Oil/canvas, 56”x 44” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326720900-V3SVQPOUR07IYLNV7LC3/Madeleine+Trio+left+gallery.jpg DOWD GALLERY - Madeleine Slavick, In Times Like These, 2022 Archival inkjet prints, 17.25 x 21.25 inches each framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326726101-PIM7JL5T91HQK8A1NIOY/elin+trio+and+suanne+Herat+Tree.jpg DOWD GALLERY - Works by elin o'Hara slavick and Susanne Slavick https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326745691-M7NNC14YHVO7QTUQUQ32/Susanne+Nepal.jpg DOWD GALLERY - Susanne Slavick, Tree of Life: Nepal, 2020 Gouache on archival inkjet print on Hahnemühle paper. Sources: Simon de Trey White, World Wildlife Fund UK, Nepal firewood. Tree of Life design from English embroidered canvas, first half 17th century, Metropolitan Museum of Art, NY. 62.5 x 33 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326843574-RP650Z4DDEZTH2NCZ6NB/Madeleine+Slavick_Parking+lot+Conversation_Diptych_web.jpg DOWD GALLERY - Madeleine Slavick, Parking Lot Conversation, 2022 Archival inkjet prints, Diptych, 47 x 22 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326848060-ZDTJBVH150988AC6QAMN/elin+slavick_WeepingWillowSolarized+copy.jpg DOWD GALLERY - elin o’Hara slavick, A-Bombed Weeping Willow Tree, Hiroshima, 2019 Solarized silver gelatin print, 16 x 20 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326862407-V7G2A6GMREJLX241AHEK/elin+slavick_ChemicalDrawing8.jpg DOWD GALLERY - elin o'Hara slavick, There Have Been 528 Nuclear Tests to Date, 2022 One of 528 chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom, 8” x 10” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328379734-AV1MQEO3VC1SAMC3L4Z5/Madeleine+Slavick%2C+In+Times+Like+These%2C+2022_web.jpg DOWD GALLERY - Madeleine Slavick, In Times Like These, 2022 Triptych of archival inkjet prints, 19.5 x 15.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326905321-31QI5R7S9UK0K5AP5DZY/Recuperation_Diurnalj.jpg DOWD GALLERY - Susanne Slavick, Recuperation (Diurnal), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326908571-HS5QFMH8HNKNPKALT9WZ/03_Recuperation_Nocturnal%2Bcopy.jpg DOWD GALLERY - Susanne Slavick, Recuperation (Nocturnal) Oil, acrylic and Galkyd on three panels, 80 x 109 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667326960279-6RY0U893P8E3VB1JZ7NY/Sarah+Slavick%2C+Elegy+to+the+Underground+4%2C+2021%2C+oil+on+canvas+72%E2%80%9D+X+48%E2%80%9D.jpg DOWD GALLERY - Sarah Slavick, Elegy to the Underground 4, 2021 Oil/canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667327041109-6IAWA1M5OAT06JIALUGU/lattice6_JS_Victoria+Park+during++trade+fair+2010+-+0001+-+Mar10-3.jpg DOWD GALLERY - Madeleine Slavick, Hong Kong Victoria Park Archival inkjet print, 19.25 x 13.25 inches framed https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328454246-MNWE8O8HSAFAT0X8K9V0/Susanne+SlavicK_Reverie_HeratTree+copy.jpg DOWD GALLERY - Susanne Slavick, Reverie: Herat Tree, 2008 Gouache on archival digital print on Hahnemühle paper, 72 x 36 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328565941-KO94EPE00Q9UHQXOLXOB/311647530_3184417525154834_3271564785756512694_n.jpg DOWD GALLERY - Sarah Slavick, Elegy to the Underground 2020 Oil/canvas, 56 ¾ x 44 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328669055-E594GUBN8FTKP5BJ7ALT/elin+Hallway.jpg DOWD GALLERY - lin OHara Slavick, from "There Have Been 528 Nuclear Tests to Date, 2022 A selection from 528 chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom, 8” x 10” (various dimensions) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328711107-PX54Q1BQWHDLK6JLRTQY/Sarah_black+and+red+and+grey.jpg DOWD GALLERY - Sarah Slavick, Elegy to the Underground 22, 2021 Watercolor/flasche/ink on arches paper, 22.5 x 30 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328727368-JHZ49BPMDUJIPMIMPZQG/Sarah+left+six.jpg DOWD GALLERY - Sarah Slavick, from the Elegy to