“By evoking the uncomfortable gap between violence and the collective “cleanup,” Horesh leaves us space to contemplate. Who was the bomber? Who were the victims? What butterfly effect has been set in motion?
Aftermath nods to the traditions of street photography, photojournalism and the archival impulse, as well as photo books like Joel Sternfeld’s On This Site and The American Monument. Yet unlike Friedlander, Horesh can only capture the hum of ghosts. To paraphrase Robert Frank, Horesh’s compassionate eye listens before it looks.”
Many thanks to Michelle Aldridge for the fantastic preview to Aftermath’s opening at the Museum of Art at UNH. Read the full article here.