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Thierry Clech
Thierry Clech
Thierry Clech

Thierry Clech

Country: France

Thierry Clech is a French photographer based in Paris. Much of his work (exclusively in black & white films) is made during his travels (India, Ukraine, Istanbul, Tokyo...), but he also takes pictures in France, particulary in the business district of La Défense, near Paris. He published two books in collaboration with French novelists (Philippe Jaenada and Bernard Chambaz) and his work has been exhibited widely in France and abroad (Nadar Gallery, Press Club of France, Barrobjectif Festival, National Library of Belarus, FotoIstanbul Festival, BlowUp Angkor Festival in Cambodia…).

Artist statement:
"Thierry Clech can see the world like nobody else. In any case, he manages to put the world rules inside the frame of his pictures. Fortunately or thanks to his instinct or I don't know how, he is often in the right place at the right time. He could have probably stayed in Paris, within the ring road, within the twenty districts of his garden, and almost get the same result - because a man is a man, wherever he is. But the world is not so wide, it was better to travel around it. Just to be absolutely sure. Go around it. Then he has been nearly everywhere on the globe, almost at random, he has stopped a few moments in a city of the northern hemisphere, by a field in the southern hemisphere, and he has come back with pictures which approximately show the same thing in the form or in substance : human beings in the heart of their environment, stuck in the setting, stifled, trapped or integrated, assimilated but not totally, always isolated, just like oil in water, anxious, absent-minded, busy or passive, fearful, overtaken by events, brave, rebellious, lost, determined or exhausted. Mankind in the setting."
Philippe Jaenada, novelist, Chevalier de l'Ordre des arts et des lettres.

Discover Saint Louis in Senegal
Selected Books on Available on Amazon
Thierry Clech: Indian Lights
Thierry Clech: Indian Lights
Thierry Clech
Sous leurs paupières de porcelaine
Sous leurs paupières de porcelaine
Thierry Clech: 224 West 49th St.
Thierry Clech: 224 West 49th St.

Websites

www.thierryclech.com

thierryclech.blogspot.fr

 

Selected Books

Thierry Clech: Indian Lights
Thierry Clech: Indian Lights
Thierry Clech
Sous leurs paupières de porcelaine
Sous leurs paupières de porcelaine
Thierry Clech
Thierry Clech: 224 West 49th St.
Thierry Clech: 224 West 49th St.
Thierry Clech

Inspiring Portfolios

Klavdij Sluban
© Klavdij Sluban
Vincenzo Barone
© Vincenzo Barone
Michael Ackerman
© Michael Ackerman
 
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More Great Photographers To Discover

