By Krzysztof Wodiczko
DEC 22–JAN 23 | Special Report
Wounded, mutilated, and dismembered by wars, ancient war sculpturessuch as these of heroes of Persian, Trojan wars and embattled mythological godsare perceived by the Museum visitors as romantic ruins of idealized antiquity, rather than as the horrifying forensic evidence of wars atrocities and as the masterpieces of war art implicated in cultural perpetuation of such atrocities through their aesthetic sanctification of armed violence.
By Jarrod Shanahan and Abby Cunniff
SEPT 2022 | Field Notes
A crumbling strip of asphalt winds through the craggy countryside of eastern Kentucky, striated with power lines sagging in every direction. Wobbly pavement markings and errant skidmarks vanish at a hairpin bend buffered by low guard rails framing a rolling, sparsely tree-spotted expanse of hills. On one side of this road stands a roughly chiseled open coal seam, marking the remnants of a former mine. On the other, a bowed chain link fence capped in razor-wire announces the outer periphery of Otter Creek Correctional Facility. This remarkable image by photographer Jill Frank adorns the jacket of prison scholar Judah Schepts Coal, Cages, Crisis (New York: NYU Press, 2022), confronting the reader with the books central preoccupations.