{"id":867,"date":"2004-10-15T02:39:07","date_gmt":"2004-10-15T09:39:07","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2004\/10\/moon_over_abu_ghraib\/"},"modified":"2004-10-15T02:39:07","modified_gmt":"2004-10-15T09:39:07","slug":"moon_over_abu_ghraib","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2004\/10\/moon_over_abu_ghraib.html","title":{"rendered":"MOON OVER ABU GHRAIB"},"content":{"rendered":"

Taking their title from Robert Schumann’s artsong, “Mondnacht,” Abbie
\nConant and William Osborne have created a short video commentary<\/FONT><\/B><\/A> on the torture at Abu Ghraib. It is a
\ndeeply felt editorial imbued with sorrowful beauty. It uses Schumann’s
\nmusic, the “radiant voice” of soprano Barbara Bonney and the
\npianio accompaniment of Vladimir Ashkenazy to give dignity to the torture victims.
\nIt also uses some of the horrific photos we’ve all seen. But while it is a form of photo
\njournalism, which might under ordinary circumstances be enough, it transcends journalism and
\ncrosses into the realm of art. Please take a look.<\/FONT><\/B><\/A><\/P><\/p>\n","protected":false},"excerpt":{"rendered":"

Taking their title from Robert Schumann’s artsong, “Mondnacht,” Abbie Conant and William Osborne have created a short video commentary on the torture at Abu Ghraib. It is a deeply felt editorial imbued with sorrowful beauty. It uses Schumann’s music, the “radiant voice” of soprano Barbara Bonney and the pianio accompaniment of Vladimir Ashkenazy to give dignity to the torture victims. It […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-867","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-dZ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/867","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\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=867"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/867\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=867"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=867"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=867"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}