Diana Markosian
Diana Markosian
Russia
1989
Diana Markosian is an American and Russian artist of Armenian descent, working as a documentary photographer, writer, and filmmaker. She is known for her photo essays, including Inventing My Father, about her relationship with her father, and 1915, about the Armenian genocide. Markosian was born in Moscow. In 1996, she moved to California with her mother and her brother, while her father remained in Russia. She had no contact with him until 23, when she found her father in Armenia, after 15 years of being apart. Markosian graduated summa cum laude from the University of Oregon with a bachelor of arts in history and international studies in 2008, and earned a Master of Science from Columbia University's Graduate School of Journalism in 2010 at the age of 20. In 2011, Markosian was sent to Azerbaijan as a photojournalist for Bloomberg News, but she was denied entrance to the country, which was at war with Armenia at the time. Markosian is of Armenian descent but not a citizen of Armenia. The authorities said they couldn't provide her with the "security" she would need because of her Armenian last name. Markosian began her career at 20. Her editorial and personal work has taken her to some of the most remote corners of the world. She worked on assignments for publications including National Geographic Magazine, The New Yorker and The New York Times. For her first assignment for National Geographic Magazine in 2015, she was commissioned to explore the power and legacy of the Virgin Mary. This ability to photograph "things that are no longer there" has become a signature of her work. Her images have since been published by the Financial Times, World Policy Journal, The New York Times, Foreign Policy, The Times, Human Rights Watch, Amnesty International, amongst other publications. She won the Columbia School of Journalism's annual photography prize, and was chosen as a duPont Fellow. She was selected for the Joop Swart Masterclass from World Press Photo and was the winner of the Magnum Emerging Photographer Fund in 2013. In 2015, she was selected as the first recipient of the Chris Hondros Emerging Photographer Award. The same year, the British Journal of Photography selected her in its global survey of "Ones to Watch". In 2016, Markosian became a nominee member of Magnum Photos. In 2018, she was awarded the Elliott Erwitt Fellowship to travel to Cuba, where she documented the coming of age of young girls in Havana. The work she created was exhibited as a solo show at the Grand Palais in Paris Photo and Photo Espana. She was awarded 1st Place in Contemporary Issues from World Press Photo for an image of Pura, a young girl who was diagnosed with a brain tumor as a child, and was photographed celebrating her quinceanera. Source: Wikipedia About 1915 "Holding a cane in his right hand, Movses Haneshyan, 105, slowly approaches a life-size landscape. He pauses, looks at the image, and begins to sing, 'My home... My Armenia.' It's the first time Movses is seeing his home in 98 years. A century ago, the Ottomans initiated a policy of deportations, mass murder and rape to destroy the Armenian presence in the Ottoman Empire. By the war's end, more than a million people, from what is now modern-day Turkey, were eliminated. It was one of first genocides of the 20th century, one that Turkish authorities deny to this day. Movses and his father survived. I traveled to Armenia to meet Movses and other survivors to ask them about their last memories of their early home. I then retraced their steps in Turkey to retrieve a piece of their lost homeland. One hundred years after having fled his birthplace, Movses caresses its image, as if by holding it close he will be taken back to the place he called home many years ago. This is his story, and those of other survivors. A story of home - everything they had, everything they lost. And what they have found again." -- Diana Markosian
Prescott Lassman
Prescott Lassman
United States
1963
"I am an attorney by day and amateur photographer in my free time. Based in Washington, D.C., I focus mainly on black-and-white photography — somewhere between street and documentary with a strong dose of minimalism for good measure. I have a background in philosophy and try to incorporate it into my photography. One of my favorite philosophers, the psychoanalyst Carl Jung, has influenced me deeply. In fact, I view my photography as a Jungian exercise in synchronicity. Using an intuitive approach, I search for images that resonate, for moments of synchronicity in everyday life. Because this approach relies on unconscious triggers, my photographs are often richly symbolic, though their meaning is not immediately clear (at least not to me). For me, this is the essence of photography: capturing an image that resonates and then, over the course of months or years, figuring out why." Statement Domesticated Animals is a multi-year project that explores the domestication that lies at the heart of domestic life. It started with a question that simply would not go away: "How did I become such a domesticated beast?" And then the natural follow up: "Is the domesticated life worth it?" These photographs are my attempt to answer these questions and make sense of my predicament — everyone’s predicament — by providing an unpolished glimpse of the myths we accept, the masks we are taught to wear, the roles we are forced to play, the needs and desires we sublimate (and sometimes don’t), and the tremendous pressures we face to conform in order to sustain our comfortable, domestic lives.
Charalampos Kydonakis
Charalampos Kydonakis
Greece
