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In ”Simulating Ir Afghanistan. The States in fabrica simulations inclu Americans (both interested in the respects, a visit imitations of rea are, after all, pre —CLAIRE BECKETT1

Claire Beckett’s l man with fair ski expression. His c combination of s provides illumina Taliban fighter, M another image, a The uniform, rect of a real settlem California (2009) a military training of Beckett’s “Sim documentary”2 h its straightforwa thread. However, specific categori

War is a complica experiences. Afte (and a minor in S of Benin in West center, focusing United States to culture shock an

SIM

COVER IMAGE: MARINE LANCE CORPORAL JO ROLE OF A TALIBAN FIGHTER, WARFARE TRAINING CENTER, ARTIST AND CARROLL AND SO

CLAIRE BECKETTMATRIX 163SIMULATING IRAQNOVEMBER 3, 2011 – MARCH 4, 2012WADSWORTH ATHENEUM MUSEUM OF ART

WA MATRIX 163 Brochure-4_WA MATRIX 163 Brochure 10/24/11 3:56 PM

In ”Simulating Iraq,” I look at American military training for the wars in Iraq andAfghanistan. These photographs were made on military bases within the UnitedStates in fabricated spaces designed to mimic Iraq and Afghanistan. Thesimulations include the use of specific architecture, objects and costumes, andAmericans (both soldiers and civilians) who role-play as Iraqis and Afghans. I aminterested in the ways that the imagination is at work in these spaces. In somerespects, a visit to these places can be confusing. These spaces are meant asimitations of reality, but they take on their own realities, especially because theyare, after all, preparations for soldiers who will shortly be in a real war zone. —CLAIRE BECKETT1

Claire Beckett’s large-scale photographs make you feel uneasy. In a portrait, a youngman with fair skin, blue eyes and light hair establishes direct eye contact withoutexpression. His clothing consists of a dark head wrap, olive scarf and white tunic. Thecombination of subject and attire seems incompatible. The photograph’s title, though,provides illumination: Marine Lance Corporal Joshua Stevens playing the role of aTaliban fighter, Marine Corps Mountain Warfare Training Center, California (2009). Inanother image, a white mosque with gold domes sits within a desolate desert village.The uniform, rectangular box-like structures of the town’s buildings dispel any illusionof a real settlement. Above Medina Jabal Town, National Training Center, Fort Irwin,California (2009) depicts the modified storage containers that make up the “town,” a military training ground for role-playing exercises. So, the portraits and landscapesof Beckett’s “Simulating Iraq” are reality, but not truthful. The term “conceptualdocumentary”2 has been used to characterize Beckett’s genre, in an attempt to defineits straightforward approach and basis in a more complex idea, an additional thematicthread. However, this term falls short. Beckett’s highly nuanced work defies anyspecific categorization.3

War is a complicated subject. Beckett’s interest in the military grew from her personalexperiences. After graduating from college with a Bachelor’s degree in Anthropology(and a minor in Sociology), the artist served as a Peace Corps volunteer in the Republicof Benin in West Africa. From 2002 to 2004, she worked in a rural community healthcenter, focusing on HIV/AIDS prevention and girls’ education. Upon her return to theUnited States to attend graduate school for photography, Beckett felt a sense ofculture shock and alienation, as well as a heightened awareness of her American

SIMULATING IRAQ

friends and colle headlines, report to American sold photographs. Foc photo narratives newly enlisted so surprising youth adolescent awkw

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ABOVE MEDINA JABAL TOWN, CENTER, FORT IRWIN, CA, 20 GREENBLATT, BOSTON

COVER IMAGE: MARINE LANCE CORPORAL JOSHUA STEVENS PLAYING THEROLE OF A TALIBAN FIGHTER, MARINE CORPS MOUNTAINWARFARE TRAINING CENTER, CA, 2009. COURTESY THEARTIST AND CARROLL AND SONS, BOSTON

ETT 63 RAQ

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friends and colleagues’ general lack of interest in the Iraq war.4 National newsheadlines, reporting the shortage of armored vehicles and proper body armor availableto American soldiers, compelled the artist to explore the subject of war in herphotographs. Focusing on the pre-war experience―unlike the many war and post-warphoto narratives―her first series, “In Training” (2004–2007), highlighted the young,newly enlisted soldiers in pre-basic and basic training. The powerful portraits show thesurprising youth of these soon-to-be active soldiers, complete with teenage acne andadolescent awkwardness.

