In the photographer’s series “Rehearsal of Anxiety,” instances of self-consciousness and irony are as much about the projection of nuclear attacks in contemporary media as about any real threat.
The photographer is moving away from the human form, and, instead, burrowing deeper into compositions in which rotting food products, which sometimes resemble body parts, fill the frame.
In the series “You Are There, Are you there?, There You Are,” each self-portrait is a composite of two images of the photographer—two Alvisas relating to each other in space.
Jonathan Castillo’s photographs show the contemporary car as a high-tech cocoon, designed to insulate its passengers from the world they are moving through, even as their presence radically reshapes it.
Gowin’s work teaches us how to recuperate some of the beauty lost when nature is desecrated and how to expand our sphere of intimacy to the land itself.
Heyman’s photographs are specific to the America of the late sixties and early seventies, roiled by the feminist revolution and other protest movements, yet caught in the grip of earlier, more conservative ideologies.