Blog

Group show

Lines and Lineage at AIPAD, Baudoin Lebon Gallery, booth 205 in New York

Lines and Lineage gelatin silver print diptychs will be on display at the Baudoin Lebon gallery (booth 205) at AIPAD in New York City from April 5 to 8, 2018.

AIPAD The Photography Show 2018
Baudoin Lebon Gallery, booth 205
Pier 94, 55th Street and 12th Avenue
New York City, NY
United States

• AIPAD’S Photography Show is the longest-running and foremost exhibition dedicated to the photographic medium, offering a wide range of museum-quality work, including contemporary, modern, and 19th-century photographs as well as photo-based art, video, and new media.

• The Baudoin Lebon Gallery was founded in 1976 in Paris. It is a leading dealer of Modern and Contemporary Art, including painting, sculpture and the most significant international photography. The gallery supports radically different works with an enlightened eclecticism.

About Lines and Lineage

We often forget that the boundary between Mexico and the United States was not always where it is today. It used to be 1100 kilometers farther north, following what is now the state line between Oregon and California and running east to Wyoming before zagging southeast to Louisiana. Originally home to the indigenous peoples of the region, much of this land was Spanish and then Mexican territory for centuries before becoming what we now think of as the American West.

Spanish colonists and missionaries settled here beginning in 1598. In 1821, Mexico won independence from Spain, and by the middle of the century, it was in some ways far more advanced than its neighbor to the northeast. It abolished slavery shortly after independence; black Mexicans soon gained prominent positions, including the governorship of California. Indigenous people were given the right to vote. All this came to an end in 1848, when the United States attacked Mexico, seized half its land, and created the border that we know today.

At the time, the war on Mexico was emphatically opposed by prominent Americans, including Abraham Lincoln and John Quincy Adams. Henry David Thoreau penned his groundbreaking essay on Civil Disobedience after his arrest for nonpayment of taxes, an act of defiance of what he called an “unjust” war that aimed to “expand the slave territory.”

Mexican administration was cut short before photographic technology, revealed in Paris in 1839, arrived in the region. The well-known visual record of the American West—dominated by photos of cowboys and white settlers, the Gold Rush and the arrival of the railroads—was created after 1848. Images from the Mexican era, on the other hand, were never fixed in our memory. Using glass plates and a nineteenth-century camera to photograph landscapes along the original border and create portraits of descendants of early inhabitants, this project imagines what that history might look like. It questions the role that photographs—both present and missing—have played in shaping the identity of the West.

Talk

Lines and Lineage artist talk at Palo Alto Photo Forum on May 3rd

Lines and Lineage Artist Talk on Friday May 4th, 2018 – 7:30pm
Moderated by Sally Katz of SFMOMA

Palo Alto Photography Forum
Mitchell Park Community Center
Palo Alto, CA
United States
» Reserve tickets

The work will also be on exhibition from 3 May to 30 June, 2018 in San Francisco.

About Lines and Lineage

We often forget that the boundary between Mexico and the United States was not always where it is today. It used to be 1100 kilometers farther north, following what is now the state line between Oregon and California and running east to Wyoming before zagging southeast to Louisiana. Originally home to the indigenous peoples of the region, much of this land was Spanish and then Mexican territory for centuries before becoming what we now think of as the American West.

Spanish colonists and missionaries settled here beginning in 1598. In 1821, Mexico won independence from Spain, and by the middle of the century, it was in some ways far more advanced than its neighbor to the northeast. It abolished slavery shortly after independence; black Mexicans soon gained prominent positions, including the governorship of California. Indigenous people were given the right to vote. All this came to an end in 1848, when the United States attacked Mexico, seized half its land, and created the border that we know today.

At the time, the war on Mexico was emphatically opposed by prominent Americans, including Abraham Lincoln and John Quincy Adams. Henry David Thoreau penned his groundbreaking essay on Civil Disobedience after his arrest for nonpayment of taxes, an act of defiance of what he called an “unjust” war that aimed to “expand the slave territory.”

Mexican administration was cut short before photographic technology, revealed in Paris in 1839, arrived in the region. The well-known visual record of the American West—dominated by photos of cowboys and white settlers, the Gold Rush and the arrival of the railroads—was created after 1848. Images from the Mexican era, on the other hand, were never fixed in our memory. Using glass plates and a nineteenth-century camera to photograph landscapes along the original border and create portraits of descendants of early inhabitants, this project imagines what that history might look like. It questions the role that photographs—both present and missing—have played in shaping the identity of the West.

The CatchLight Fellowship is in partnership with the Pulitzer Center.

What’s in your bag? VII photographers show their gear

  The photographers of VII recently opened up their camera bags to show what kind of gear they are currently using. For the post, I shared the vintage wet plate collodion equipment that I’m using for my Lines and Lineage project about the original Mexico-U.S. border and the missing visual history of the Far West. Below is the list of my…  read more.

Group show

Lines and Lineage exhibition at SF Camerawork in San Francisco

Lines and Lineage will be on display in the context of the CatchLight Fellowship exhibition from 3 May to 30 June, 2018.

SF Camerawork
1011 Market Street, 2nd Floor
San Francisco, CA 94103
United States

There will also be an artist talk in Palo Alto on Friday May 4th, 2018 at 7:30pm, moderated by Sally Katz of SFMOMATicket reservations required.

About Lines and Lineage

We often forget that the boundary between Mexico and the United States was not always where it is today. It used to be 1100 kilometers farther north, following what is now the state line between Oregon and California and running east to Wyoming before zagging southeast to Louisiana. Originally home to the indigenous peoples of the region, much of this land was Spanish and then Mexican territory for centuries before becoming what we now think of as the American West.

