- Playing
- A Portrait of War
- From
- Hannah Krakauer
To the average person, the statistics of how many people are killed each day in the Iraq war can seem simultaneously overwhelming and superficial: the numbers are huge, but at the same time impossibly distant. How do we deal with understanding these statistics, and how can it impact us once we do?
Emily Prince is a San Francisco artist who has taken up the task of drawing individual portraits of every single American solder killed in Iraq and Afghanistan. To date, she has drawn over 4,000 portraits--and is still going. She installs the piece on a 25-foot tall wall, placing each portrait relative to the soldier's hometown to form roughly the shape of the United States. Her work was recently featured at the Venice Biennial: one of the world's most important exhibitions for up-and-coming artists.
This piece explores Emily's process in creating, developing, and continuing the project to draw all of the servicemen and women killed overseas. She discusses how the project has impacted her own understanding of the war's statistics, why she has chosen to do it the way she has, and ultimately her role as an artist and as a human being simply trying to relate to the abstraction of war and death.
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Piece Description
To the average person, the statistics of how many people are killed each day in the Iraq war can seem simultaneously overwhelming and superficial: the numbers are huge, but at the same time impossibly distant. How do we deal with understanding these statistics, and how can it impact us once we do? Emily Prince is a San Francisco artist who has taken up the task of drawing individual portraits of every single American solder killed in Iraq and Afghanistan. To date, she has drawn over 4,000 portraits--and is still going. She installs the piece on a 25-foot tall wall, placing each portrait relative to the soldier's hometown to form roughly the shape of the United States. Her work was recently featured at the Venice Biennial: one of the world's most important exhibitions for up-and-coming artists. This piece explores Emily's process in creating, developing, and continuing the project to draw all of the servicemen and women killed overseas. She discusses how the project has impacted her own understanding of the war's statistics, why she has chosen to do it the way she has, and ultimately her role as an artist and as a human being simply trying to relate to the abstraction of war and death.
Broadcast History
Aired 5.12.08 on KZSU 90.1 FM as part of the Stanford Storytelling Project episode "Telling Other People's Stories."
Transcript
See attached file for full transcript.
Read the full transcript
Timing and Cues
Suggested Host Intro Ideas:
- Imagine a giant wall--25 feet high and the width of an entire room--with a rough map of the United States in little squares of color. And on every single one of these postcard-sized pieces of colored paper, there's an individual portrait of a solder who's died in Iraq or Afghanistan.
- And this map that she's put together has had a big effect on people. Her work was recently featured at the Venice Biennale: one of the most important showcases for up and coming artists. The piece has brought her huge amounts of attention, both from within the art world and in the general population.
Musical Works
| Title | Artist | Album | Label | Year | Length |
|---|---|---|---|---|---|
| Sooner or Later | Brother | Your Backyard. | 01:00 | ||
| No Way Around | Brother | Your Backyard. | 01:00 | ||
| Fly Away | Brother | Your Backyard. | 01:00 | ||
| The Time is Now | Brother | Your Backyard. | 01:00 |
Additional Files
- A Portrait of War Script (a_portrait_of_war_script.doc)