the Underground series Watercolor on Arches paper, 22.5 x 30 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1667328752819-S1V3O36FMQNG9RC2CKPR/Hiroshima+leaves.JPG DOWD GALLERY - Elin OHara Slavick, Eucalyptus Bark and Leaves from a tree in Hiroshima that survived the Atomic Bombing, 2008 Organic matter collected in 2008 https://www.susanneslavick.com/resort-1 daily 0.75 2022-11-19 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870391816-EED6Z47V66JH086ZOBZM/RESORT+1+%280.00.01.19%29.jpg RESORT - RESORT 1 (0.00.01.19) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870391816-EED6Z47V66JH086ZOBZM/RESORT+1+%280.00.01.19%29.jpg RESORT - RESORT 1 (0.00.01.19) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870403429-TF0OH3GEF0FHJC7J99QT/RESORT+2+%280.04.49.10%29.jpg RESORT - RESORT 2 (0.04.49.10) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870432874-MP3LHZCFPERHMEAN7DWT/RESORT+3+%280.03.12.16%29.jpg RESORT - RESORT 3 (0.03.12.16) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1668870443790-8K38EN2T3RYAG1VCYGGH/RESORT+4+%280.04.16.07%29.jpg RESORT - RESORT 4 (0.04.16.07) https://www.susanneslavick.com/retractionseries daily 0.75 2023-11-08 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409074475-WW1AA85XV6J1P0V34AGN/Retraction+trio%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg Retraction https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409074475-WW1AA85XV6J1P0V34AGN/Retraction+trio%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg Retraction https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409341164-Y8GQ9WNLB6W9Y45A5RWB/Retraction+II%2C+2020-23%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches.jpg Retraction - RETRACTION II, 2020-2023 Oil, acrylic, glue and dry pigment on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409093934-XA6SL8HM6AVI6H0C3931/Retraction+I%2C+2020%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches+copy.jpg Retraction - RETRACTION II, 2020 Oil, acrylic, glue and dry pigment on canvas, 72 x 54 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699409450143-3VLZXP3KWZ4MACISGWGJ/Retraction+III%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg Retraction - RETRACTION III, 2020-23 Oil, acrylic, glue and dry pigment on canvas, 72 x 48 inches https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699410146024-LDEGP72NX5Z8793UK8NV/Susanne+Slavick%2C++Retraction%2C+2021%2C+Oil+on+panel%2C+12+x+18+inches.jpg Retraction - RETRACTION (Border Wall) 2021 Oil on panel, 12 x 18 inches Retraction presents a prototype for the much vaunted border wall championed by former president Trump. A red carpet approaches from its rear, suggesting hopes for access, if not welcome. The carpet meets and descends into a ditch, managing to climb the wall, only to descend into the depths again. https://www.susanneslavick.com/handwerker-2024 daily 0.75 2024-09-04 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418416478-5CAJI1VVJLA4SE2QAP44/IMG_1749.jpg Handwerker 2024 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418416478-5CAJI1VVJLA4SE2QAP44/IMG_1749.jpg Handwerker 2024 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418415625-0FRT4F4TW4BYHFXRRUTI/IMG_1755.jpg Handwerker 2024 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418541361-9P1I2IHL0YU3PXVCM4RP/IMG_1780.jpg Handwerker 2024 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418417793-S2W79RDD79W4JX3F729G/IMG_1756.jpg Handwerker 2024 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418418581-4U1KFU2XP1JLMGLY3FJH/IMG_1759.jpg Handwerker 2024 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1725418419558-8UCONMDZMIYTI77WYA9U/IMG_1750.jpg Handwerker 2024 https://www.susanneslavick.com/gebaude-avenue daily 0.75 2025-05-09 https://images.squarespace-cdn.com/content/v1/56d4a125e707eb7a02e4055f/1456851111610-486A5E4H0OE915O3XOHM/54.jpg Gebäude https://images.squarespace-cdn.com/content/v1/56d4a125e707eb7a02e4055f/1456851111610-486A5E4H0OE915O3XOHM/54.jpg Gebäude https://images.squarespace-cdn.com/content/v1/56d4a125e707eb7a02e4055f/1456851131188-P0LLWVYC2DCMARUN1W4G/7.jpg Gebäude https://images.squarespace-cdn.com/content/v1/56d4a125e707eb7a02e4055f/1456851177822-POR5JXIXGIJ7IQRVV8K6/53.jpg Gebäude https://www.susanneslavick.com/sordoni-family-tree daily 0.75 2025-08-08 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614203077-W4BC31P54BPABJFP9EQI/IMG_1642_intro+wall+angle.