From Here the Tragedy Started

Daniel A. Heyman, American, born 1963


March 2006

Drypoint on Rives BFK paper


Plate: 15 11/16 × 11 11/16 in. (39.8 × 29.7 cm)

Sheet (Irreg.): 26 7/8 × 22 1/4 in. (68.3 × 56.5 cm)

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

© Daniel A. Heyman


Portfolio / Series Title

Amman series of The Abu Ghraib Project


Cindi Ettinger


C. R. Ettinger Studio, Philadelphia


Place Made: United States, North America


21st century

Object Name


Research Area


Not on view


Signed and dated, in graphite, lower right margin: D[illegible] 2006; numbered, in graphite, lower left margin: 19/30; titled and inscribed, in plate, upper left to right to lower center left: FROM HERE THE TRATEDY [sic] STARTED TWO SOLDIERS TOOK HIM INSIDE / PUSHED HIM UNDRESSED HIM POURED H20 ON FLOOR AND lEFT HIM NAKED ON / THE FlOOR FOR DAYS HE WAS ASKED ABOUT THE RESISTANCE. THEY / BANGED All NIGHT ON THE CELL THIS IS THE ROOM WHERE / HE STAYED NAKED 12 DAYS DECEMBER [sic] IF THEY TOOK HIM / TO INTERROGATION ROOM COMPLETELY NAKED / THE BlACK SOLDIERS ASKED HIM TO HOlD HIS HANDS / OUT 5 MINUTES THEN [backwards 4] SOLDIERS TIED / HIM UP 2 WERE WOMEN HE WAS / ASHAMED. THEY ASKED HIM ABOUT / WEAPONS [O inscribed over E] THE WOMAN / LOOKED AT HIS SEX AND / THEY WANTED TO MEASURE HIS / PENIS AND WERE LAUGHING / HE KNEW NOTHING / WHY WOULDN'T HE LIKE TO / HAVE HIS PENIS MEASURED / THE [female symbol] ARROUSED HIM [sic] / SEXUAllY AND THEY / TOUCHED HIM AND / MEASURED HIS ERECTION / LATER SHE TOOK OFF HER ClOTHES; inscribed, in plate, upper to lower center right: THE TRANSLATOR PUllED HIM BY HIS HAIR AND PULLED HIS / HAIR BACK HE WAS WHITE AND GOOD LOOKING / HE WAS FAT; inscribed, in plate, lower right to left: HE WAS TOLD TO COOPERATE OR THEY WOUlD USE THE ELECTRICAL / DEVICE ON HIM THE DEVICE WAS A BOX WITH AN ANTE[backwards N]A [sic] AND TWO WIRES / WITH CLIPS AT THE ENDS. HIS FRIEND SHOCKER HAD ElECTRICITY ON HIS HANDS AN [sic] HIS PENIS. [inscription oriented upside down, with top at lower edge]; inscribed, in plate, lower center: BEFORE THEY GAVE HIM THE INFECTION THEY TOLD HIM IT WOULD PARA- / llISE [sic] HIM. HE BECAME COLD. THEY LEFT THE INTERROGATOR SAID BE QUIET AND TELL WHERE THE WEAPONS ARE/ THE GIRLS STOOD A[backwards S]IDE [inscription oriented upside down in sections] Embossed, lower right corner: [insignia: C [symbol] [three horizontal lines stacked vertically], with arc above and below] Watermark, lower right: BFK RIVES

Course History

SART 27, SART 28, SART 74, Printmaking I, II, III, Louise Hamlin, Spring 2013

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."


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

This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.

We welcome questions, feedback, and suggestions for improvement. Please contact us at: