‘Photography’s New Vision: Experiments in Seeing’

Exhibition dates: thirteenth June, 2025 – 4th January, 2026

Curator: Maria L. Kelly, High Museum of Art assistant curator of images

 

 

Aaron Siskind (American, 1903-1991)
Pleasures and Terrors of Levitation #37
1953
Gelatin silver print
High Museum of Art, Atlanta, present of Adair and Joe B. Massey in honour of Gus Kayafas

 

Aaron Siskind was recognised for the methods he rendered his environment into typically stark shapes and kinds, which mirrored his fascination with up to date tendencies in summary artwork. He was an influential trainer at Chicago’s Institute of Design, which was based by László Moholy-Nagy because the New Bauhaus. This picture of an individual flying or falling comes from a sequence Siskind product of the contorted our bodies of divers plunging into Lake Michigan. He masterfully created its disorienting impact by way of tight deal with the floating determine with out contextual parts.

Text from the High Museum of Art web site

 

 

While contemporarily AI-powered applied sciences are revolutionising the best way we work together with and devour media, enabling us to “to process and analyse vast amounts of data quickly, making it easier to find and access the information we need” within the Twenties and Thirties there was additionally a revolution in the best way artists (and their use of the digicam) considered and felt the world – one not based mostly on info, picture high quality or duplicity within the veracity of the picture however one based mostly on the phrase, perspective – be that perspective, context, shut ups, surreality, fragmentation, scale, idea, development, color, aesthetics, identification, gender, or radical experimentation.

In this departure from conventional photographic strategies, “New Vision photographers foregrounded experimental techniques, including photograms, photomontages and compositions that favoured extreme angles and unusual viewpoints, and these extended to movements such as surrealism and constructivism.” (Press launch)

To me, this New Vision is about experiencing totally different views – experiencing, sensing, feeling and seeing the world in a brand new gentle. After the disasters and machine-ations, the destruction of a conservative lifestyle earlier than the First World War, right here was a strategy to grasp maintain of (and film) the pace of a brand new world order, the desires of physiological evaluation, the range of recent identities, and the fluidity of quickly evolving technological and social cultures.

While at the moment this (r)evolution continues at an ever increasing tempo with the consumption of big quantities of data and pictures, I consider it might be advantageous to relaxation for some time on sure experiences and pictures … in order that we left the daggers drop from our eyes, to ‘not make images’ in our minds eye however simply to be current within the viewing of {a photograph}, in order that we admire and perceive each side of the nice life spirit of this wondrous earth.

Then and now, new imaginative and prescient.

Dr Marcus Bunyan

Many thankx to the High Museum of Art for permitting me to publish the pictures within the posting. Please click on on the pictures for a bigger model of the picture.

 

 

The New Vision motion of the Twenties and Thirties supplied a revolutionary method to seeing the world. It represented a insurrection in opposition to conventional photographic strategies and an embrace of avant-garde experimentation and revolutionary methods. László Moholy-Nagy, an artist and influential trainer on the Bauhaus in Germany, named this era of growth the “New Vision.” Today, the time period encompasses photographic developments that passed off between the 2 World Wars in Europe, America, and past. New Vision photographers foregrounded creative methods, together with photograms, photomontages, and light-weight research, and made images that favoured excessive angles and weird viewpoints. These approaches – which additionally prolonged to extra outlined actions like Surrealism – spoke to a need to seek out and see totally different views within the wake of World War I.

Uniting multiple hundred works from the High’s images assortment, the exhibition traces the motion’s influence, from its origins within the Twenties to at the moment, and demonstrates its long-standing impact on subsequent generations.

Text from the High Museum of Art web site

Photography’s New Vision: Experiments in Seeing

Named by the influential German artist and trainer László Moholy-Nagy, the “New Vision” comprised an expansive number of photographic exploration that passed off in Europe, America, and past within the Twenties and Thirties. The motion was characterised by its departure from conventional photographic strategies. New Vision photographers foregrounded experimental methods, together with photograms, photomontages, and light-weight research, and made images that favoured excessive angles and weird viewpoints.