“Simulating Iraq” naturally evolved from “In Training.” Beckett encountered some role-playing exercises in the first project, and subsequently learned of the specializedmilitary training centers with fabricated Iraqi and Afghan villages. Of course, access toany military training site as an “embedded artist” is a complex process, requiring manymonths of conducting research, writing proposals, making phone calls, sending emails,and proving credentials. After receiving military clearance, Beckett lived on the actual Army and Marine training sites, with up to 500 military personnel and civilians,for a week at a time. She had full access throughout the sites, with permission tophotograph almost anything, including the live training exercises. However, the action

MARINE LANCE CORPORAL NI THE ROLE OF AN IRAQI NURSE CORPS AIR GROUND COMBAT COURTESY THE ARTIST AND C

ABOVE MEDINA JABAL TOWN, NATIONAL TRAININGCENTER, FORT IRWIN, CA, 2009. COURTESY DAVEGREENBLATT, BOSTON


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MARINE LANCE CORPORAL NICOLE CAMALA VEEN PLAYINGTHE ROLE OF AN IRAQI NURSE, WADI AL-SAHARA, MARINECORPS AIR GROUND COMBAT CENTER, CA, 2008.COURTESY THE ARTIST AND CARROLL AND SONS, BOSTON

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In addition to pol historical referen portrait, a female embroidered blue face―a harmon civilian amputee


didn’t interest her―she had proposed a portraiture project about American soldiers.“There was something about suspending the place and people in frozen moments,making it all very still that helped make my point.”5 Being on site with the militarytrainees allowed Beckett to establish relationships, fit in, and earn the soldiers’ trustand respect, so that she could obtain permission to photograph them individually.

The camera set-up Beckett uses also contributes to her winning the trust of hersitters. She works with a large-format camera―a 4x5 Wista view camera―along with a tripod and a black hood (to block out the strong desert light). Setting up theequipment can take ten minutes―valuable time for a conversation, during which the subject becomes comfortable and can relax. Due to the importance ofmaintaining a rapport between artist and subject, Beckett considers her photographsa collaboration. The portraits are generally shot head on, with the subject’s expressionneutral. This detached, matter-of-fact style of portraiture relates to the deadpanaesthetic popularized in German contemporary photography in the 1990s by thestudents of Bernd and Hilla Becher, including Andreas Gursky, Thomas Ruff and ThomasStruth. But where these artists denied the subjective and sentimental in their art,Beckett does not. She somehow encourages deeper emotional and psychologicalreadings of her initially neutral photographic content.

Each portrait is complicated by the character, costume, and setting illustrated. Themilitary personnel and hired civilians are assigned specific parts in the live-action role-playing exercises. They are given names, profiles and well-defined sets of skills.The cast includes a Taliban fighter, Iraqi nurse, injured Marine, Al-Qaeda terrorist, Iraqicivilians, and members of The Sons of Iraq. They dress in military uniforms and looseapproximations of traditional Iraqi and Afghan garb—head scarves, tunics, and robes.In spite of the role-playing fiction, Beckett depicts truth in her photographs; but it is a feigned reality filled with the incongruities of cultural simulation. A portrait of afair-skinned Caucasian in the role of an Al-Qaeda terrorist quite simply “looks” wrong.However, such thinking pushes the viewer to confront problematic social and politicalissues, such as prejudice and racial profiling. Despite this tricky territory, Beckett’sapproach is completely open and lacks irony. Her American subjects’ normality shinesthrough the provisional costumes and accessories. Beckett captures her subjectswhere the illusion collapses and the humanity emerges, leading to the deeperquestion―what does it mean to be an American?

In addition to political issues, Beckett’s art offers strong formal qualities and arthistorical references. She displays a masterful hand with color and light. In oneportrait, a female Marine as an Iraqi nurse looks like a serene Madonna figure in anembroidered blue tunic, a lightweight white head scarf, and a freshly made-upface―a harmony of composition, soft color, and light. In another work, a youngcivilian amputee plays an injured Marine. In military fatigues, she stands calmly in

CIVILIAN KRISTA GALYEAN PL AN AMERICAN MARINE INJUR BLAST, WADI AL-SAHARA, MA GROUND COMBAT CENTER, CA THE ARTIST AND CARROLL AN


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CIVILIAN KRISTA GALYEAN PLAYING THE ROLE OFAN AMERICAN MARINE INJURED IN AN IEDBLAST, WADI AL-SAHARA, MARINE CORPS AIRGROUND COMBAT CENTER, CA, 2008. COURTESYTHE ARTIST AND CARROLL AND SONS, BOSTON