Charalampos Kydonakis is an architect and an amateur photographer from Rethymnon of Crete. He's editing the dirty blog , has curated 2 books of contemporary photography : Black & White Candids and Venustreet. He's a member of the "Burn my Eye" collective.
Joanna Madloch
Joanna Madloch
Poland/United States
1969
Joanna Madloch was born in Poland and moved to the United States in her thirties. A professor of literature, twenty years ago she dedicated herself to photography. She combines her interests in mythology, literature, and photography through writing a book about the photographer as an archetypal trickster. Artist Statement "I grew up in Soviet-occupied Poland. Among numerous restrictions imposed by the autocratic government on its citizens, the one I remember most vividly is an image depicting a crossed-out camera. There were “No Photography” signs on railroad crossings, on the gate to the factory where my parents worked, even near my school. I always wondered what kind of power the little machine possessed that it made the seemingly omnipotent authorities so afraid. I got my answers when I first looked through the viewfinder of a little Smena (appropriately, the name of this camera means ‘the change’). The world observed through the tiny frame appeared different -- more real and magical at the same time. Straight away, I got hooked. While for a long time it was impossible for me to own a camera, I practiced mental photography by framing the world with my hands. Now, with my camera in hand, I see myself as a flaneur with a superpower. Like a mythological trickster, I balance between different worlds, uncover visual association, and construct semantic links. My little Leica contains a portal to alternate realities. When the aperture opens, the gates between realities unlock, the boundaries get obscured, and the time/space continuum becomes irrelevant. By releasing the shutter, I catch the pictorial manifestations of these phenomena. My photographs pay homage to our grounding in primeval stories and our connection to the collective mythical past. I photograph everyday streets, but my images reveal the multiplicity of meanings embedded in our visible reality. "
Ruth Bernhard
Ruth Bernhard
Germany / United States
1905 | † 2006
Ruth Bernhard (October 14, 1905 – December 18, 2006) was a German-born American photographer. She was born in Berlin to Lucian Bernhard and Gertrude Hoffmann. Lucian Bernhard was known for his poster and typeface design, many of which bear his name and are still in use. Bernhard's parents divorced when she was 2 years old and she only met her mother twice after the divorce. She was raised by two schoolteacher sisters and their mother. Bernhard's father Lucian was a major proponent of Ruth's work, and advised her frequently. Bernhard studied art history and typography at the Berlin Academy of Art from 1925 to 1927 before moving to New York City to join her father. She worked as an assistant to Ralph Steiner in Delineator magazine, but he terminated her employment for indifferent performance. Using the severance pay, Bernhard bought her own camera equipment. By the late-1920s, while living in Manhattan, Bernhard was heavily involved in the lesbian sub-culture of the artistic community, becoming friends with photographer Berenice Abbott and her lover, critic Elizabeth McCausland. Her first realization that she was attracted to other women occurred on New Year's Eve 1928 when she met the painter Patti Light. She wrote about her "bisexual escapades" in her memoir. In 1934 Bernhard began photographing women in the nude. It would be this art form for which she would eventually become best known. In 1935, she chanced to meet Edward Weston on the beach in Santa Monica. She would later say: "I was unprepared for the experience of seeing his pictures for the first time. It was overwhelming. It was lightning in the darkness ... here before me was indisputable evidence of what I had thought possible—an intensely vital artist whose medium was photography." Bernhard was so inspired by Weston's work that, after meeting him in 1935, she moved to California (where he lived). In 1939, Bernhard moved back to New York for eight years, during which time she met photographer Alfred Stieglitz. Bernhard was inspired by the small things in her life. In an interview from 1999 with Photographers Forum, Ruth states, "I’m most interested in—the little things that nobody observes, that nobody thinks are of any value". In the same interview she stated that, "Everything is universal" and that she was "very much aware of that". This idea of minimalism drove her passion for photography. In 1934 Ruth received a commission from the Museum of Modern Art (MoMA) to photograph works for the Machine Art exhibition catalog. Her father Lucian Bernhard set up the meeting with MoMA for her. By 1944 she had met and became involved with artist and designer Eveline (Evelyn) Phimister. The two moved in together, and remained together for the next ten years in Carmel, California. Here, Bernhard worked with Group f/64. Soon, finding Carmel a difficult place in which to earn a living, they moved to Hollywood where she fashioned a career as a commercial photographer. In 1953, they moved to San Francisco where she became a colleague of photographers such as Ansel Adams, Imogen Cunningham, Minor White, and Wynn Bullock. Most of Bernhard's work is studio-based, ranging from simple still lifes to complex nudes. In the 1940s she worked with the conchologist Jean Schwengel. She worked almost exclusively in black-and-white, though there are rumors that she had done some color work as well. She also is known for her lesbian themed