Since the end of 2001, it is almost daily that we hear news reports of bombs being dropped, missiles being fired, and areas being targeted by the United States military. With the numbers of missiles so high and so frequent it is difficult for anyone to comprehend their impact, both financially and in scale. The size and presence alone of these missiles is daunting and intimidating, with some missiles as tall as 15 feet (4.5m). The price is just as overwhelming, with some missiles, like the Tomahawk, costing over $1.5 million each.
Details assists in making these dimensions and costs real.
AGM-65 Maverick – 8’ 2” – $110,000 each AGM-84E SLAM – 14’ 8” – $720,000 each AGM-88E HARM – 13’ – $870,000 each AGM-114 Hellfire – 5’ 4” – $110,000 each AIM-9 Sidewinder – 9’ 11” – $665,000 each GBU-12 Paveway II – 10’ 11” – $21,000 each
SOCIAL JUSTICE IN THE MISINFORMATION AGE
FREEDMAN GALLERY ALBRIGHT COLLEGE READING, PA AUG 27 - OCT 20 2019 OPENING SEPT 1, 2-4PM
During the wars and Afghanistan and Iraq, thousands men of fighting age (15-50) were detained through house raids by US and Coalition forces. The raids were often based on bad intelligence, which led to the terrorizing of families and the extended detention of the men without charge. The physical and mental treatment of the detainees and the emotional trauma to the women and children has dramatically scared families. Though international military forces may leave Iraq and Afghanistan, the violence and trauma of war remains. Fallout focuses on the devastation that a culture of violence and war has on its people and their families.
By using and manipulating found photographs from the destroyed Saddam International Center in Baghdad, Iraq, Fallout makes evident real families that will remain damaged or destroyed by brutality, detention, and terror.
BOUND AND UNBOUND V
UNIVERSITY LIBRARIES UNIVERSITY OF SOUTH DAKOTA VERMILLION, SD AUG 26 2019 - JAN 3 2020
On a hot New York Monday in 1955, Wilsonia Driver had missed her train stop. She was a recent alumna from Hunter College and had woken up that morning with excitement and pride. Ms. Driver had been offered a writing position at the New York Times, but when she arrived at the office on West 43rd St. the Times staff were not expecting a young black women. Despite her protests, Ms. Driver was quickly told that the position had been taken.
She left in a daze of anger, making her way to the train station. When Ms. Driver realized she had missed the 96th St. stop, she was already at 135th St. As she made her way across the street to catch the train back downtown, she saw a sign that read, Schomburg, as she recounts, “I was hot. I was mad, and I was everything. And I said to the guy who was standing outside, ‘What kind of library is this? I just got out of Hunter. I never saw this library.’”
When she learned that the Schomburg library’s collection was dedicated to books by and about black people, Ms. Driver responded with, “There must not be a lot of books in here.” The librarian sat her down at a long table with three books from the collection, Up from Slavery by Booker T. Washington, The Souls of Black Folk by W. E. B. Du Bois, and Their Eyes Were Watching God by Zora Neale Hurston. After reading a third of Their Eyes Were Watching God, Ms. Driver asked the librarian, “How could I have been an educated woman and not have read this?” and then began to cry. That young alumna would become the poet, playwright, activist and educator, Sonia Sanchez, who is best known as one of the architects of the Black Arts Movement.
A Letter for Sonia Sanchez is a collection of books built from a list of 50 literary works from black Americans, dating from 1773 to 1965. The works builds from Sanchez’s emotional story of frustration and discovery, while examining the access to these authors and books, then and now. The books in A Letter for Sonia Sanchez must be checked out from the local libraries while still providing the original list to the audience. The work uses the available library books and ratchet ties to create a monument of literature that is bound by the yellow industrial straps. The use of the ratchet ties as a book strap or belt, references the other work in the Look Away series, as part of the removal of monuments and the yellow as a cautious warning.
For much of the country’s life, it has taught a version of history that excluded black Americans. In the mid-1960s, the most popular textbook for eighth-grade U.S. history classes only mentioned two black Americans in the century since the Civil War. The suppression of black history and art is intertwined with the repression of black rights and equality. A Letter for Sonia Sanchez is an examination of the suppression and distortion of black history, culture, and education, while providing light to the depth and diversity of American literature.