FRANCISCO DE ZURBARÁN, SAINT SERAPION, 1628. OIL ONCANVAS, 47 5/16 X 40 15/16 INCHES. WADSWORTHATHENEUM MUSEUM OF ART; THE ELLA GALLUP SUMNER ANDMARY CATLIN SUMNER COLLECTION FUND, 1951.40

front of a plywoo in this curious int natural light, dra iconic painting Th wears a hooded w background cont folds of the fabri Spanish painter F Saint Serapion (1

Beckett’s portrai unusual interiors of people. Becket represent the dif Mosque (2008), s setting, with its c Although fashion Angeles), there a the interiors. Shi rectangular spac space sits a bulk minbar, or pulpit floor and through

Another interior, life compositions image evokes the comprises beaut settings of milita prepare soldiers mind, Butcher Sh mortality”)―a g earthly things; a marked the ten-y the Civil War―B these young sold

Patricia HicksonEmily Hall Tremai

ARMY SPECIALIST GARY MCCORKLE PLAYING THE ROLE OF “JIBRILIHSAN HAMAL,” A KEY MEMBER OF THE LEADING TERRORISTGROUP IN TOWN, WITH AN IED, MEDINA WASL VILLAGE, NATIONALTRAINING CENTER, FORT IRWIN, CA, 2009. COURTESY THE ARTISTAND CARROLL AND SONS, BOSTON


front of a plywood backdrop with a dirty face and a freshly bound, bloody stump. Evenin this curious interior setting, Beckett’s innocent-faced woman, bathed in a warmnatural light, draws comparisons to seventeenth-century Dutch artist Jan Vermeer’siconic painting The Milkmaid (1658). And finally, an Army Specialist playing a terrorist wears a hooded white tunic and kneels at a plywood table working on an IED. The darkbackground contrasts with his bright tunic, which features strong shadows in the folds of the fabric. Beckett’s image evokes the masterpieces of seventeenth-centurySpanish painter Francisco de Zurbarán, specifically the Wadsworth Atheneum’s ownSaint Serapion (1628).

Beckett’s portrait project expanded organically to include the equally engaging andunusual interiors and landscapes of the military training sites. The images are emptyof people. Beckett documented a number of buildings that were constructed torepresent the different mosques of the Sunni and Shi’a Muslim sects. In Jabal VillageMosque (2008), she isolates and emphasizes the clumsy-looking building in its desertsetting, with its crooked minaret, jumbled color palette, and raw plywood exterior wall.Although fashioned by Hollywood set builders (Fort Irwin is just 150 miles from LosAngeles), there are no illusions with the bare basic architecture. Even less finished arethe interiors. Shi’a mosque interior (2008) features a straight view into a long, tightrectangular space with unfinished walls, ceiling, and floor. At the end of the crampedspace sits a bulky wooden throne painted bright green, representing the mosque’sminbar, or pulpit. A bright orange extension cord snakes incongruously across the floor and through a slice of lit doorway.

Another interior, Butcher Shop (2009), brings to mind seventeenth-century Dutch stilllife compositions, with its tabletop of raw meat. Yet simultaneously, the red, fleshyimage evokes the real-life carnage of war. Although Beckett’s “Simulating Iraq”comprises beautifully realized portraits, landscapes and interiors in the surrealsettings of military training centers, the site’s purpose must be remembered―toprepare soldiers for deployment to active duty in Iraq and Afghanistan. With this inmind, Butcher Shop can be interpreted as a memento mori (Latin for “remember yourmortality”)―a genre of still life painting that emphasized the transitory nature ofearthly things; a grim declaration on human fragility and the brevity of life. Having justmarked the ten-year anniversary of 9/11―and the 150th anniversary of the start ofthe Civil War―Butcher Shop serves as a reminder of the real life-and-death situationsthese young soldiers were yet to face in Iraq and Afghanistan.