This exhibition, uniting multiple hundred works from the High’s strong images assortment, will hint the influence of the New Vision motion from its origins within the Twenties to at the moment. Photographs from that period by Ilse Bing, Alexander Rodchenko, Imogen Cunningham, and Moholy-Nagy might be complemented by a large number of works by trendy and up to date artists akin to Barbara Kasten, Jerry Uelsmann, Hiroshi Sugimoto, and Abelardo Morell to reveal the long-standing influence of the motion on subsequent generations.

Text from the High Museum of Art web site

 

 

Installation views of the exhibition Photography’s New Vision: Experiments in Seeing on the High Museum of Art, Atlanta, June 2025 – January 2026
Photos: Mike Jensen

 

 

The High Museum of Art presents “Photography’s New Vision: Experiments in Seeing” (June 13, 2025 – Jan. 4, 2026), an exhibition uniting greater than 100 works from the High’s strong images assortment to hint the influence of the New Vision motion from its origins within the Twenties to at the moment. Works embody century-old images exemplifying themes from the motion and trendy and up to date pictures that emphasise the relevance of present inventive and social practices as a response to the technological and cultural modifications that occurred within the early twentieth century.

“This exhibition provides an opportunity to illuminate photographers’ creativity and innovative practices, all inspired by the progression of the medium in the 1920s and 30s,” mentioned High Museum of Art Director Rand Suffolk. “Many of the works are rarely on view, so it will be an exciting experience for visitors to see them and learn about photographers’ abilities as they reflect reality while experimenting with technique and perspective.” Named by the influential German artist and trainer László Moholy-Nagy, the “New Vision” comprised an expansive number of photographic exploration that passed off in Europe, America and past within the Twenties and Thirties. The motion was characterised by its departure from conventional photographic strategies. New Vision photographers foregrounded experimental methods, together with photograms, photomontages and compositions that favoured excessive angles and weird viewpoints, and these prolonged to actions akin to surrealism and constructivism.

“Experiments in Seeing” options almost 100 photographers. It additionally demonstrates how the New Vision motion revolutionised the medium of images within the early twentieth century in response to the nice societal, financial and technological shifts spurred by the upheaval of the 2 World Wars. Photographs from that period by Ilse Bing, Alexander Rodchenko, Imogen Cunningham and Moholy-Nagy have been complemented by a large number of images by trendy and up to date artists akin to Barbara Kasten, Jerry Uelsmann, Hiroshi Sugimoto and Abelardo Morell to reveal the long-standing influence of the motion on subsequent generations.

The first part of the exhibition delves into experimental methods that foreground the light-sensitive features of images, adopted by works created by way of in-camera manipulations or additions to the surfaces of the prints. Subsequent sections discover creative strategies of capturing sudden views of the world articulated with radical angles or detailed close-ups. Other works showcase surreal approaches to topics akin to humanlike kinds and our bodies, the usage of mirrors and doubling, and on a regular basis scenes heightened by uncanny moments or distorted by way of the interaction of sunshine, shadow and water.

“Not only does the early 20th century and its art movements continue to be influential, but that time also echoes our current moment – one that feels similarly consequential and innovative with the development of new emerging technologies and methods of communicating,” mentioned Maria L. Kelly, the High’s assistant curator of images. “The movements and happenings of a century ago are akin to those of today and those shown in the exhibition. There remains a desire for alternative ways to see and approach the world through art, and particularly through photography.”

“Photography’s New Vision: Experiments in Seeing” is on view within the Lucinda W. Bunnen Galleries for Photography positioned on the Lower Level of the High’s Wieland Pavilion.

Press launch from the High Museum of Art

 

 

“Light was considered the medium that permits photography. But for me it became the main subject: the protagonist of my photography.”

Ilse Bing, c. Twenties

 

 

After the trauma of World War I, many artists felt compelled to rethink typical artwork making strategies to higher replicate and have interaction with the world. Some photographers turned their consideration to the important ingredient of images: gentle. Through revolutionary visible investigations, cameraless images have been produced, viewes of the world altered, and scientific discoveries made.

Experimentations with illumination and light-sensitive paper within the darkroom gave rise to photograms, enabling artists to pursue abstraction and to wield gentle as a sculptural ingredient. The strategy of solarisation – reversing tones in a print utilizing a flash of sunshine throughout creating – supplied an unconventional view of a topic. Early makes an attempt to seize traces of sunshine on movie led to scientific improvements akin to utilizing strove lights to freeze motion, depicting magnetic fields, and tracing electrical currents on gentle delicate paper.

