This Was the Only Time They Took the Bag Off, from the Amman series of The Abu Ghraib Project

Daniel A. Heyman, American, born 1963

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March 2006

Drypoint on Rives BFK paper

19/30

Plate: 15 11/16 x 11 5/8 in. (39.8 x 29.6 cm)

Sheet (Irreg.): 27 1/16 x 22 7/16 in. (68.7 x 57 cm)

Hood Museum of Art, Dartmouth College: Purchased through the Anonymous Fund #144

2007.66.4

Printer

Cindi Ettinger

Publisher

C. R. Ettinger Studio, Philadelphia

Geography/Culture

North America, United States

Period

21st century

Object Name

Print

Classification

Print

Not on view

Inscription

Signed and dated, in graphite, lower right margin: Daniel [illegible] 2006; numbered, in graphite, lower left margin: 19/30; titled and inscribed, upper left to right: THIS WAS THE ONLY TIME THEY TOOK / THE BAG OFF HIS HEAD BUT THE SHACKLES STAY- /ED ON HIS HANDS / THE INTERROGATOR WAS WEAK, YOUNG WHITE GUY; inscribed, in block, left: THEY ASKED IF MY / PLACE WAS NEAR / SADDAM, IF I / WAS WORKING / WITH SYRIA, / BEEN TO / CHICAGO? / THEY TIED HIS / HANDS AND HANG [sic] / HIM UP FOR ABOUT / AN HOUR, INSIDE / A STEAL [sic] CONTAINER / THEY PUT THE / CUFFS IN / A HOOK. HE / WAS LIFTED UP / HA[backwards N]GING FOR ABOUT / AN HOUR. THE STEEL / CUFFS WERE VERY TIGHT; inscribed, in block, right: BLUE EYES / MANY TIMES / WHEN IT WAS / RAINING THEY / WOULD TAKE / HIM OUTSIDE / IN THE / RAIN AND / WITH HIS / HOOD / IT WAS A / TERRIBLE / TREATMENT / IN THE INFI / RMARY, THEY / NEVER BROUGHT / ME A DOCTOR / HE LOST 30 kilos AT / ABU GHRAIB; inscribed, in block, lower left: RELEASED FROM A.B. / ENTERED A.G. JANUARY 2004 / PRISONER # 157946 [inscription oriented horizontally, with left at bottom edge]; inscribed, in block, lower left: THREE SOLDIERS, / ONE OF THEM WAS / A [female symbol] BEAT A PRISONER/ WITH THEIR FISTS I SAW / FOR 15 MINUTES THEN JUST HEARD / SCREAMING / HE BECAME LIKE THE / A MADMAN [inscription oriented at 45 degree angle, with left at lower left corner]; inscribed, in block, lower right: 11/[backwards 2]5/04 / HE SAW THEM / MAKE A FATHER HIT / HIS SON & THE SON / WOULDN'T HIT HIS / FATHER SO THEY / MADE THE SON DIG / A HOLE AND GET IN IT IT / AND MADE THE FATH- / ER BURRY THE SON UP / TO HIS NECK THEN / THE SON WAS / TOLD TO / MAKE / LIKE; inscribed, in block, lower right: A DONKEY AND / THE FATHER WAS / MADE TO RIDE THE SON / FOR AN HOUR THIS WAS / VERY PAINFUL TO WATCH A FATHER / AND SON HUMILIATED [inscription oriented at 45 degree angle with right at lower edge]; inscribed, in block, lower center: JASIM KHAYDHER ABBAS [inscription oriented horizontally with left at top] Embossed, lower right corner: [insignia: C [symbol] [three horizontal lines stacked vertically], with arc above and below] Watermark, lower right: BFK RIVES

Course History

THEA 10.1, COLT 34.2, Human Rights and Performance, Laura Edmondson, Fall 2014

SART 27, SART 28, SART 74, Printmaking I, Printmaking II, Printmaking III, Louise Hamlin, Spring 2014

THEA 10.1, Human Rights and Performance, Laura Edmondson, Spring 2014

SART 27, SART 28, Printmaking I-Intaglio, Printmaking II, Louise Hamlin, Winter 2014

Exhibition History

A Space for Dialogue 47, Bearing Witness, The Abu Ghraib Project by Daniel Heyman, Kristin Monahan Garcia, MALS 2005, Assistant Curator of Academic and Student Programming and John Mathias, Class of 2011, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, December 5, 2008-February 1, 2009. [Exhibited in conjunction with Dartmouth College's annual Martin Luther King Jr. Celebration and its 2009 theme, "Getting to the Mountaintop: Moving through Conflict toward Reconciliation."

Publication History

Kristin Monahan Gracia and John Mathias, A Space for Dialogue 47, Bearing Witness, The Abu Ghraib Project by Daniel Heyman, A Space for Dialogue 47, Bearing Witness, The Abu Ghraib Project by Daniel Heyman, Kristin Monahan Garcia, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2009, ill. p. 3.

Provenance

The artist, Philadelphia, Pennsylvania; sold to the present collection, 2007.

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete.

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