works, most notably Two Forms (1962). In that work, a black woman and a white woman who were real-life lovers are featured with their nude bodies pressed against one another. In 1967, Bernhard began a teaching career. This same year, Bernhard met United States Air Force Colonel Price Rice, an African American man ten years younger than her, and the two became lovers. They would remain together until his death in 1999. In her 90s, Bernhard cooperated with biographer Margaretta K. Mitchell in the book Ruth Bernhard, Between Art and Life, publicly revealing her many affairs with women and men throughout her lifetime. A departure was a collaboration with Melvin Van Peebles (as "Melvin Van"), then a young cable car gripman (driver) in San Francisco. Van Peebles wrote the text and Bernhard took the unposed photographs for The Big Heart, a book about life on the cable cars. In the early 1980s, Bernhard started to work with Carol Williams, owner of Photography West Gallery in Carmel, California. Bernhard told Williams that she knew there would be a book of her photography after her death, but hoped one could be published during her lifetime. Williams approached New York Graphics Society, and several other photographic book publishers, but was advised that "only Ansel Adams could sell black-and-white photography books." Bernhard and Williams decided to sell five limited edition prints to raise the necessary funds to publish a superior quality book of Ruth Bernhard nudes. The ensuing edition was produced by David Gray Gardner of Gardner Lithograph, (also the printer of Adams's books) and was called The Eternal Body. It won Photography Book of the Year in 1986 from Friends of Photography. This book was often credited by Ruth Bernhard as being an immeasurable help to her future career and public recognition. The Eternal Body was reprinted by Chronicle Books and later as a deluxe limited Centennial Edition in celebration of Ruth Bernhard's 100th birthday in October 2005. Carol Williams credited Ruth Bernhard with encouraging her to venture into book publishing, and later published several other photographic monographs. In the 1980s Bernhard also started to work with Joe Folberg. Folberg bought Vision Gallery from Douglas Elliott (who founded it in 1979) in San Francisco in 1982. Bernhard and Folberg worked together until Folberg's death. The gallery split with Debra Heimerdinger taking over operations in North America and Folberg's son Neil moving the "Vision Gallery" to Jerusalem. In 1984 Ruth worked with filmmaker Robert Burrill on her autobiographic film entitled, Illuminations: Ruth Bernhard, Photographer. The film premièred in 1989 at the Kabuki Theater in San Francisco and on local PBS station KQED in 1991. Bernhard was inducted into the Women's Caucus for Art in 1981. Bernhard was hailed by Ansel Adams as "the greatest photographer of the nude". Bernhard died in San Francisco at age 101.Source: Wikipedia
Dennis Stock
Dennis Stock
United States
1928 | † 2010
Dennis Stock (July 24, 1928 – January 11, 2010) was an American photojournalist and documentary photographer and a member of Magnum Photos. He was born in New York City and died in Sarasota, Florida. Stock served in the United States Army from 1947-1951. Following his discharge, he apprenticed under photographer Gjon Mili. In 1951, he won a first prize in a Life magazine competition for young photographers. That same year, he became an associate member of the photography agency Magnum. He became a full partner-member in 1954. In 1955, Stock met the actor James Dean and undertook a series of photos of the young star in Hollywood, Dean's hometown in Indiana and in New York City. He took a photograph of Dean in New York's Times Square in 1955 (the year Dean died) that became an iconic image of the young star. It appeared later in numerous galleries and on postcards and posters and was one of the most reproduced photographs of the post-war period. The black and white photograph shows the actor with a pulled up collar on a casual jacket and a cigarette in his mouth on a rain-soaked, gray day. From 1957 until the early 1960s, Stock aimed his lens at jazz musicians, photographing such people as Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington. With this series of photographs he published the book Jazz Street. In 1962, he received the first prize at the International Photo Competition in Poland. In 1968, Stock left Magnum to start his own film company, Visual Objectives Inc., and made several documentaries, but he returned to the agency a year later, as vice president for new media and film. In the mid-1970s, he traveled to Japan and the Far East, and also produced numerous features series, such as photographs of contrasting regions, like Hawaii and Alaska. In the 1970s and 1980s he focused on color photography of nature and landscape, and returned to his urban roots in the 1990s focusing on architecture and modernism.