 |
||||
|
PHOTOGRAPHS I entered the photography master's program at the Institute of Design in 1969. I learned the medium's multiple languages under the tutelage of Aaron Siskind, Arthur Siegel, Garry Winogrand, Joe Jachna, Ken Josephson and Charles Swedlund. Since that time, the possibilities of what a photograph can address and what it, as a black-and-white document, can mean have profoundly changed. With the Bauhaus / Institute of Design rationale at the forefront of my thinking in the 1960s and 1970s, I made images that relied on the formal properties of the photographic process—long exposure times, full-scale black-to-white tonalities, altered perspective—to transform reality into a subjective, interpretive art where one image evolved out of the elements in a preceding one. From the 1980s forward, my pictures have addressed larger, shared issues more conceptually reflective of cold war history, cultural meanings, and personal belief. My photographs are now evidential traces of earlier events impossible to access. I travel to and document the physical remnants of history. On that terrain, the earth of our past, I reference calamity or site as a record of memory, not as an act of witness. Since 1991, I have traveled to places anchored to events – some repulsive and some illuminating – in forty countries and thirty-five US states that symbolize the sinuous life in the 20th century. My photographs function within six ongoing related series:
|
||||
|
||||
|
|
|
|
|
