Influential assassination researcher Harold Weisberg revolves the third installment in his Whitewash series around the photographic evidence available to government officials investigating the death of John F. Kennedy. Given the materials and photographs available to the Warren Commission, Weisberg shows that in numerous cases the government either ignored the evidence it had in front of it or intentionally misrepresented evidence. Using the photographs themselves to show the inadequacies of the government’s research techniques, as well as the impossible conclusions at which the government arrived, Weisberg’s most damning argument is that the government twisted the evidence to make it fit preconceived theories and explanations for the assassination of the president. In the years since its original publication in 1974, the books in Weisberg’s Whitewash series have become classics of assassination literature and have established the author as one of the premier investigators and researchers in his field. Decades later, the shocking revelations painstakingly detailed in his work have lost none of their impact, and the information uncovered beneath the government’s whitewash is crucial to understanding the assassination of John F. Kennedy.

Harold Weisberg’s Whitewash was originally self-published in 1965, at a time when few publishing houses would consider a book challenging the Warren Report. Written in Harold’s fiercely passionate yet scrupulously honest style, and relying on the government’s own evidence and documentation, Whitewash destroys the Warren Commission’s claims about Oswald and shows that the Commission knowingly engaged in a cover-up. Weisberg diligently researched the government’s unpublished evidence and played a major role in forcing disclosures via the Freedom of Information Act. A watershed publication and one that established the author as one of the premier JFK assassination researchers, Whitewash (as well as the subsequent books in the Whitewash series) has become of the essential assassination publications, and nearly five decades later his work has lost none of its bite.

Weisberg’s first volume in the Whitewash series dissected the Warren Report and its failure to confront evidence of conspiracy in the JFK assassination. In this sequel he shows how the agencies of the investigation—the FBI, the Secret Service, the Dallas police, and the lawyers who worked for the Commission—made this possible by often corrupting evidence and consistently avoiding pursuit of clear and critical evidence pointing to and defining a conspiracy. The author demonstrates that their failure was rooted not only in institutional inability but also in a deliberately twisted investigative structure. In the years since its original publication in 1974, the books in Weisberg’s Whitewash series have become classics of assassination literature and have established the author as one of the premier investigators and researchers in his field. Decades later, the shocking revelations painstakingly detailed in his work have lost none of their impact, and the information uncovered beneath the government’s whitewash is crucial to understanding the assassination of John F. Kennedy.

This book is a reconsideration of the practice of whitewashing church interiors during the Protestant Reformation in the sixteenth and seventeenth centuries. It is the first detailed study of its kind which challenges the view that whitewash was always only a 'cheap coat of paint'. Victoria George pulls together several histories: of the colour white from the biblical period to the present, and ideas about the colour white in philosophy, theology, art, and architecture from antiquity to the present. She links them to case studies of the ways in which reformers Huldrych Zwingli and John Calvin thought about colour in a careful analysis of the role of colour-thinking in their theological writings. The social meanings embodied in the word, 'whitewash' as it entered the printed media in the 17th century is explored as part of a chapter on the history of whitewashing itself. The long-term symbolic and aesthetic implications of the practice of whitewashing are examined in the larger context of material culture; in terms of their value as a metaphor, for both the Reformed Protestant and the Catholic in opposition to them; and for the uses to which whitewash has been put over time. George proposes that the practice was not only visually transformative but held importance for religious aesthetics as an agent of change, and for an aesthetics of minimalism generally, especially evident in the twentieth and twenty-first centuries. Victoria George received an MFA from the Royal College of Art (London), an MA from The Architectural Association, and a Ph.D. from Cambridge. She has taught religion and the arts at the University of Richmond in Virginia.