These processes intention to disclose the invisible, with the weather of change as a continuing companion. While artists can insert some management over the weather, the method in the end shapes the ultimate picture. Many artworks on this part exist as distinctive prints, difficult the idea of the reproducibility of images, and emphasising the singularity of the artistic second.

Wall textual content from the exhibition

 

 

Francis Bruguière (American, 1879-1945)
The Light That Never Was on Land or Sea
c. 1925
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from Georgia-Pacific Corporation

 

 

Nathan Lerner (American, 1913-1977)
Light Drawing #8 (Smoke)
1938-1939
Gelatin silver print
High Museum of Art, Atlanta, present of Hilary Leff and Elliot Groffman

 

 

Ilse Bing (American born Germany, 1899-1998)
Untitled [Seated Woman with Necklace, Solarized]
1943
Gelatin silver print
High Museum of Art, Atlanta, present of the Estate of Ilse Bing Wolff

 

 

Harry Callahan (American, 1912-1999)
Camera Movement on Flashlight, Chicago
c. 1949
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from the H. B. and Doris Massey Charitable Trust, Dr. Robert L. and Lucinda W. Bunnen, Collections Council Acquisition Fund, Jackson Fine Art, Powell, Goldstein, Frazer and Murphy, Jane and Clay Jackson, Beverly and John Baker, Roni and Sid Funk, Gloria and Paul Sternberg, and Jeffery L. Wigbels
© 2018 The Estate of Harry Callahan

 

 

Abelardo Morell (American born Cuba, b. 1948)
Still Life with Wine Glass: Photogram on 20″ x 24″ Film
2006
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from the Friends of Photography
© Abelardo Morell

 

 

Hiroshi Sugimoto (Japanese, b. 1948)
Lightning Fields 182
2009
Gelatin silver print
High Museum of Art, Atlanta, buy by way of funds supplied by patrons of Collectors Evening 2012
© Hiroshi Sugimoto

 

Inspired by William Henry Fox Talbot, an inventor of images who was fascinated with electromagnetic conduction, Hiroshi Sugimoto started making use of fees of electrical energy on to unexposed photographic movie. After months of honing his method within the darkroom, he managed to attain exceptional outcomes with a handheld wand charged by a generator. His Lightning Fields images are made with out a digicam or lens. Here, the summary visible hint of an electrical cost measuring over 400,000 volts sweeps throughout the composition, studying just like the textures of a human hand, the upward tentacles of a fern, or the stark branches of a tree.

Text from the High Museum of Art web site

 

 

Hans-Christian Schink (German, b. 1961)
2/26/2010, 7:54 am – 8:54 am, S36° 49.622′ E 175° 47.340′
2010
From the sequence 1h
© Hans-Christian Schink

 

 

Abelardo Morell (American born Cuba, b. 1948)
Camera Obscura: View of Philadelphia from Loews Hotel Room #3013 with Upside Down Bed, April 14th, 2014
2014
Pigmented inkjet print
High Museum of Art Atlanta, present of Dr. Roger Hartl
© Abelardo Morell

 

 

V. Elizabeth Turk (American, b. 1945)
Calaeno
2018
Van Dyke print
High Museum of Art, Atlanta, buy with funds from Lucinda W. Bunnen for the Bunnen Collection
© Elizabeth Turk

 

V. Elizabeth Turk is an Atlanta-based photographer whose work explores the connections between the human physique and the pure world. To make this print, Turk used an analog course of from the 1800s that includes coating a big sheet of paper with light-sensitive chemical compounds. She then organized her mannequin on prime of the sheet and uncovered it to gentle, making a ghostly silhouette, earlier than repeating the publicity with vegetation. The ensuing photogram is a singular picture wherein botanical kinds intersect with the physique, alluding to bones, veins, and pores and skin and suggesting a visceral bond between people and the setting. 

Text from the High Museum of Art web site

 

 

“The limits of photography are incalculable; everything is so recent that even the mere act of searching may lead to creative results. […] The illiterate of the future will be the person ignorant of the use of the camera as well as of the pen.”