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614203077-W4BC31P54BPABJFP9EQI/IMG_1642_intro+wall+angle.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614220599-58RW81TJD6060XJBHT57/IMG_1618.jpg Sordoni Family Tree - Sarah Slavick, Elegy to the Underground series, 2019-2021 Watercolor on Arches paper, 22.5” x 30” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614231376-FZIRU0XFTLF0R9VVXI0Z/elin_There+Have+Been.jpg Sordoni Family Tree - There Have Been 528 Nuclear Tests to Date, 2022, 20 (of 528) Chemical drawings (developer and fixer) on outdated/fogged silver gelatin paper left in a Caltech darkroom, 8” x 10” (various dimensions) https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614254841-2UIY3WUMLEES64K3DYDL/IMG_1640_Intro+text.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614265894-RRGAGMS5BMHIA90UFT6H/Madeleine+Slavick_Lattice%2C+2020.jpg Sordoni Family Tree - Madeleine Slavick, Lattice, 2020 Archival inkjet prints 11.5 × 17 or 17 × 11.5 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614276832-836CQ73R3EI6NAQUNJH5/IMG_5283_tour.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614318000-FQAVVFQQIJW1P2PUI13A/IMG_1603.jpg Sordoni Family Tree - Susanne Slavick, Recuperation (Diurnal) and Recuperation (Nocturnal), 2008 Oil, acrylic and Galkyd on three panels, 80 x 109 inches each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614372562-ZV1CULOWMNDXAQWXD6PJ/IMG_1624.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614397287-DFC225COPU84DWYO9XTH/IMG_1709_collateral+2.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614450059-X8IEJ7ASQSSC0Y9ZUFPW/IMG_1615.jpg Sordoni Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614509513-BNGDVW70MJ6EVZW6QHZB/IMG_1634_rubbings.jpg Sordoni Family Tree - elin o'Hara slavick, Fire Tree and Hackberry Tree, 2008 Framed silver gelatin contact prints of rubbings of A-Bombed Trees in Hiroshima, 15” x 20” each https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1754614544666-3SH1BIGX6ZURCW4Z3433/IMG_1612+Madeleine.jpg Sordoni Family Tree - Madeleine Slavick, 加油 | we shall overcome | kia kaha, 2020 Archival inkjet prints Triptych, 12 x 8 inches each https://www.susanneslavick.com/revolution- daily 0.75 2025-11-15 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757604738961-JXUE54NW0D1ESOX6BQQ7/Revolution+I%2C+2024%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78+x+43+inches+cropped.jpg REVOLUTION ! - REVOLUTION I, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757604738961-JXUE54NW0D1ESOX6BQQ7/Revolution+I%2C+2024%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78+x+43+inches+cropped.jpg REVOLUTION ! - REVOLUTION I, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://www.susanneslavick.com/revolution-i-2 daily 0.75 2025-09-11 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757606855117-NVVHP1PRT9FI6BR434YU/Revolution+I%2C+2024%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78+x+43+inches+cropped.jpg Revolution I - REVOLUTION I, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations or documented and undocumented travelers. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757606855117-NVVHP1PRT9FI6BR434YU/Revolution+I%2C+2024%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78+x+43+inches+cropped.jpg Revolution I - REVOLUTION I, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations or documented and undocumented travelers. