British photographer Edmund Clark has spent ten years exploring structures of power and control used in the global War on Terror, the international military, and the intelligence campaign declared by President George W. Bush and led by the United States and its allies against al-Qaeda and the Taliban after the September 11, 2001 terrorist attacks in New York, Virginia, and Pennsylvania. Although President Obama declared the global War on Terror over in 2013, the conflict has expanded to target ISIS and other militants in Afghanistan, Iraq, Syria, Pakistan, Somalia, the Philippines, and Yeme
The eight projects presented in Edmund Clark: The Day the Music Died explore the measures taken by states, especially the United States, to protect their citizens from the threat of international terrorism—and the implications of these measures. From Guantanamo Bay to Afghanistan to extraordinary rendition and the CIA’s secret prison program, the evolution of Clark’s work has become an archive of the processes, sites, people, and experiences associated with America’s response to perceived threats and its conduct of modern asymmetric warfare. Through photographs, documents, video, and installations, Clark confronts military and state censorship, questions prevailing modes of representation and spectacle, and defines the quotidian processes of detention and interrogation that continue to operate in plain sight. His works also depict unexpected and human connections between those who exercise control and those who are subject to it. Most importantly, Clark’s work reflects on how terror—and the response to it—impacts us all by altering fundamental aspects of our society and culture.
Edmund Clark: The Day The Music Died was curated by ICP Director of Exhibitions and Collections Erin Barnett in collaboration with the artist.
Edmund Clark: The Day The Music Died is available for tour. If you are interested in finding out about availability or to reserve a slot on the tour, please contact email@example.com or 212.857.9738.
Content: 90+ images; 2 videos, including Orange Screen and Section 4, Part 20: One Day on a Saturday; 46 documents; 3 installations: Body Politic and 198/2000 (with video, exterior and interior of central installation), and American Pie