László Moholy-Nagy 1928

 

 

From images’s inception in 1839, digicam expertise concerned cumbersome gear and time-consuming improvement processes till the appearance of light-weight cameras within the Twenties. Photographers have been then capable of work extra nimbly, reworking images right into a medium able to capturing fleeting moments, uncommon viewpoints, and a number of views. The exploration of sudden angles turned a trademark of New Vision images. Sharp diagonals, excessive vantage factors, and shortened views opened novel pathways of perceiving in any other case commonplace environments.

Alexander Rodchenko, a pioneer on this technique, championed the digicam’s capability to disclose, stating, “in order to teach man to see from all viewpoints, it is necessary to photograph […] from completely unexpected viewpoints and in unexpected positions […] We don’t see what we are looking at. We don’t see marvellous perspectives.” This method aimed to offer a fuller impression of topics, prompting viewers to hunt and admire what may in any other case be ignored.

Though these early images could not seem groundbreaking at the moment, their makers’ fastidiously thought of strategies transferred how images is used. This is obvious in photographers’ artistic interpretations of their environment over the previous century.

Wall textual content from the exhibition

  

  

Alexander Rodchenko (Russian, 1891-1956)
Sbor na demonstratsia (Gathering for a Demonstration)
1928
Gelatin silver print
High Museum of Art, Atlanta, present of Joseph and Yolandra Alexander, Moscow/VAGA at Artists Rights Society (ARS), New York
© Estate of Alexander Rodchenko/RAO, Moscow/VAGA at Artists Rights Society (ARS), New York

 

Alexander Rodchenko was a key determine within the actions of New Vision and Constructivism – summary and useful artwork that mirrored an industrial society. Advocating “to achieve a revolution in our visual thought,” he explored numerous strategies, akin to photographing from sudden angles, to seize dynamic views and expose new realities. With a brand new, light-weight 35 mm digicam, he typically photographed from his condo balcony to create dramatic scenes of the road beneath. The perspective on this {photograph} flattens the constructing’s tales into one visible subject, giving the picture a theatrical high quality as an onlooker friends over the railing.

Text from the High Museum of Art web site

  

 

Walker Evans (American, 1903-1975)
The Bridge
1929
Gelatin silver print
High Museum of Art, Atlanta, present of Arnold H. Crane
© Walker Evans Archive, The Metropolitan Museum of Art

 

A central determine amongst twentieth-century American photographers, Walker Evans created works in his early profession that pattern from the New Vision aesthetic, which he could have encountered whereas overseas in Paris in 1926. His images of New York City, made after he returned to the United States, characteristic dramatically angled or cropped scenes of structure and metropolis life. Evans made quite a few photographic research of the Brooklyn Bridge from each beneath and on the bridge, portraying it much less as a recognisable landmark and extra as a hulking expanse whose kind fills every tight body.

Text from the High Museum of Art web site

 

 

László Moholy-Nagy (Hungarian 1895-1946)
Stage Set for Madame Butterfly
1931
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from Georgia-Pacific Corporation

 

Moholy-Nagy, a pacesetter of the New Vision, had an expansive inventive follow that included portray, images, sculpture, movie, and extra. As a trainer on the Bauhaus, which related artwork and trade, he believed in expertise’s potential to advance artwork and society. In 1929, he turned set designer on the Kroll Opera House and created avant-garde units with translucent and perforated supplies, typically making gentle itself a sculptural ingredient. Lucia Moholy, a photographer, author, trainer, and Moholy-Nagy’s first spouse, was commissioned as Kroll’s stage photographer. In this picture, which both artist could have made, the sharp angle shot from above complicates the set of Madame Butterfly, emphasising intersecting, transferring parts and heightening areas of sunshine and shadow.

Text from the High Museum of Art web site

 

 

Lucas Foglia (American, b. 1983)
Esme Swimming, Parkroyal on Pickering, Singapore
2014
Pigmented inkjet print
High Museum of Art, Atlanta, present of Irene Zhou
© Lucas Foglia

 

Similar to the follow of utilizing uncommon angles to supply sudden views, some photographers started capturing extremely detailed, close-up views of objects. This method affords a research of texture, sample, and construction which will in any other case go unnoticed by the human eye. By eliminating environment that might supply a story, the physicality of the article turns into the first focus, permitting it to transcend past its on a regular basis existence.

