photo beirut

New issue of Middle East Report out now - The US in the Middle East

The latest issue of the excellent quarterly magazine Middle East Report is out now. Ok, I'm biased, being the photo editor, but it is widely respected for its analysis and I do think the photos are fantastic overall.

Photographers whose work appears in this issue include: Karim Ben Khelifa, Balazs Gardi, Eros Hoagland, Luiz Maximiano and Stephanie Keith.

In this issue be sure to check out the illuminating book review by Waleed Hazbun on US foreign policy towards the Middle East.

If you're going to the Middle East Studies Association conference in Washington, DC this weekend, stop by the MERIP booth in the book exhibit to say hello (and get issues of the magazine).

[Subscribe to Middle East Report or order individual copies online.]

Middle East Report 249
Winter 2008

SHRINKING CAPITAL: THE US IN THE MIDDLE EAST

The Bush administration entered office in 2000 determined to extend the
global dominion of the United States into "a new American century." Yet as
President George W. Bush prepared to depart the White House, the National
Intelligence Council released a report surmising that Washington "will have
less power in a multipolar world than it has enjoyed for many decades." The
winter 2008 issue of Middle East Report, "Shrinking Capital: The US in the
Middle East," examines the Bush-era changes in US regional policy -- and the
continuities with the past -- that have left Washington's clout diminished.

As Yahya Sadowski writes, the Bush administration's go-it-alone spirit -- 
and refusal even to speak to regional actors it does not like -- wound up
sparking a rash of diplomatic initiatives undertaken by US allies without US
approval or participation. Political scientist Waleed Hazbun situates the
Bush failures, which have caused such great damage to the Middle East, in
the historical sweep of US grand strategy and identifies a worrisome lack of
fresh thinking on the subject in the tomes of the Democratic foreign policy
establishment.

It is important to recall the legacies of the Philippines and Vietnam, as
Laleh Khalili writes, when evaluating the newness of Bush-sanctioned torture
and, for that matter, the US military's current focus on counterinsurgency.
Jason Brownlee finds more disturbing echoes of Vietnam in the 2008 field
manual covering "stability operations" -- occupation and militarized nation
building by another name. And, as sociologist Louise Cainkar demonstrates,
the draconian post-September 11 program of detention and deportation of
Arabs and Muslims could not have occurred so easily without the history of
anti-Arab and anti-Muslim sentiment in the US.

Cultural historian Melani McAlister offers a different lesson in her essay
on the global engagement of American evangelicals: Their adoption of the
language of human rights to highlight persecution of Christians in Africa,
Asia and the Middle East has simultaneously drawn upon Islam-bashing themes
and pushed the activism of many evangelicals in a more liberal and less
parochial direction.

Also featured: Sandra Beth Doherty looks at why so many women in Lebanon go
under the knife; Tamir Sorek reviews Aziza Khazzoom's Shifting Ethnic
Boundaries and Inequality in Israel; and more.

---

Middle East Report is published by the Middle East Research and Information
Project (MERIP), a progressive, independent organization based in
Washington, DC. Since 1971 MERIP has provided critical analysis of the
Middle East, focusing on political economy, popular struggles and the
implications of US and international policy for the region.

New Haven's Grove Street Cemetery

During a brief visit to New Haven a few weeks ago I took a walk in the Grove Street cemetery, established in 1797. Here are some photographs of things that caught my eye that day - Egyptian revival railings, a torn, worn American flag, weathered angels, and a Birch trunk scratched up by squirrels.

At home in Baltimore

It's autumn and the leaves are reaching their blazing, colorful peak after which they suddenly all drop to the ground. Everything has an ephemeral, somewhat melancholy feel, including the abandoned couch, upside down in the back alley.

NYC and Catherine Opie

We were in NYC for just an afternoon last week but we managed to squeeze in a visit to the fantastic B&H Photo store (professional photographer's heaven, if you have a little money to spend), a tasty lunch of mezze at a Turkish restaurant called Beyoglu, and a long visit to the Guggenheim to see the Catherine Opie exhibit of photos. Not much time to take photos, but here are two snapshots from the day.

Lunch.

View from inside the Guggenheim.

Here's a Catherine Opie photo from the exhibit:

Untitled #2 (1994), Platinum print, 2 1/4 x 6 3/4 inches

On view at the Guggenheim (this link takes you to the page of her work, including an online exhibition) are a number of her coherent, separate projects - such as Freeways (example above), Being and Having, Portraits, Mini-Malls, Domestic, American Cities, Icehouses, and Surfers. She began in the 1990s by taking formal studio portraits of friends in the queer communities of Los Angeles and San Francisco. They are striking for the way she photographed each uniquely dressed, tattooed and pierced individual against richly colored backdrops and baroque patterns. She refers to being influenced by the 16th century portrait paintings by Hans Holbein. She also photographed domestic scenes of lesbian families around the country, and her own family with her young son. As with most of her work they are done with medium or large format cameras, very deliberately arranged and meticulously lit. Also very tender, expressive and moving.

I particularly enjoyed Freeways, the small panoramic platinum paladium prints of overpasses and roadways in Los Angeles. The forms are sensuous and compelling as abstractions but also visual testimony to the vast - generally unnoticed - infrastructure that connects the LA area (and divides communities, as Opie mentions in the audio tour). By shooting in black and white on Sunday mornings when there are few cars around she heightens the abstract qualities of line, shape and texture, and directs our attention to the forms themselves rather than their usage in a particular era. The platinum process creates an almost antique, historic aura that lacks the contrast (bright whites, dark blacks) usually seen in silver gelatin prints (the most common black and white printing method). By printing them small she pulls us away from feeling their monumental scale as we would if we were standing there in person or if she had made massive prints as is so common these days. Instead of asking us to be awe-struck by the freeways' size in relation to ourselves, she has shrunk them down to a whole new scale. We peer at the prints from up close as if we are getting a glimpse into another world, our world made temporarily unfamiliar.

I also really loved the two series facing each other in one gallery, Icehouses (2001) and Surfers (2003). You can see a video of their installation with Opie's reflections on the images by clicking here. Instead of capturing moments of action among ice fishers in Minnesota and surfers in California she photographs the quiet time of waiting, and from a distance. The horizon lines in these are very important, as they align from photo to photo, but are often almost imperceptible as sky melts into snow or ocean. These photos are huge, 50 x 40 inches and were made with field camera on 8x10 inch film. Both series are about temporary communities, not individuals (no people are even visible in Icehouses, only the little shacks within which people do their fishing). 

 

Untitled #9 (Icehouses) 2001, Chromogenic print, 50 x 40 inches

 

Untitled #9 (Surfers), 2003, Chromogenic print, 50 x 40 inches

It's an excellent show all around. I haven't even mentioned the urban landscape shots of mini-malls in Los Angeles (also without people, which highlights both the signage that points to the presence of multiple cultural communities and the dreary architecture) and similarly large scale, detailed but low-key panoramic shots of Wall Street and Chicago that are also quite compelling.

Her aesthetic of capturing the mundane and the overlooked, and the in-between moments, without drama but with incredible technical finesse and intense detail really appeals to me. So very different from the photojournalism that I normally work with, but more in tune with my own photographic sensibility.