This four-part work proposes an interactive memorial that is not a monument. The first part is the trummerflora, or rubble flowers, made of the materials of the site itself and of those which find their way to the site without human agency. The second part is the signage which would tell the story of the history of the site during the Nazi period, location by location. The third part already exists in a small wooden Quonset hut on the site, called the Topograpie of Terrors, where the story of the activities of the Gestapo, from its inception in the early Nazi party, is told in word and image. The fourth part would exist in a room yet to be built next to the Topographie of Terrors building, which would duplicate the building’s shape but not its contents, serving instead as a memorial to the victims.
Above The Fold
Looking at 16 years of photographs on the front page of The New York Times
Web project that explores the afterlife of images and the experience of looking at photographs as a disruptive encounter. I continually update with new images.
Dancing with the Zapatistas: Twenty Years Later co-edited with Diana Taylor; Duke University & Hemi Press
Women Mobilizing Memory, Collaborative Archives: Connective Histories, exhibition catalogue featuring Above The Fold
My essay "Photographic Interference" is included in Picturing Atrocity , edited by Geoffrey Batchen, Mick Gidley, Nancy K. Miller, and Jay Prosser.
I created the cover image for Marianne Hirsch's book The Generation of Postmemory: Writing and Visual Culture After the Holocaust.