The Role of Photography in the Development of the Atomic Bomb

**Art Review: “Atomic Dragons” by SWANS at Pitzer College Art Galleries**

In the tranquil environs of Claremont, California, the Pitzer College Art Galleries hosts “Atomic Dragons,” a profound exhibition by the feminist collective Slow War Against the Nuclear State, or SWANS. Formed serendipitously in 2022 by artist Nancy Buchanan, SWANS bridges three generations of artists with entangled histories of nuclear politics. Comprising both artists and academics, the collective delves into the aftereffects of nuclear weaponry through an evocative tapestry of art that speaks to history, memory, and the urgency of contemporary politics.

Upon entering the exhibition, viewers are greeted by the haunting works of elin o’Hara slavick. Her pieces, “Hiroshima Flowers” and “Lingering Radiation,” use cyanotype and autoradiograph to present the remnants of nuclear catastrophe. These artworks move past the explosive moments of devastation to linger on their enduring toxic aftermath, captured through photographic techniques that were once integral to nuclear weapons development.

Photography plays a crucial role in this exhibition, as SWANS scrutinizes the entanglement of photographic advancing techniques and nuclear history, notably acknowledging Eastman Kodak’s contribution to capturing atomic moments. This intersection poses broader questions about the moral compass guiding scientific discovery and its implications for global affairs.

The galleries further provide a space for reflection through Sheila Pinkel’s probing “Nuclear Questions,” an artwork interrogating humanity’s ingrained fears and the potential for a world liberated from the omnipresent specter of nuclear annihilation. Nancy Buchanan’s vivid pastel and pencil works juxtapose Cold War iconography with cultural motifs, inviting reflections on the visual lexicon of nuclear rhetoric.

In a culminating space, vitrines display archival pieces, including irradiated objects collected by slavick and historic documents such as the US War Department certificate awarded to SWANS member Judith Dancoff’s father, issued on the pivotal day of Hiroshima’s bombing. This poignant symbol of recognition underscores the deeply personal connections embedded within broader geopolitical narratives.

Visiting “Atomic Dragons” today is to experience a timely catharsis — a reflection on recent US-Israeli military actions against Iran, which displaced millions and reignited the global discourse on nuclear discourse. In weaving together personal histories and artistic innovation, the exhibition highlights the perpetual churn of conflict and the necessity for movements like SWANS.

Curator Emily Butts adeptly balances this complex narrative, offering a transformative experience that resonates in our contemporary moment. As the show marches towards its conclusion on April 4, it stands as both a testament and an invitation to engage with the ongoing dialogues around nuclear legacies, underscored by the vibrant sounding of the dinner table, emblematic of SWANS’ enduring symposia.