The Simnuke Art Exhibit Indicts Sixty Years
of the Atomic Age
Exhibit - July 28 - August 25, 2005
Rx Gallery, 132 Eddy Street @
Mason, San Francisco
Night Reception - July 28, 7pm-midnight, $10 suggested donation
Special Screening of "Helen's War"
- August 3, 8 pm
Livermore Labs - August 6
Harris-Cronin | email@example.com | 415.516.2049
Carlson | firstname.lastname@example.org | 415.235.5629
a city known for activism and creativity, will host the
emotional and politically charged Simnuke Art Exhibit on July 28th, 7pm
to midnight, at Rx Gallery, 132 Eddy Street. Over the last sixty years,
all over the world have struggled with the looming threat of nuclear
arms. For the artists exhibiting in the Simnuke Art Exhibit, this
struggle expresses itself through artwork that is both stunning and a
indictment of the nuclear arms race.
Simnuke Project commemorates and confronts the splitting of the atom
using art that ranges the emotional gamut from fear to anger, satire,
and above all, a simple wish for peace.
art of the Simnuke Art Exhibit is as diverse as San Francisco itself.
The show, co-curated by Sasha Harris-Cronin and Max Carlson, comprises
20 artists from the United States and Japan: 5 of them invited and 15
of them selected from submitted artworks. The exhibit pieces will range
from photography to kinetic sculpture, from humorous statements to
deadly serious exposes. In addition, there will be an exhibit of
government documents from the Prelinger Library tracing the history of
the atomic era in public policy.
global nuclear proliferation blooms into reality, and the United States
moves ahead with so-called tactical "bunker busters" and nuclear arms
in space, it is critical that this powerful collection reach an
audience. Co-curator Sasha Harris-Cronin stated, "If we can make one
person leave the gallery, go home, and write their congressperson, then
we have made a difference."
Screening of "Helen’s War,
Portrait of a Dissident"
“Last Laugh” by Louis
Borgenicht, MD - August 3, 8 pm
By special permission, the Simnuke Art Exhibit
is doing a one-time screening of “Helen’s War: Portrait of a
Dissident,” a film about Helen Caldicott by her niece, Anna. We
are lucky enough to combine it with “Last Laugh,” a talk on Nuclear
Humor by pediatrician, anti-nuclear activist, and PSR Board Member
access, Caldicott's filmmaker niece, Anna Broinowski, followed her
pugnacious aunt during a year-long road trip through the United States
to promote her latest book, The New Nuclear Danger-George W. Bush's
Military Industrial Complex. (read excerpt) Playing a reluctant cynic
to her idealistic aunt, Broinowski challenges Caldicott as she battles
spin-savvy neo-conservative rivals and attempts to raise money for her
left-wing think-tank. But can Caldicott win back the media, and inspire
the huge groundswell of protest she did in the 1980s? Helen's War asks
whether pacifist dissenters have a place in today's world.
Last Laugh is a multimedia presentation which includes posters, bumper
stickers, parodies, official government propaganda (e.g. a three minute
film), music and other representations of our nuclear culture. They are
culled from the collection of Louis Borgenicht, MD a nuclear pack rat
for years. The Last Laugh explores the utility of humor in
dealing with the incomprehensible and concludes with a quote from write
Robert Stone: “Laughter is primarily a moral response. It is a
rejection of evil, a renunciation of chaos and an affirmation of
balance and soundness.” Dr. Borgenicht is a pediatrician from SLC, Utah
and has been a member of Physicians for Social Responsibility for
twenty-five years. He is currently on the Board of Directors.
is a San Francisco-based photographer and bookmaker
broadly focused on the environment and how contemporary American
culture relates to it. His work is concerned both with the
politics of that relationship and the seductions of landscape
representation, particularly as found in the arid, open spaces of
America. He has exhibited nationally and internationally, and his
has been collected by the San Francisco Museum of Modern Art, The Getty
Research Library, The Los Angeles County Museum of Art, The New York
Public Library, and the Victoria & Albert Museum in London, among
One strain of Light’s practice has been to rework familiar historical
photographic and cultural icons into landscape-driven perspectives,
often with an aerial component, by sifting through vast but overlooked
public photographic archives. His first such book and exhibition,
MOON (1999), used lunar geological survey imagery made by Apollo
astronauts to show the moon both as a classically sublime desert and an
embattled point of first human contact. His latest archival
100 SUNS (2003), focuses on the politics and landscape meanings of U.S.
atmospheric nuclear detonations in Nevada and the Pacific from 1945 to
Another aspect of Light’s practice involves aerially photographing over
settled and unsettled areas of Western American space, pursuing themes
of mapping, vertigo, human impact on the land, and various aspects of
the sublime. He is beginning a decade-long aerial photographic
of the West at this time, tentatively titled Dry Garden: America Beyond
the 100th Meridian.
