During this period, 1995 to 2000, that I created “Outland,” my work gradually shifted from documenting the world to transforming it through the camera and the deeper parts of my mind. At the same time I began to view myself as an artist/photographer rather than a photographer. The photographs came about as a result of […]

Every photographer I know, at some point in their career, has studied Walker Evans’ photographs of Hale County, Alabama made during the Great Depression. Before I made photographs, I looked to his with an almost mystical wonder and curiosity. The photographs endure as the pinnacle of what photography can and should be, as Evans himself […]

For seventeen years I have made work that consists of sequences in order to talk about the passage of time while looking at things that don’t change much at all. For me, rhythm has always played an important role in photography. From the rocking of a developing tray, to a staccato exhibition installation, to the […]

This is when I love photography; when the medium born to tell a story, doesn’t. No other art form is capable of producing this kind of exchange—giving an expectation of an exact record, only to strip that preconception away, leaving form in its place. In 2012, I saw an exhibition of platinum/palladium prints by master […]

Jessica Auer Brett Baker Roger Ballen Andrew Baren Steven Baris Uta Barth Paul Behnke Richard Benari Siri Berg Katherine Bradford Farrell Brickhouse Patrick Burns Jennifer Colten Clayton Colvin Guy C. Corriero Michael David Emilia Dubicki Sharon Etgar Alan Feltus Katie Ford Nobu Fukui Marianne Gagnier Ilya Gefter Ellen Goldsmith Brenda Goodman Elizabeth Gourlay Gary Green […]

The more I understand the backstory of what I’m looking at, the more I know what’s significant and how to use visual language… This is the fourth installment in a Tilted Arc ongoing feature, Women in the Landscape—conversations between women photographers whose work focuses on the land. This conversation is with Karen Halverson, an artist […]

I feel the work in my body. I feel it. I don’t know how to exactly express that, how to translate that into language. But most people confuse emotions in art with sentiment, and I’m out to crack that one. Dorothea Rockburne, “Scalar,” 1971. © 2014 Dorothea Rockburne / Artists Rights Society (ARS), New York. […]

Today, we see two types of art museums: the white box – there the building can suck the life out of the art; or the expressionistic form where the complications of the geometry overshadow the art. We are interested in a third way where the spatial energy of the architecture is inspiring, while the primacy […]

I’m definitely conscious of this kind of rhythm, and am always preoccupied with ensuring that a sort of lyrical quality permeates both my imagery and its eventual arrangement. When I’m making photographs or capturing video, I’m certainly aware of the general aesthetic sensibility that tends to drive my response, but I guess my process at […]

The indexical relationship inherent in the medium, the relationship between the thing in the world photographed and the representation of that thing, opens endless questions about how we understand our relationship to our surroundings. The ability to express the very concept of paradox is one reason I love the photographic medium. This is the second […]