The American War

2005 - Photography (Photography)

Harrell Fletcher

location: Portland, Oregon
year born: 1967
gender: male
nationality: American
home town: Santa Maria, California

The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history. The project began in 2005 when Fletcher visited the War Remnants Museum in Ho Chi Minh City. He was shocked by images that depicted the lasting effects of the war and the atrocities committed by the United States. Fletcher felt it important that these images be seen and discussed within an American context and, using a handheld digital camera, he photographed all of the museum’s images and labels. At that moment, Fletcher’s project resonated directly with the American intervention in Iraq and Afghanistan. The artist took extreme care in shooting the pictures from an angle that would diminish the flash reflection on the surfaces, and paid attention to capture the wall colors and the explanatory labels. In this sense, Fletcher’s re-creation of the Vietnamese installation not only shares important information but also recontextualizes it in a way that comments on the subjective and constructed nature of representation, both artistic and historic.


Harrell Fletcher’s socially-engaged, interdisciplinary projects reflect his keen critique of socio-political phenomena that involves the United States.


Colors:



Untitled
© » KADIST

Barry McGee

Barry McGee’s Untitled is a collection of roughly fifty, framed photographs, paintings, and text pieces clustered together in corner...

The Crime of Art
© » KADIST

Kota Ezawa

2017

The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964)...

I am the Greatest
© » KADIST

Hank Willis Thomas

2012

Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...

Lowrider Builder and Child
© » KADIST

Liz Cohen

2012

The photographic work Lowrider Builder and Child is a companion piece to the video Hydroforce , which features Cohen in the late stage of her pregnancy posing atop a German car that she transformed into a lowrider in a period of ten years...

Black Hands, White Cotton
© » KADIST

Hank Willis Thomas

2014

Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...

Irma Vep, The Last Breath
© » KADIST

Michelle Handelman

2015

Michelle Handelman’s video work Irma Vep, The Last Breath takes its inspiration from Musidora, a famous French silent film actress, and a character she played called Irma Vep, from the film Les Vampires (1915), directed by Louis Feuillade...

Gary Gilpatrick, Insulator
© » KADIST

Sharon Lockhart

2008

Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...

The Wooden People
© » KADIST

Nao Bustamante

2021

The Wooden People is a 360º virtual reality film series comprising seven episodes...

The Simpson Verdict
© » KADIST

Kota Ezawa

2002

The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history...

Ongoing Time Stabbed with a Dagger
© » KADIST

Geoffrey Farmer

2009

Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...

Intentionally Left Blanc
© » KADIST

Hank Willis Thomas

2012

Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...

Captain X
© » KADIST

Luke Butler

2008

In Captain X , Star Trek’s Captain Kirk, played by William Shatner, is limply draped over a large boulder in what looks like a hostile alien environment...

I Want You
© » KADIST

Tony Labat

2008

Commissioned by the San Francisco Museum of Modern Art and riffing on the “I Want You” army recruitment campaigns of the 1930s and 1940s, Labat asked Bay Area residents to interpret the slogan and make their own demands of the public in a series of live performance auditions...

Untitled 3737 and Untitled 5157
© » KADIST

Todd Hido

2005

The two pieces in the Kadist Collection depict foggy landscapes, one at dawn, the other at nighttime...

Flutter
© » KADIST

Zarouhie Abdalian

2010

The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...

Visalia Livestock Market, Visalia, California
© » KADIST

Sharon Lockhart

2011

Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community...

Mother Pig, Shushi Gallery, San Diego Performance
© » KADIST

Paul McCarthy

1983

McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...

Prove how much you have grown
© » KADIST

Toyin Ojih Odutola

2013

Ojih Odutola uses a distinctive visual style to capture members of her family, rendering them one pen stroke at a time, until their skin resembles ribbons woven into the contours of a face, neck, or hand...

Hydroforce
© » KADIST

Liz Cohen

2011

From among a cloud of fake smoke we see a heavily pregnant Cohen wearing a bikini and golden stilettos with lace-up straps wrapped around her legs, grasping onto the frame of a modified car as its loud hydraulic system clumsily moves it up and down...