Patricia HicksonEmily Hall Tremaine Curator of Contemporary Art

BUTCHER SHOP, MEDINA WAS TRAINING CENTER, FORT IRW ARTIST AND CARROLL AND SO


EDUCATION

2000 BA Anthropo Gambier, OH

2002–2004 Peace Corps Benin, West A

SELECTED SOLO

2011 Claire Becke Atheneum M You Are…, Ca Boston, MA

2007 Simulating Ir Boston, MAIn Training, S of Rhode Isla Kingston, RI

CLA

SELECTED GROU

2011 HomeFrontLi War since 9/ Photography The Workers The Truth Is N Museum, Ma Milwaukee, WReality Chec NetherlandsArtadia Bost Institute, Sa

2010 Trying Them New York, NYHumble Arts’ Affirmation A Artadia Bost Center for th Warzone, No Leeuwarden, Flash Forwar the Magenta

ody stump. Even ed in a warm

Jan Vermeer’s aying a terrorist an IED. The dark

dows in the teenth-century

eneum’s own

engaging and ges are empty

ructed to n Jabal Village

ng in its desert od exterior wall. les from Los ess finished are

o a long, tight of the cramped

he mosque’s y across the

ntury Dutch still e red, fleshy

ting Iraq” e surreal

mbered―to . With this in

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f life. Having just of the start of

death situations

BUTCHER SHOP, MEDINA WASL VILLAGE, NATIONALTRAINING CENTER, FORT IRWIN, CA, 2009. COURTESY THEARTIST AND CARROLL AND SONS, BOSTON


EDUCATION

2000 BA Anthropology, Kenyon College, Gambier, OH

2002–2004 Peace Corps, Rural Community Healthcare,Benin, West Africa

2006 MFA Photography, Massachusetts Collegeof Art and Design, Boston, MA

SELECTED SOLO EXHIBITIONS

2011 Claire Beckett/ MATRIX 163, WadsworthAtheneum Museum of Art, Hartford, CTYou Are…, Carroll and Sons Gallery, Boston, MA

2007 Simulating Iraq, Bernard Toale Gallery,Boston, MAIn Training, Soldiers Before War, Universityof Rhode Island Photography Gallery,Kingston, RI

2006 MFA Thesis Exhibition, Bakalar Gallery,Massachusetts College of Art and Design,Boston, MA.Claire Beckett at the Boston DrawingProject, Bernard Toale Gallery, Boston, MA

WORKS IN THE E

All works are archiva otherwise noted, cou and Sons, Boston.

Army Private Stephen “Nasih Sa’d Sulaman, playing the role of “K of the Taliban in Iraq, Training Center, Fort 30 x 40 in.

Army Specialist Brigh Kevin Shark and Serg playing as members o Sons of Iraq, and occ National Training Cen 30 x 40 in.

Civilian Joshua Osbor civilian, Wadi Al-Saha Combat Center, CA, 230 x 40 in.

Civilian Krista Galyea American Marine inju Al-Sahara, Marine Co CA, 200840 x 30 in.

Jabal Village Mosque, Fort Irwin, CA, 200840 x 30 in.

Lookout above Medin Training Center, Fort 30 x 40 in.Courtesy Dave Green

Marine Lance Corpora the role of an Iraqi nu Corps Air Ground Com 40 x 30 in.

Shi’a mosque interior Training Center, Fort 40 x 30 in.

American civilians pla women drinking tea: Hatim,” Verna Pouesi Matgyo as “Kawthar “Rim Duqaq Barakah, Training Center, Fort 30 x 40 in.

CLAIRE BECKETTBorn 1978, Chicago, Lives and works in Bo

SELECTED GROUP EXHIBITIONS

2011 HomeFrontLine, Reflections on Ten Years ofWar since 9/11, Silver Eye Center forPhotography, Pittsburgh, PAThe Workers, MASS MoCA, North Adams, MAThe Truth Is Not in the Mirror, HaggertyMuseum, Marquette University, Milwaukee, WIReality Check, FOTODOK, Utrecht, TheNetherlandsArtadia Boston Awardees, San Francisco ArtInstitute, San Francisco, CA

2010 Trying Them On, Hendershot Gallery, New York, NYHumble Arts’ 31 Women in Art Photography,Affirmation Arts, New York, NYArtadia Boston 2009, Mills Gallery, BostonCenter for the Arts, Boston, MAWarzone, Noorderlicht Photofestival,Leeuwarden, The NetherlandsFlash Forward Festival 2010, organized bythe Magenta Foundation, Toronto, Canada

2009 UN-SCR-1325, Chelsea Art Museum, New York, NYBad Moon Rising, Boots Contemporary ArtSpace, Saint Louis, MO

2008 Exposure 2008, The Photographic ResourceCenter at Boston University, Boston, MAVisado de Artista: Imagen Latente, GaleriaCerro Nutibara, Medellin, Colombia

