http://www.iht.com/articles/2007/08/24/arts/portraits.phpBerman took this picture, which is in the solo show at Jen Bekman Gallery, on assignment for People magazine. It was meant to accompany an article that documented Ziegel's recovery, culminating in his marriage to his childhood sweetheart. But the published portrait was a convivial shot of the whole wedding party. Maybe the image of the couple alone was judged to be too stark, the emotional interchange too ambiguous. Maybe they looked, separately and together, too alone.
"Marine Wedding," the portrait's title, was not Berman's first encounter with wounded Iraq war veterans. She photographed several others beginning in 2003, and 20 of her portraits were published as a book, "Purple Hearts: Back From Iraq" (Trolley Books, 2004), with an introduction by Verlyn Klinkenborg, a member of the editorial board of The New York Times. These pictures, accompanied by printed interviews with the sitters, have been traveling the country, and 10 are now at Bekman.
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Berman adds no direct editorial comment to the presentation. She has said in interviews that she started photographing disabled veterans soon after the war began mainly because she didn't see anyone else doing so.
In what may be the most intensively photographed war in history, the visual documentation has been selective. The fate of the wounded veterans was not a public issue until news reports about substandard treatment at Walter Reed Army Medical Center.
This background provides the context for Berman's photographs, which are themselves tip-of-the-iceberg images. The images add up to a complex and desolating anti-war statement. Acosta makes that statement outright: "Yeah, I got a Purple Heart. I don't care. I don't need anything to prove I was there. I know I was there. I got a constant reminder. I mean like all the reasons we went to war, it just seems like they're not legit enough for people to lose their lives for and for me to lose my hand and use of my legs and for my buddies to lose their limbs."