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://www.susanneslavick.com/entry daily 0.75 2025-09-11 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757607510750-CYHHHW9FPZFUYXJA57W5/Entry%2C+2023%2C+Oil%2C+acrylic%2C+conte+crayon%2C+clay+and+glue+on+canvas%2C+72+x+72+inches.jpg ENTRY - ENTRY 2023 Oil, acrylic, clay and glue on canvas, 72 x 72 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations or documented and undocumented travelers. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757607510750-CYHHHW9FPZFUYXJA57W5/Entry%2C+2023%2C+Oil%2C+acrylic%2C+conte+crayon%2C+clay+and+glue+on+canvas%2C+72+x+72+inches.jpg ENTRY - ENTRY 2023 Oil, acrylic, clay and glue on canvas, 72 x 72 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations or documented and undocumented travelers. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://www.susanneslavick.com/revolution-ii-1 daily 0.75 2025-09-11 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757608152599-AN7LXL4BPE5AFPFBP1D8/Revolution+II%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78x43+inches.jpg REVOLUTION II - REVOLUTION II, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1757608152599-AN7LXL4BPE5AFPFBP1D8/Revolution+II%2C+Oil%2C+acrylic%2C+glue+and+dry+pigment+on+canvas%2C+78x43+inches.jpg REVOLUTION II - REVOLUTION II, 2024 Oil, acrylic, glue and dry pigment on canvas, 78 x 43 inches Early turnstiles were used to allow human beings to pass while keeping livestock inside their pens. Today, they are commonly used for business and security purposes. They give accurate, verifiable counts of attendance or passage. By controlling the direction and passage of one person at a time, they are useful to surveillance operations. Turnstiles are a mundane reality of urban life, most commonly in transit spaces, public pools and playgrounds, and entertainment venues. But they are also sites of political and social strife across carceral and civilian contexts. They separate civilian populations and serve as checkpoints to enforce legal and illegal occupations. In these paintings, the turnstiles are negative spaces, atmospheric vacancies, dissolved structures—a kind of wishful thinking. The fields left behind or waiting ahead are bleakly physical—endless cracked earth. In Entry, flames burn as beacons or in memoriam, suspended between here and there. In Revolution I and II, items of what should be innocent childhood are caught between the bars, in a revolving machinery that is oblivious to both the oppressor and the oppressed. https://www.susanneslavick.com/pearl-conard-family-tree daily 0.75 2025-09-16 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1758032778083-FURFRDHYQJ87IIZXTZKK/86063604007-img-4624.webp Pearl Conard Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1758032778083-FURFRDHYQJ87IIZXTZKK/86063604007-img-4624.webp Pearl Conard Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1758032795376-ET4A0MFLFTN1EPFJ2DEU/86063596007-img-4623.webp Pearl Conard Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1758032843440-YWCKP3HZRQPHPB3QIO7O/86063591007-img-4618.webp Pearl Conard Family Tree https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1758032894262-8CXPF9BB5AHQ598TUEV3/86063597007-img-4609.webp Pearl Conard Family Tree https://www.susanneslavick.com/about daily 0.75 2024-07-05 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1499981145321-N5ZN4D6G4L3F5JK02Y4E/image-asset.jpeg About https://www.susanneslavick.com/words daily 0.75 2024-07-05 https://www.susanneslavick.com/tree-of-life daily 0.75 2020-12-06 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048665327-33P6FAS9O56H1BIUCWVE/Azzurro+Mare+detail.jpg TREE OF LIFE https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048181828-1UK3V6V1UA38440VDU89/Dead+Reckoning_trio+2018.jpg TREE OF LIFE - Dead Reckoning, 2018 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048122203-8YVH4YUNGFVKL4NGXWBY/Azzurro+Mare%2C+2018%2C84x48.jpg TREE OF LIFE - AZZURRO MARE AM330 84 x 48 inches “Now comes with FREE boat tubes cover to protect boat from damaging UV rays and to extend boat lifespan. Is great as a ship-to-shore dinghy or tender for main ship.