2007 Massachusetts Cultural CouncilPhotography Grant Recipients, ArsenalCenter for the Arts, Watertown, MA

2006 Document: Contemporary SocialDocumentary Work, The PhotographicResource Center at Boston University,Boston, MA Boston Young Contemporaries, BostonUniversity Gallery, Boston, MA


sachusetts College on, MA

CHARACTER NAM as described by the s

Omar Baneean Bagh Patrols. Anti-America Sabirah Ni’mat Kalim Sunni/Arab, single, pr restaurant, dreams o family of her own to t going to America som JAM (Jaish al-Mahdi) attacks, suicide vest Hatim Seventeen yea Father is an Imam, gr bomber. Zakiyy Kare Office of Muqtada al- name is Al Juburi, DOB married, I believe it w educational goals. I’m to be a pharmacist. W my bro in his shop. He pro-America but want Amira Anti-American, Waiting for an assign for the cause. Jihad H pro-American. Four br bomb attack and this Safah Mehdi Faris Tw in Iraq. Foreign fighte Shoemaker. Upper cla engineers in town. Ne Americans that they sewage pipes in town family consists of my Sama, and grandchild 2007. We own a café, Pro-US, grateful for T Moved to Medina Was Hamal Unemployed. P Justified. Ruthless Re for losing power and townspeople and disl day you have infidel b recreate slaying of B

Bakalar Gallery, of Art and Design,

oston Drawing Gallery, Boston, MA

WORKS IN THE EXHIBITION

All works are archival inkjet prints and, unlessotherwise noted, courtesy of the artist & Carrolland Sons, Boston.

Army Private Stephen Miller playing the role of“Nasih Sa’d Sulaman,” and Specialist Justin Duronplaying the role of “Kameen Jubar Fawzi,” membersof the Taliban in Iraq, Medina Wasl Village, NationalTraining Center, Fort Irwin, CA, 200830 x 40 in.

Army Specialist Brighton Knotts, Private First ClassKevin Shark and Sergeant Miguel Rodriguez roleplaying as members of the armed civilian group TheSons of Iraq, and occupying the Tall Allowa Mosque,National Training Center, Fort Irwin, CA, 200830 x 40 in.

Civilian Joshua Osborne playing the role of an Iraqicivilian, Wadi Al-Sahara, Marine Corps Air GroundCombat Center, CA, 200830 x 40 in.

Civilian Krista Galyean playing the role of anAmerican Marine injured in an IED blast, Wadi Al-Sahara, Marine Corps Air Ground Combat Center,CA, 200840 x 30 in.

Jabal Village Mosque, National Training Center, Fort Irwin, CA, 200840 x 30 in.

Lookout above Medina Wasl Village, NationalTraining Center, Fort Irwin, CA, 200830 x 40 in.Courtesy Dave Greenblatt, Boston

Marine Lance Corporal Nicole Camala Veen playingthe role of an Iraqi nurse, Wadi Al-Sahara, MarineCorps Air Ground Combat Center, CA, 200840 x 30 in.

Shi’a mosque interior, Medina Wasl Village, NationalTraining Center, Fort Irwin, CA, 200840 x 30 in.

American civilians playing the roles of Iraqi villagewomen drinking tea: Karen Davis as “Salihah AsadHatim,” Verna Pouesi as “Amira Rough,” RandaMatgyo as “Kawthar Amid,” and Faye Ugapo as “Rim Duqaq Barakah,” Medina Wasl Village, NationalTraining Center, Fort Irwin, CA, 200930 x 40 in.

Army Private Kathleen Jones playing the role of “Sabirah Ni’mat Kalim,” Medina Wasl Village,National Training Center, Fort Irwin, CA, 200940 x 30 in.

Army Specialist Gary Louis Sims playing the role of “Safah Mehdi Faris,” a 21 year old terrorist andmember of Al-Qaeda in Iraq, Medina Wasl Village,National Training Center, Fort Irwin, CA, 200940 x 30 in.

Army Specialist Gary McCorkle playing the role of“Jibril Ihsan Hamal,” a key member of the leadingterrorist group in town, with an IED, Medina WaslVillage, National Training Center, Fort Irwin, CA, 200940 x 30 in.

Army Specialists John Griffin playing the role of“Muhsin Talib Faihan,” and Bobby Kirby playing therole of “Imitithal Ibrahim,” members of the MadhiArmy, a paramilitary Shi’a group founded byMuqtada Al-Sadr, responsible for small armsattacks, suicide vests, and kidnapping, Medina Wasl Village, National Training Center, Fort Irwin,CA, 200940 x 30 in.

