John Huddleston is a professor of art at Middlebury College. His photographs have been widely exhibited and have appeared in Harper's, Preservation, Worth, and DoubleTake.
[A] well-researched, nicely printed and enjoyable book.--Greg
Langley "The Advocate (Baton Rouge) "
His [Huddleston's] only agenda is the very general one of a call to
pay attention, and the feel provided by the individual photographs
and the book's set-up is as much artistic as it is
documentary.--Matthew Stewart"War, Literature, and the Arts"
(01/01/2003)
Huddleston has paired archival images of the first modern war with
his own, contemporary color shots of the same locations, at the
same time of year, at the same time of day. Some sites of suicidal
charges have become Kmarts, mini-malls or swamps strewn with metal
and plastic trash. The juxtapositions possess surprising power. In
an overexposed and damaged archival shot of the Confederate
prisoner of war camp at Andersonville, Ga., a filthy crowd of
anonymous men packs the frame, while on the facing page Huddleston
presents his own fine-tuned image of a muted, borderless sky. For
an instant the viewer vaults beyond history and aesthetics to a
visceral understanding of what it meant to be a prisoner of war.
'Are physical and spiritual traces of the great slaughter still
present in these places?, ' Huddleston asks. The answer is
'Yes.'.--Frederick Kaufman "New York Times Book Review "
"[A] well-researched, nicely printed and enjoyable book." -- Greg
Langley, The Advocate (Baton Rouge)
"His [Huddleston's] only agenda is the very general one of a call
to pay attention, and the feel provided by the individual
photographs and the book's set-up is as much artistic as it is
documentary." -- Matthew Stewart, War, Literature, and the Arts
"Huddleston has paired archival images of the first modern war with
his own, contemporary color shots of the same locations, at the
same time of year, at the same time of day. Some sites of suicidal
charges have become Kmarts, mini-malls or swamps strewn with metal
and plastic trash. The juxtapositions possess surprising power. In
an overexposed and damaged archival shot of the Confederate
prisoner of war camp at Andersonville, Ga., a filthy crowd of
anonymous men packs the frame, while on the facing page Huddleston
presents his own fine-tuned image of a muted, borderless sky. For
an instant the viewer vaults beyond history and aesthetics to a
visceral understanding of what it meant to be a prisoner of war.
''Are physical and spiritual traces of the great slaughter still
present in these places?, ' Huddleston asks. The answer is 'Yes.'."
-- Frederick Kaufman, New York Times Book Review
"Huddleston's photographic project reveals the American landscape
as a profound site of memory, loss, history, indifference, natural
beauty, and urban sprawl." -- Lincoln Journal
"Of all the books this season that can be related to the 140th
anniversary of Gettysburg this July, this may be the most immediate
and provocative... Without a trace of didacticism, Huddleston's
photos, especially presented in juxtaposition with the past's open
spaces, brilliantly testify to the ways in which history is
literally forgotten, ignored or paved over. They are also
beautiful." -- Publishers Weekly
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