{"id":57435,"date":"2023-07-20T11:37:08","date_gmt":"2023-07-20T15:37:08","guid":{"rendered":"https:\/\/www.artsjournal.com\/herman\/?p=57435"},"modified":"2023-07-20T19:59:02","modified_gmt":"2023-07-20T23:59:02","slug":"a-different-kind-of-mushroom-cloud","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2023\/07\/a-different-kind-of-mushroom-cloud.html","title":{"rendered":"A Different Kind of Mushroom Cloud"},"content":{"rendered":"\n<p class=\"has-text-align-center\"> Recalling the <a href=\"https:\/\/www.afnwc.af.mil\/About-Us\/History\/Trinity-Nuclear-Test\/\">first Trinity nuclear blast<\/a>, which is being memorialized by the new Christopher Nolan film \u201cOppenheimer,\u201d I couldn\u2019t help thinking of the last collage that Norman O. Mustill made and his first using  digital tools. He pixilated an infamous Abu Ghraib image, added a crucifix made of what look like   bones, and combined it with a photo of the ancient skull of an Aztec sacrificial victim on exhibit at the Museo Nacional de Anthropolgia in Mexico City. He made two numbered originals. Since I took the skull photo, he sent me #2. <\/p>\n\n\n<div class=\"wp-block-image is-style-default\">\n<figure class=\"aligncenter size-full\"><a href=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"816\" data-attachment-id=\"57551\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/mustill-750bdr-2\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1.jpg\" data-orig-size=\"640,816\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"mustill-750bdr\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1.jpg\" src=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1.jpg\" alt=\"\" class=\"wp-image-57551\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1.jpg 640w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1-235x300.jpg 235w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>&#8216;Untitled&#8217; by Norman O. Mustill<\/em><\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>Recalling the first Trinity nuclear blast, which is being memorialized by the new Christopher Nolan film \u201cOppenheimer,\u201d I couldn\u2019t help thinking of the last collage that Norman O. Mustill made and his first using  digital tools.<\/p>\n","protected":false},"author":3,"featured_media":57551,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,4,20,22,23,17],"tags":[],"class_list":{"0":"post-57435","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-main","9":"category-media","10":"category-music","11":"category-news","12":"category-political-culture","13":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2023\/07\/mustill-750bdr-1.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-eWn","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/57435","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=57435"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/57435\/revisions"}],"predecessor-version":[{"id":57589,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/57435\/revisions\/57589"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/57551"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=57435"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=57435"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=57435"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}