Light is represented by Hosfelt Gallery, San Francisco and Frehrking +
Wiesehofer Gallery, Cologne.
Bryan Cole and Jeff Young
is a resident of Athens, Georgia and is currently producing and editing
independent documentary films. Recent exhibitions to include his
are Embedded: Living With Technology at the Athens Institute for
Contemporary Art, as well as the River Run International Film Festival
in Winston-Salem, North Carolina, the Jacksonville International Film
Festival and the Atlanta International Film Festival. Bryan has
recently performed in Laleh Mehran’s Xerces Society VI: Sir Cropia’s
Jeff is a resident of Atlanta, Georgia and is a recent graduate of the
Lamar Dodd School of Art. Currently Jeff is studying at the
Summer Institute in New York. Recent work includes performing in
Mehran’s installation Xerces Society VI: Sir Cropia’s Public Laboratory
at the Georgia Museum of Art. He has also recently shown work in
Athens Institute for Contemporary Art exhibits Embedded: Living With
Technology and Product: Comments on Consumer Culture with The Yes Men.
DOOMTown The Movie |
The Great Atomic Power
In the summer of 2000, I secured a research grant from the University
of Oklahoma for travel to several nuclear sites in the Western United
States, which allowed me to research and embark on a new body of work
concerning the iconography of the Atomic/Nuclear Age. The foci of this
project include graphic, popular and indigenous icons arising from the
social-historical period of American history encompassing the years
from roughly 1945 to the present. In these works I combine scholarly
and artistic processes which have allowed expansion and deepening
explorations of my ongoing interests and research in
American/Western-inspired iconography. The nuclear art pulses with the
metaphorical and discursive reverberations of four conditions; 1) the
historical and current issues surrounding weapons of mass destruction,
2) the ongoing effects of nuclear production and storage, 3) the
aftermath of the Cold War, and finally, 4) the terrorist threats
following September 11th.
Well into the research of this project I began making large-scale
banners. The works displayed draw their inspiration from the concept of
propaganda in itself, but mainly appropriate graphics from World War
II, Soviet and Chinese Communism and Cold War Civil Defense. Upon
further investigation, I saw a strong relationship between this era of
visual communication and current issues surrounding terrorist threats,
most notably the current five color code warnings from the Homeland
Security Commission. Furthermore, as politics and society evolve,
relevant subjects and images will be added to this body of work.
Garnett studied painting at the École Nationale Supérieur
Beaux-Arts in Paris, and received her MFA from The City College of New
York. Garnett's subject is conflict, whether social, environmental,
geo-political or technological. Her drawings and paintings are based on
photographs she appropriates from different sources, including
declassified government archives and news wires. Other projects include
video installations and websites that recontextualize her source
material, such as the online resource “The Bomb Project” (2000-present)
Her work has been exhibited at Debs & Co., Lombard-Freid Fine Arts,
Foxy Production, Clementine Gallery, White Columns, Exit Art, and GAS
(NYC); Schroeder Romero (Brooklyn); National Academy of Sciences
(Washington, DC); Kettle's Yard (Cambridge, UK); Aeroplastics
Contemporary (Brussels), de Witte Zaal (Ghent), and De Bond
Her awards include project grants from the Wellcome Trust (UK) and the
Lower Manhattan Cultural Council; she recently received an award from
the Anonymous Was a Woman foundation.