Spanish colonists and missionaries settled here beginning in 1598. In 1821, Mexico won independence from Spain, and by the middle of the century, it was in some ways far more advanced than its neighbor to the northeast. It abolished slavery shortly after independence; black Mexicans soon gained prominent positions, including the governorship of California. Indigenous people were given the right to vote. All this came to an end in 1848, when the United States attacked Mexico, seized half its land, and created the border that we know today.

At the time, the war on Mexico was emphatically opposed by prominent Americans, including Abraham Lincoln and John Quincy Adams. Henry David Thoreau penned his groundbreaking essay on Civil Disobedience after his arrest for nonpayment of taxes, an act of defiance of what he called an “unjust” war that aimed to “expand the slave territory.”

Mexican administration was cut short before photographic technology, revealed in Paris in 1839, arrived in the region. The well-known visual record of the American West—dominated by photos of cowboys and white settlers, the Gold Rush and the arrival of the railroads—was created after 1848. Images from the Mexican era, on the other hand, were never fixed in our memory. Using glass plates and a nineteenth-century camera to photograph landscapes along the original border and create portraits of descendants of early inhabitants, this project imagines what that history might look like. It questions the role that photographs—both present and missing—have played in shaping the identity of the West.

The CatchLight Fellowship is in partnership with the Pulitzer Center.

Publication: Lines and Lineage in Harper’s Magazine

Harper’s Magazine features my latest project, Lines and Lineage, as a 12-page spread in the February 2018 issue. A subscription is required to view the entire feature online. The project was realized with a CatchLight Fellowship in partnership with the Pulitzer Center. My introduction text is copied below. We often forget that the boundary between the United States and Mexico…  read more.

Group show

Blue Sky Days at BOZAR Centre for Fine Arts Brussels

Blue Sky Days will be on display at the BOZAR Centre for Fine Arts in Brussels with large format gelatin-silver prints as part of the Watching You, Watching Me group exhibition from Jan. 25 to Feb. 18, 2018.

 

BOZAR, Palais des Beaux-Arts Bruxelles
Rue Ravensteinstraat 23
1000 Brussel
Belgium

 

About Blue Sky Days

In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her house. At a briefing held in 2013 in Washington, DC, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of five lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer grey skies. The drones do not fly when the skies are grey.”

With my camera attached to a small drone, I traveled across America to photograph the very sorts of gatherings that have become habitual targets for foreign air strikes—weddings, funerals and groups of people praying or exercising. I also flew my camera over settings in which drones are used to less lethal effect, such as prisons, oil fields, and the US-Mexico border. The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy and war.

 

About Watching You, Watching Me

What right do governments, corporations, and individuals have to collect and retain information on your daily communications? What tools – both today and in the past – have been used to monitor your activities? What are the immediate and far-reaching effects? As governments and corporations around the world expand their efforts to track the communications and activities of millions of people, this not only threatens our right to privacy, but also opens the door for information to be collected and used in ways that are repressive, discriminatory, and chill freedom of speech and expression.

It is in this context of massive information gathering that Watching You, Watching Me – the 22nd installment of the Open Society Foundations’ Moving Walls exhibition – explores how photography can be both an instrument of surveillance and a tool to expose and challenge its negative impact. In tackling the inherent difficulty of visualizing something that is meant to be both omnipresent and covert – seemingly everywhere and nowhere at the same time – the artists in this exhibition employ a dynamic range of approaches. Together, these 10 artists provide a satellite-to-street view of the ways in which surveillance culture blurs the boundaries between the private and public realm. These projects raise important and provocative questions about the role of privacy in preserving our basic freedoms and rights.

Watching You, Watching Me: A Photographic Response to Surveillance is curated by Stuart Alexander, Susan Meiselas, and Yukiko Yamagata.

 


Praise for Blue Sky Days

 

Blue Sky Days is one of the most important photo essays done in the last few years. It tackles issues that are very difficult to photograph but central to modern existence — privacy, government intrusion and modern antiseptic warfare.

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- James Estrin, Editor of the The New York Times LENS blog

With simple, vivid means, Houtryve brings the war home.”

– Teju Cole, Photography critic for The New York Times Magazine

Conceptual in nature, grounded in metaphor, and presented in gorgeous black and white, his series Blue Sky Days sure looks like art.

–  Jordan G. Teicher, critic for Photograph Magazine


Honors for Blue Sky Days

•  ICP Infinity Award
•  World Press Photo, Second Prize
•  Photographic Museum of Humanity, First Prize
•  TIME’s Top 10 Photos of 2014
•  Aaron Siskind Fellowship Grant
•  Pulitzer Center Grant
•  Getty Grant

 

 

Podcast Interview: Blue Sky Days Solo Show at Vartai Gallery in Vilnius and Thoughts on Social Media and Photography

In a 40 minute podcast interview with Berta Tilmantaitė of Nanook, I spoke about my motivation and approach for the Blue Sky Days project that is currently on exhibition at Vartai contemporary art gallery in Vilnius, Lithuania. We also discussed the place of social media and photojournalism in our shifting media landscape, and how my Traces of Exile project helps reframe…  read more.

30 of 30 Eddie Adams Workshop

I’m please to have been selected as one of the 30 of 30 of the Eddie Adams Workshop. For the past 30 years, 100 emerging photographers have been nominated each year to attend the Eddie Adams Workshop and get coaching from key figures in the industry. To mark the anniversary, the organizers selected 30 accomplished alumni from amongst the past…  read more.

Hasselblad Foundation Research and Development Award

I’m pleased to announce that I’ve been selected for an award from the Hasselblad Foundation. The Hasselblad Foundation has partnered with the Valand Academy for the Drone Vision project and honored five photo-based artists with a research and development award. This award is part of a broader research project, led by Dr Sarah Tuck, exploring the affects and implications of drone…  read more.