Search results for ""Author Justine Kurland""

Following in the photographic lineage of Robert Frank, Stephen Shore, and Joel Sternfeld, Justine Kurland’s work examines the story of America—and the idea of the American dream juxtaposed against the reality. Her deep interest in the road, the western frontier, escape, and ways of living outside mainstream values pervade this stunning and important body of work. Since 2004, Kurland and her young son, Casper, have traveled in their customized van, going south in the winter and north in the summer, her life as an artist and mother finely balanced between the need for routine and the desire for freedom and surprise. Casper’s interest —particularly in trains, and later in cars—and those he befriends along the way often determine Kurland’s subject matter. He appears at different ages in the work, against open vistas and among the subcultures of train-hoppers and drifters around them. Kurland’s vision is in equal parts raw and romantic, idyllic and dystopian. From highly symbolic pictures of trains moving across epic landscapes to allegorical depictions of mechanics and muscle cars, this book features the full scope of her road work—from her series This Train is Bound for Glory, to her most recent, Sincere Auto Care.

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The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it’s a profoundly masculine myth—cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. “I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals,” says Kurland. She portrays the girls as fearless and free, tender and fierce. They hunt and explore, braid each other’s hair, and swim in sun-dappled watering holes—paying no mind to the camera (or the viewer). Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.

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This is the first monograph on British-born photographer Janice Guy (born 1953), gathering her radical experiments in photography from the late 1970s. Made while she was a student at the Kunstakademie Düsseldorf, this selection of photographs sheds light on Guy's work as an artist before she gained international renown as a gallerist of contemporary art. The German photographer Thomas Struth, a fellow student in Germany at the time, has written a moving essay for this book about their formative years and ongoing friendship. The book also includes an introduction by American photographer Justine Kurland, which makes a compelling case for the reconsideration of these photographs today. The work presented in Janice Guy, much of which appears here for the first time, reverberates as never before amid the current proclivity for producing and circulating images of ourselves.

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