If we take the broad sweep of American landscape photography and watch it swing like pendulum from the grandeur of Carleton Watkins and Ansel Adams all the way to the dispiriting suburban sprawl of the New Topographics photographers, Walker seems to have aimed for (and found) a new middle ground, where the messiness of human use can still be balanced by moments of grace. His pictures acknowledge the awkwardness that now pervades many of our “natural” spaces, but doesn’t give up on the our power to see the sometimes muddled (and ironic) beauty of what remains.
Janet Borden (here): This booth was a symphony of small prints, from works by Jan Groover and Martin Parr to an overpainted Richter and a surprisingly diminutive Esser. A recent series by S.B. Walker is built on a thoughtful conceptual doubling – making Polaroids of the now defunct Polaroid factory. This image deftly marries the crackled paint of the massive tubes with the residue of the photographic process.Read More