(Source: en.wikipedia.org) Dennis Stock was born in 1928 in New York City. At the age of 17, he left home to join the United States Navy. In 1947 he became an apprentice to Life magazine photographer Gjon Mili and won first prize in Life's Young Photographers contest. He joined Magnum in 1951. Stock managed to evoke the spirit of America through his memorable and iconic portraits of Hollywood stars, most notably James Dean. From 1957 to 1960 Stock made lively portraits of jazz musicians, including Louis Armstrong, Billie Holiday, Sidney Bechet, Gene Krupa and Duke Ellington for his book Jazz Street. In 1968 Stock took a leave of absence from Magnum to create Visual Objectives, a film production company, and he shot several documentaries. In the late 1960s he captured the attempts of California hippies to reshape society according to ideals of love and caring. Then throughout the 1970s and 1980s he worked on color books, emphasizing the beauty of nature through details and landscape. In the 1990s he went back to his urban origins, exploring the modern architecture of large cities. His recent work was mostly focused on the abstraction of flowers. Stock generated a book or an exhibition almost every year since the 1950s. He taught numerous workshops and exhibited his work widely in France, Germany, Italy, the United States and Japan. He worked as a writer, director and producer for television and film, and his photographs have been acquired by most major museum collections. He served as president of Magnum's film and new media division in 1969 and 1970.(Source: Magnum Photos)
Nadar
Nadar
France
1820 | † 1910
Nadar was the pseudonym of Gaspard-Félix Tournachon. Nadar was born in April 1820 in Paris (though some sources state Lyon). He was a caricaturist for Le Charivari in 1848. In 1849 he created the Revue comique and the Petit journal pour rire. He took his first photographs in 1853 and in 1858 became the first person to take aerial photographs. He also pioneered the use of artificial lighting in photography, working in the catacombs of Paris. Around 1863, Nadar built a huge (6000 m³) balloon named Le Géant ("The Giant"), thereby inspiring Jules Verne's Five Weeks in a Balloon. Although the "Géant" project was initially unsuccessful Nadar was still convinced that the future belonged to heavier-than-air machines. Later, "The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines" was established, with Nadar as president and Verne as secretary. Nadar was also the inspiration for the character of Michael Ardan in Verne's From the Earth to the Moon. On his visit to Brussels with the Géant, on 26 September 1864, Nadar erected mobile barriers to keep the crowd at a safe distance. Up to this day, crowd control barriers are known in Belgium as Nadar barriers. In April 1874, he lent his photo studio to a group of painters, thus making the first exhibition of the Impressionists possible. He photographed Victor Hugo on his death-bed in 1885. He is credited with having published (in 1886) the first photo-interview (of famous chemist Michel Eugène Chevreul, then a centenarian), and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles (France). Nadar died in 1910, aged 89. He was buried in Père Lachaise Cemetery in Paris. Source: Wikipedia
Arnaud Gaertner
Arnaud Gaertner
France
1966
Born in 1966 in Nancy, France. Gaertner moved to Pennsylvania, US at the age of 3-6 (learned arnaud gaertnerto drink milk at school and sing the national anthem, never stopped!). He then spent 5 years in Rio de Janeiro, Brazil from age 10 to 16. Gaertner then travelled all over South America. He moved to Belgium for two years at the age of 16 and spent the next 12 years in in France. He took thousands of photos while traveling in North America, Asia Pacific, Europe, and the Middle East. He has resided in the Bay Area since 2012 with his wife Marine and their four sons. Gaertner is an explorer of California and its wonders.Series “In the middle of nowhere”, 2014In the middle of the Back Rock Desert, Nevada. In that Middle of Nowhere, 70 000 people camp in total autonomy for one week on a 30 million old dried lake, and on the main square, dozens, hundreds of art pieces, static or moving, are there, subject to the weather conditions: extreme heat, wind, dust storm. Most of the wooden art pieces are burned by the end of the week. As we speak all these moments are gone, people have left, art pieces returned into ashes, and I am glad these ephemeral moments are still alive through my photographs. This series is about the Ephemeral nature and Mystical dimension of the American desert.Artist statementBy 16 years of age, I had already visited more than 30 countries and had lived abroad, away from my home country France, for close to10 years in the United States, Brazil and Belgium. This decade opened my eyes to the diversity of the world, seen through its landscapes, people, cultures, sounds and tastes. I love people. I love getting to know others better. I love trying to understand who people are and what it is that makes them who they are. I made my first pictures when my Dad let me borrow his old camera while we were discovering the world, then he bought me a Kodak with Cube Flashes-this was my first camera and I have never stopped taking pictures since then. As an adult, I continue exploring all the continents. Photography keeps me connected to the magic of the planet. During my travels I have taken thousands of photos :f rom nature to cities, from diverse subjects to artists in their studios. This project, “In The Middle of Nowhere”, was born in the Black Rock Desert, Nevada, in September 2014. My son Baptiste had come to me and said “Dad, a friend of mine just came back from a crazy art festival in the desert called Burning Man”. Curious, we researched it and discovered something strange and amazing. For my first time at Burning Man I stayed only 3 days, but I took over 3000 pictures! My camera lens ended up ull of dust, but that probably added to the mystery of my images and the “sense of nowhere” I felt deeply. In the middle of nowhere, under 100 degrees Fahrenheit, cycling on a lake that dried 30 million years ago, 70 000 people live in total autonomy for one week where no money is exchanged, and hundreds of art pieces, static or moving, under the heat, in a dust storm, are admired by visitors in very creative costumes. Everything is burned by the end of the festival in a ritual of true “Ephemeral Art!” I seek to testify for the ephemeral, fleeting nature of these art pieces and unique moments made lasting by the photographic image. I try to capture the place, light, dusty wind that surround this eclectic eccentric happening. For this project I have selected about 30 im- ages out of 3000, helped by my two friends Gino Castoriano and Jules Maeght who are both gallerists. “In The Middle of Nowhere” is about people, places and art—those unique, ephemeral moments I capture through my images and that I want to share with you.