Farsai Roxborough, born in 1975 in Los Angeles, California to the
Iranian painter Fredoon Farsai, and Gretchen Quandt. I have had a
wonderfully diverse and semi-nomadic upbringing, traveling from the
United States to Iran, Canada, and then back to the San Francisco Bay
Area in California. I have attained a BA in Ecological Building
Design, and I am actively pursuing sculpture, ceramics, ecology, and
My work has been featured in group shows, and has also been part of
sets used both in film and photography. In 2004, I taught a series of
private classes in welding on steel for sculpture and structural
As an individual I strive, through my artwork, to attain a level of
magical realism, that is palpable in everyday life. I seek to use the
power of juxtaposition, conveying the world not as it should be,
as it could be. Ultimately, I believe the uniqueness of my vision
captures life in perspectives which are unique and charming, and can
add to other's experience of life. Throughout my work, I use the
spiritual significance of fire, and the regenerative power of the
phoenix. I seek to draw illuminative parallels between the fire
transformation and cycles of life through birth and death throughout
time. During this process I seek to connect to an inner focus, a
insight, which is a level of self-knowing, that can be applicable to
life in the outer world. My goal as an artist is to have the profound
effect on those who view my work, and that that they will be affected
on a deeply subconscious and powerful level; becoming more able to pick
up perceptions of the magical world around them, in ways that they were
unobservant to before.
Penetrator 1 | The Penetrator
2 | The Penetrator 3
in the countryside of Ohio and raised in Kentucky, Corinne now lives in
San Francisco. All the time in between is what made Corinne into the
artist she is now. She attended Tulane University and earned a BA in
Studio Art and Philosophy. At Tulane, Corinne developed a keen interest
in different photographic processes. She has since strived to use these
processes not only to create images but to link the processes to the
content of the images.
Corinne’s current project focuses on the depleted uranium missiles
presently being used by the U.S. military. In these pieces, she
utilizes various images to compare the bombs the U.S. has used in the
past to the U.S.’s current use of nuclear weapons, specifically
depleted uranium missiles. She wants to convey the idea that the U.S.
has not learned from its mistakes in the past, such as Hiroshima.
Corinne wants to communicate to the viewer that, at this precise
moment, the actions of the U.S. are affecting the future generations of
Afghans and Iraqis by using a chemical that has a half-life of 4.5
billion years and poisons their ground water and air. The aftermath of
these bombs affect more than just the “evil-doers” the U.S. is
fighting. They affect innocent civilians, including children, their
children’s children and so on.
Elin O'Hara Slavick
Mississippi | Bikini Atoll | Vieques
o’Hara slavick is a Professor of Art at the University of North
Carolina at Chapel Hill where she teaches Conceptual Photography,
Collaborative Visual Projects, Drawing, Mixed Media and Body Imaging.
Slavick received her MFA in Photography from the School of the Art
Institute of Chicago and her BA in poetry, photography and art history
from Sarah Lawrence College. Having grown up with a radical Catholic
activist father who gave her a camera when she was eight years old and
a German mother who encouraged her to draw, slavick traveled
extensively throughout Europe and the United States many times as a
child - visiting churches, museums, typical tourist destinations,
alternative historical sites, and family. Perhaps these trips began her
visual explorations and manifestations of the complicated and critical
relationship between the individual and the world, between the local
and the global, the personal and political. Slavick has exhibited her
work in Hong Kong, Canada, France, Italy, Scotland, England, Cuba, the
Netherlands and across the United States. A determined feminist,
educator and activist, slavick hopes to see the transformation of
global capitalism into some more equitable and democratic form before
she dies. www.unc.edu/~eoslavic
Hiroshima, Mon Amour
Oil on Canvas
Giles is a Conceptual Artist, whose work finds many forms, ranging from
large-scale, interactive sculpture, to orginal costuming, performance
and painting. She attended the High School of Performing and Visual
Arts in Houston and received her Bachelor's Degree in Art & Art
History from Rice University. She currently hangs her hat in San
Francisco, where she continues to produce a wide range of
thought-provoking work at a steady clip.
March of Progress
Oil on Canvas
is a native son of California, born in 1952. He began his life of
making art while attending high school in Sacramento, working on
painting and Theatre set design. He earned a California State a
scholarship to The University of CAlifornia at Davis where he received
a degree in Fine Art in 1973.
Mark has always been able to touch the essence of creativity, bringing
forth ideas and visions a way uniquely his own. He has traveled the
world, spending time in the Far East and Costa Rica where he maintains
a rainforest retreat.