Butcher Shop, Medina Wasl Village, NationalTraining Center, Fort Irwin, CA, 200930 x 40 in.

Civilian Afghan-American women role playing asAfghan villagers during Marine Corps training,Marine Corps Mountain Warfare Training Center, CA, 200930 x 40 in.

Marine Lance Corporal Joshua Stevens playing therole of a Taliban fighter, Marine Corps MountainWarfare Training Center, CA, 200940 x 30 in.

Above Medina Jabal Town, National Training Center,Fort Irwin, CA, 200930 x 40 in.Courtesy Dave Greenblatt, Boston

Medina Wasl Village, National Training Center, Fort Irwin, CA, 200930 x 40 in.

1 Claire Beckett, from ar 2 According to the artist work. See Jess T. Duga

3 Written comment from 4 Ibid. While in Benin, Be accountable for Americ

5 Ibid.

ETTBorn 1978, Chicago, ILLives and works in Boston, MA

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ARTIST TALK

MATRIX Gallery TalkClaire BeckettThursday, November 3, 20116:00 pmClaire Beckett will discuss “Simulating Iraq” in theEleanor H. Bunce Gallery.

CHARACTER NAMES AND PROFILESas described by the subjects to the artist

Omar Baneean Baghel Iraqi Police, Captain ofPatrols. Anti-American forces. High Value Target.Sabirah Ni’mat Kalim DOB April 4, 1988.Sunni/Arab, single, pro-American. Helps at familyrestaurant, dreams of being married and having afamily of her own to take care of. Also dreams ofgoing to America someday. Muhsin Talib FaihanJAM (Jaish al-Mahdi) foot soldier. Small armsattacks, suicide vests, kidnapping. Salihah AsadHatim Seventeen years old, single, unemployed.Father is an Imam, grandmother killed by suicidebomber. Zakiyy Kareem Farraj In charge of theOffice of Muqtada al-Sadr. Hedeer Hasouni Tribalname is Al Juburi, DOB March 28, 1983. I’m notmarried, I believe it will interfere with myeducational goals. I’m attending classes in hopes to be a pharmacist. When I’m not in class I help my bro in his shop. He’s a local electrician. I am pro-America but want to see them leave. RoughAmira Anti-American, born Baghdad, an orphan.Waiting for an assignment to do whatever it takesfor the cause. Jihad Hanif Alrawi Shop owner, pro-American. Four brothers. Lost wife in suicidebomb attack and this is why he supports Americans.Safah Mehdi Faris Twenty-one years old. Al-Qaedain Iraq. Foreign fighter, born Jordan. Hanif HakeemShoemaker. Upper class family. Father. One of twoengineers in town. Neutral to America. I tell theAmericans that they need to fix the water andsewage pipes in town. Rim Duquq Barakah Myfamily consists of myself, my son, daughter-in-lawSama, and grandchildren. Husband was killed in2007. We own a café, which is run by my son. Pro-US, grateful for The Sons of Iraq. Tribe: Shi’a.Moved to Medina Wasl from Al-Jeff. Ihsan KatibHamal Unemployed. Paramilitary. Wife dead.Justified. Ruthless Republican Guard Captain. Bitterfor losing power and prestige of rank. No mercy fortownspeople and disliked in town. You long for theday you have infidel blood on your hands. Wants torecreate slaying of Blackwater contractors.

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MATRIX 163 has been made possible in part by thecurrent and founding members of the WadsworthAtheneum Museum of Art’s Contemporary Coalition.

Support for the Wadsworth Atheneum Museum ofArt is provided in part by donors to the GreaterHartford Arts Council’s United Arts Campaign andthe Connecticut Commission on Culture & Tourism,which also receives support from the NationalEndowment for the Arts, a federal agency.

1 Claire Beckett, from artist statement posted for Photolucida’s Critical Mass Top 50, 2010. See www.photolucida.org.2 According to the artist, Leslie K. Brown utilized the term “conceptual documentary” photography to describe Beckett’swork. See Jess T. Dugan, “9 Questions with Claire Beckett,” Big, Red & Shiny, 11 May 2008. See www.bigredandshiny.com.

3 Written comment from artist to author, 30 September 2011.4 Ibid. While in Benin, Beckett was often asked why America was harming innocent Afghan and Iraqi civilians. She feltaccountable for America’s actions.

5 Ibid.

600 Main StreetHartford, Connecticut 06103(860) 278-2670

www.wadsworthatheneum.org


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