|Still from the International Center for Photography promotional video.|
The most complex and haunting photographs in the show, however, depict “flash burns.” In one image, the shadow of a valve used to seal off a pipe is projected onto the metal surface of the container to which it is attached. Visual habit leads viewers to believe that this is the effect of a sunny day. The caption belies this commonsense response: “‘Shadow’ of a hand valve wheel on the painted wall of a gas storage tank; radiant heat instantly burned paint where the heat rays were not obstructed.” In effect, the nuclear blast—its “bluish white glare”—turned some objects in Hiroshima into light-sensitive surfaces, resulting in what might technically if uneasily be called photograms. I say uneasily because of another, altogether sadder image also included in the show. Here we see the surface of a road, on which an arrow is chalked and labeled “direction of blast.” Once again the caption, its neutral language betraying the photograph’s scientific purpose, redirects our understanding of the image: “Flash-burn on asphalt on bridge 20, 3,500 feet south from [air zero]. Shadow was cast by a man.” Two small circles marked in chalk indicate the placement of the man’s feet; one is slightly in front of the other, as if he were mid-stride. The “shadow,” this photogram-within-a-photograph, is likely the only extant evidence that someone died on that spot.
Hiroshima Ground Zero at the International Center of Photography, New York, May 20–Aug 28, 2011.Brian Sholis
I will try to visit this.