Floating on Water |
ink on cloth
1954 Born in Hiroshima, Japan
Present Living in Hiroshima
1985 Started to produce works by dyeing
Paints are permeated and dyed cloth. I make my works by seeking the
possibility and meaning that is can express an dhaving a dialog of my
own soul and sound. I have displayed my works in Hiroshima Prefecture
Art Exhibition, amd have displayed in and received an award from
Koufukai museum. I have been in group exhibitions in Hiroshima, Kyoto,
Tokyo, and so on.
In April, 2004. I held the Charity Group Exhibition that offers medical
support to the children of Iraq in gallery in Hiroshima.
In March, 2005, I held an exhibition at SomArts Cultural Center in San
I have been director of "GG Art Space" where I teach painting to
childrem in the atelier of my house since 1985. Every year, we hold a
"GG Art Space" exhibition. In addition, I have been an instructor of
art at a professional school of welfare since 1997 and at a public
junior high school since 2004.
the Atomic Era: Promise and Response
Megan Shaw Prelinger is a writer and artist
whose works interpret
American political and geographic history. She works primarily in text,
both as an independent scholar and as the co-creator of the Prelinger
Library, a public access print resource project in San Francisco. She
is co-editor of Collective Action: A Bad Subjects Anthology (Pluto
Press, 2004). As an occasional artist, her projects have included
designing the Landscape Coin in 2000, a multiple work in brass;
creating a two-channel multimedia installation at Artists Television
Access in 2003 titled Homeland Security;and directing the short movie
Releases, which premiered at the Meta Museum in 2002. She is also an
oil spill responder and wildlife rehabilitator with International Bird
Rescue Research Center.
Megan is a
child of the Cold War who began reading apocalyptic fiction and
thinking about creative responses to the atomic threat at an early age.
She has pursued a lifelong interest in landscapes shaped by atomic
conflict through many journeys of exploration and projects of
interpretation. To further her own work and the work of other artists
and independent scholars on the nuclear threat, she collects books and
documents widely on the subject. The current exhibit represents
selections from the Prelinger Library.
livermore california | Beijing
11 | England, ADS | Conroe, TX | Family Shelter, Zurich
Richard Ross is originally from New York. He
received his BA from University of Vermont and MFA from University of
Florida. He has been teaching at UCSB since 1977. Ross has an extensive
exhibition record, with exhibitions over the United States and Europe.
He has photographed for the New York Times Magazine, Los Angeles Times
Magazine, Discover, Vogue, San Francisco Examiner, Frankfurter
Ross is the principal photographer for the J Paul Getty Museum on their
Villa restoration project, and is the principal photographer for the
Getty Conservation Institute documenting the research work of the GCI
in El Salvador, Honduras, Tunisia, China etc.
Ross has a tattoo on his right bicep.
Sound installation: field recording and mixed
Ximm is a San Francisco based field recordist and sound artist.
1998 his Quiet American project has focused on constructing
but nonliteral sound portraits with the intimate recordings he
collects while traveling.
Ximm hopes to cultivate attention on the incidental,
serendipitous, and fragile soundscapes that surround us but go
Ximm's recordings and composition have appeared in a variety of
contexts, including online, as installations and sound sculpture,
performance, on the radio, and via podcast.
From 2001 until earlier this year Ximm curated and hosted the
award-winning Field Effects concert series, which presented quiet and
subtle sound art in a maximally comfortable environment.
The majority of Ximm's recordings and compositions are available at
YAMAHATA was born on August 6, 1917. He received his first camera, a
35mm Leica, in 1935 from his father who had founded a photography
studio. In 1941 Yamahata became attached to the Japanese navy as a
On August 9, 1945 Yamahata was ordered to take photographs of the
bombing of Nagasaki. On August 10 with the camera given to him by his
father, he completed the assignment. Rather than submit his photographs
to the Japanese military, Yamahata returned with them to his family
home in Tokyo.
Mr. Yamahata died in 1966 from cancer. His final photographs were taken
of a storm approaching the shoreline of northern Japan. They remained
unprinted in his lifetime.
Yosuke Yamahata: "Human memory has a tendency to slip, and critical
judgment to fade with the years and with changes in life-style and
circumstance. But the camera, just as it seized the grim realities of
August 1945, bring the stark facts before our eyes without the need for
the least embellishment."