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048158624-OA2J7EH0TKJC1CNSIP46/Azzurro+Mare+detail.jpg TREE OF LIFE - Detail of AZZURRO MARE AM330 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048132734-KF4GUP97YS8RXDZKW8I0/Saturn+SD500G-05%2C+2018%2C+96+x+48.jpg TREE OF LIFE - SATURN SD500G-05 96 x 48 inches “Largest vessel in our budget price.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048143394-YH3LVBIXCSI0S2OC515P/Sea+Eagle%2C126SR%2C+2018%2C+84+x+48.jpg TREE OF LIFE - SEA EAGLE 126SR 84 x 48 inches “Best suited for those wishing to have more roomy space.” https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1539048081188-HJN5IXT78SRV0XE2Q2GC/Dead+Reckoning+2018.jpg TREE OF LIFE - DEAD RECKONING Installed at the McDonough Museum fo Art, Youngstown, Ohio Home By Warsan Shire no one leaves home unless home is the mouth of a shark you only run for the border when you see the whole city running as well your neighbors running faster than you breath bloody in their throats the boy you went to school with who kissed you dizzy behind the old tin factory is holding a gun bigger than his body you only leave home when home won’t let you stay. no one leaves home unless home chases you fire under feet hot blood in your belly it’s not something you ever thought of doing until the blade burnt threats into your neck and even then you carried the anthem under your breath only tearing up your passport in an airport toilet sobbing as each mouthful of paper made it clear that you wouldn’t be going back. you have to understand, that no one puts their children in a boat unless the water is safer than the land no one burns their palms under trains beneath carriages no one spends days and nights in the stomach of a truck feeding on newspaper unless the miles travelled means something more than journey. no one crawls under fences no one wants to be beaten pitied no one chooses refugee camps or strip searches where your body is left aching or prison, because prison is safer than a city of fire and one prison guard in the night is better than a truckload of men who look like your father no one could take it no one could stomach it no one skin would be tough enough the go home blacks refugees dirty immigrants asylum seekers sucking our country dry niggers with their hands out they smell strange savage messed up their country and now they want to mess ours up how do the words the dirty looks roll off your backs maybe because the blow is softer than a limb torn off or the words are more tender than fourteen men between your legs or the insults are easier to swallow than rubble than bone than your child body in pieces. i want to go home, but home is the mouth of a shark home is the barrel of the gun and no one would leave home unless home chased you to the shore unless home told you to quicken your legs leave your clothes behind crawl through the desert wade through the oceans drown save be hunger beg forget pride your survival is more important no one leaves home until home is a sweaty voice in your ear saying- leave, run away from me now i dont know what i’ve become but i know that anywhere is safer than here https://www.susanneslavick.com/revolution-i daily 0.75 2025-09-11 https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/1699410335577-T7ZW982K9YASFVRHYU5C/Retraction+III%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg REVOLUTION I https://images.squarespace-cdn.com/content/v1/5967bb5b5016e138013d1a5f/8d786da0-8d7b-4884-a6f4-040febf310e9/Retraction+III%2C+Acrylic%2C+oil%2C+glue%2C+dry+pigment+on+canvas%2C+72+x+54+inches_right.jpg REVOLUTION I - Make it stand out Whatever it is, the way you tell your story online can make all the difference.