Richard Misrach
Richard Misrach
United States
1949
Richard Misrach (born 1949) is an American photographer "firmly identified with the introduction of color to 'fine' [art] photography in the 1970s, and with the use of large-format traditional cameras" (Nancy Princenthal, Art in America). David Littlejohn of the Wall Street Journal calls Misrach "the most interesting and original American photographer of his generation," describing his work as running "parallel to that of Thomas Struth and Andreas Gursky, two German contemporaries." Littlejohn notes that all three used a large scale color format that defied the expectations of fine art photography at the time. Misrach is widely recognized as "one of this century’s most internationally acclaimed photographers." He is perhaps best known for his depictions of the deserts of the American west, and for his series documenting the changes brought to bear on the environment by various man-made factors such as urban sprawl, tourism, industrialization, floods, fires, petrochemical manufacturing, and the testing of explosives and nuclear weapons by the military. Curator Anne Wilkes Tucker writes that Misrach's practice has been "driven [by] issues of aesthetics, politics, ecology, and sociology." In a 2011 interview, Misrach noted: "My career, in a way, has been about navigating these two extremes - the political and the aesthetic." Describing his philosophy, Tracey Taylor of the New York Times writes that "[Misrach's] images are for the historical record, not reportage." Misrach has been married since 1989 to writer Myriam Weisang and has a son, Jake, from his first marriage to Debra Bloomfield. Misrach's book Desert Cantos received the 1988 Infinity Award from the International Center of Photography, and his Bravo 20: The Bombing of the American West, co-authored with Myriam Weisang Misrach, was awarded the 1991 PEN Center West Award for a nonfiction book. His Katrina monograph Destroy This Memory won Best Photobook of the Year 2011 at PhotoEspaña. He has received numerous awards including four National Endowment for the Arts Fellowships, a Guggenheim Fellowship, an International Center of Photography Infinity Award for a Publication, and the Distinguished Career in Photography Award from the Los Angeles Center for Photographic Studies. In 2002 he was given the Kulturpreis for Lifetime Achievement in Photography by the German Society for Photography, and in 2008 he received the Lucie Award for Outstanding Achievement in Fine Art Photography. In 2010, Apple licensed Misrach's 2004 image Pyramid Lake (at Night) as the inaugural wallpaper for the first iPad. The opening credits of the 2014 HBO series True Detective featured a montage of images from Misrach's Petrochemical America. In 2016, the AIGA selected Border Cantos for its "50 Books | 50 Covers" competition, a "survey of the best in book design represent[ing] perhaps the longest-standing legacy in American graphic design." Source: Wikipedia Richard Misrach is one of the most influential photographers of his generation. In the 1970s, he helped pioneer the renaissance of color photography and large-scale presentation that are in widespread practice today. Best known for his ongoing series, Desert Cantos, a multi-faceted approach to the study of place and man’s complex relationship to it, he has worked in the landscape for over 40 years. A recent chapter of the series, Border Cantos, made in collaboration with the experimental composer Guillermo Galindo, explores the unseen realities of the US-Mexico borderlands. This work was exhibited at the Amon Carter Museum of Art, Crystal Bridges Museum of American Art, and San Jose Museum of Art in 2016-17. In the most recent chapters, Premonitions and The Writing on the Wall, Misrach documents graffiti on abandoned buildings throughout the Southwest and Southern California, finding an angry and ominous response to the highly charged political climate before and after the 2016 election. Both series premiered at Fraenkel Gallery in 2017. Other notable bodies of work include his documentation of the industrial corridor along the Mississippi River known as Cancer Alley, the study of weather, time, color and light in his serial photographs of the Golden Gate Bridge, and On The Beach, an aerial perspective of human interaction and isolation. Recent projects mark departures from his work to date. In one series, he has experimented with new advances in digital capture and printing, foregrounding the negative as an end in itself and digitally creating images with astonishing detail and color spectrum. In another, he built a powerful narrative out of images of graffiti produced in the aftermath of Hurricane Katrina, made with a 4-megapixel pocket camera. In fall 2012, in collaboration with landscape architect Kate Orff, Misrach launched a major book and exhibition entitled Petrochemical America, which addresses the health and environmental issues associated with our dependency on oil. Source: Fraenkel Gallery
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