Call of the
sirens: Air Raid Sirens of Los Angeles County | Critical Mass
began as an exploration in photography, gradually evolved into an
investigation of the comics medium and the use of sequential
Comics in turn led to self-publishing with distinct attention to the
book as part of the concept. Self-publishing since the early
work includes photography books, comics and hand letterpress
Each book has focused on varying themes from memories and vision to
suburban and urban landscapes to life in the nuclear age. In
launched his website,
http://garretizumi.com, where most of his work
can be seen.
Butterflies - Small | Peace Butterflies - Medium | Peace Butterflies -
Born in Osaka on Pearl Harbor Day; lost her
father and house in WW2.
1964: BA (Kyoto City Fine Art College),
1975-87: worked on batik in western Japan after learning Fujiwara
Kazuyoshi's way, making murals and screens for Mangan-ji Temple in
Matsue and Yushi-en peony & ginseng museum in Daikon Island and
many other commissioned works. Also made several one person batik
exhibitions painting the ancient world of Japan; searching the old
history and traditional events, writing essays in local papers.
Published a storybook, "Kamos" about the culture shock of Japanese
Stone Age people when rice culture came in (1987).
1987: immigrated to the U.S. remarrying with an American, and soon the
inspiration of a new thinking and global communication method, "Earth
Language"(EL) came into her whole body and mind at her minority
experience concerning the global future. She has been materializing EL
1997- (1996- for the Japanese version): The EL web site has been
established. (www.earthlanguage.org) Getting people's interest and help
from many fields/countries through the Internet, the foundation of the
EL system is about ready to go now.
Loewen left the commercial film industry in 1998 to pursue an MFA in
Studio Art at San Francisco State University, he was recently appointed
Assistant Professor of Media Art/Art at Eastern Oregon University. His
video, installation and photographic works have been exhibited at the
San Jose Institute of Contemporary Art, Southern Exposure Gallery, Arts
Benicia Gallery, Adobe Book Shop, the Slop Art Catalogue tour and other
venues. He received a commission from the San Francisco Art Commission
and has a video installation in the di Rosa Preserve collection.
comes from a traditional sculpture background, mainly modeling and
casting and metals. Her interest in electronics and kinetic
grew out of a love for Science in general, and a desire to work with
ideas from theoretical Science in the most appropriate medium.
has an MFA in sculpture from Indiana University, Bloomington, 1998, and
a BFA in sculpture from the University of Minnesota, Minneapolis,
1993. She has taught the full range of Art foundations at various
colleges in the Midwest, and worked as a professional mold-maker.
is currently running a business in Berkeley, California.
Walter Adkins | Bonnie McDaniels and
Marjorie Lease | Robert Carter | Martha Laird | Sedan Crater at the
North end of Yucca Flat
Gallagher is an award-winning documentary photographer and writer whose
work has been exhibited and published widely in the United States and
abroad. Her acclaimed book, American Ground Zero: the Secret Nuclear
War was profiled as one of the eight best books of the decade by
American Photo magazine in its special issue, “Women in Photography:
The Modern Masters.” The Los Angeles Times noted American Ground Zero
as “a document of immense authority and humane urgency,” while the New
York Times urged that it “deserves to be read as a crusading story of
the consequences of the nuclear arms industry’s lingering contamination
and deception: as an American Chernobyl.” Bill Moyers cautioned, “Ms.
Gallagher’s book is the kind of truthful examination that we must
constantly make about ourselves.” An exhibition of the photographs and
oral histories from her book was organized by the International Center
of Photography in New York in 1994, traveling to seven museums
nationally. A selection from American Ground Zero was exhibited at the
Hiroshima Peace Museum, and donated to their archive. She is currently
working on a book about the costs of war, particularly the forgotten
disabled and dying veterans of the first Gulf War, and is co-executive
producer of a documentary film about the human history of the nuclear
age. She lives in New York City and in the higher altitudes of Colorado.
I Was a Hated
Woman | Sex Led Me to Communism
About Rx Gallery
awareness of new media art while serving as a
conduit for artistic expression and connecting artists and audiences.
The Rx Gallery's website is http://www.rxgallery.com.
Project is supported by The Nuclear Age Peace Foundation,
Nuclear Policy Research Institute, and Tree New Mexico. The Simnuke Project
is made possible with the fiscal sponsorship of the Cloud Factory Collective for
the Arts, a 501(c)3 organization.
the exhibit traveling to other locations in the US and internationally
through 2005. Please contact us if you are
interested in helping us reach this vision.