Practitioners of straight images within the United States and the concurrent New Objectivity motion in Germany shared a core need to unearth a stability of the acquainted and the overseas inside intricate pictures of kinds. While Imogen Cunningham and Edward Weston perfected fastidiously composed research of vegetation and different pure matter, Albert Renger-Patzsch, Alexander Rodchenko, and Ralph Steiner explored scientific and industrial objects. Such pictures celebrated the technological developments of the time and revealed how mechanical buildings typically mimic these present in nature, suggesting a shared framework, and a shared magnificence, between humanmade and pure. The emphasis on element and abstraction invitations viewers to rethink their perceptions of each the atypical and the extraordinary on the earth round them.

Wall textual content from the exhibition

 

 

Imogen Cunningham (American, 1883-1976)
Agave Americanus
1929
Gelatin silver print
High Museum of Art, Atlanta
© The Imogen Cunningham Trust

 

 

Imogen Cunningham (American, 1883-1976)
Agave Design I
c. 1920
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from Georgia-Pacific Corporation
© The Imogen Cunningham Trust

 

 

Edward Weston (American 1886-1958)
Palma Cuernavaca II
1925
Palladium print
High Museum of Art, Atlanta, present of Lucinda W. Bunnen for the Bunnen Collection to mark the retirement of Gudmund Vigtel
© Center for Creative Photography, Arizona Board of Regents

 

 

Ralph Steiner (American, 1899-1986)
Electrical Switches
1929
Gelatin silver print
8 x 10 5/16 inches
Purchase with funds from Georgia-Pacific Corporation

 

 

Harry Callahan (American, 1912-1999)
Weed Against Sky, Detroit
1948
Gelatin silver print
High Museum of Art, Atlanta, present of the Callahan and Hollinger Families
© 2018 The Estate of Harry Callahan

 

 

Eugenia de Olazabal (Mexican, b. 1936)
Espinas
c. 1985
Gelatin silver print
High Museum of Art, Atlanta, present of the artist

 

 

“Surrealism lies at the heart of the photographic enterprise: in the very creation of a duplicate world, of a reality in the second degree, narrower but more dramatic than the one perceived by natural vision.”

Susan Sontag, 1973

 

 

Surrealism emerged as a creative motion in response to the horrors of World War I. The typically disconcerting imagery and literature of the motion mirrored a world that felt disorienting and chaotic and captured how the very foundations of purpose and humanity have been examined and questioned by way of the realities of struggle. In his Surrealist Manifesto (1924), French author Andre Breton advocates for a rejection of rational methods of approaching the world in 4 of desires and creativeness as pathways to new artistic expressions.

Photography performed an necessary position within the Surrealist motion. Artists valued how the medium may seize spontaneous moments that reveal the sudden, be manipulated to stage scenes, or be altered with darkroom processes. They harness images in a large number of the way to create dreamlike and unconscious associations with actuality. In these galleries, artists discover uncanny moments and create hyperlinks to the human psyche by specializing in humanlike kinds and fragmented physique elements, mirrored and doubled views, and the influence of sunshine and shadows in area.

Wall textual content from the exhibition

 

 

Eugène Atget (French, 1857-1927)
Men’s Fashions (Avenue des Gobelins)
1925, printed 1956
Gelatin silver print
Purchase

 

Eugène Atget was the nice chronicler of Paris on the flip of the century. His huge photographic archive captures a metropolis on the precipice of modernisation. Though his images of empty metropolis streets have been documentary in nature, the Surrealists admired their dreamlike high quality and claimed Atget as one in all their very own regardless of his protestations. They believed any {photograph} may shed its authentic context and intent when considered with a surrealist sensibility. Atget’s {photograph} of mannequins peering out of a store window appealed to the motion by embodying the uncanny valley, the place the human likeness of a nonhuman entity evokes each affinity and discomfort in viewers.

Text from the High Museum of Art web site

 

 

Florence Henri (Swiss born United States, 1893-1982)
Composition
1932, printed 1972
Gelatin silver print
High Museum of Art, Atlanta, present of Dr. Joe B. Massey in honor of Maria L. Kelly

 

Florence Henri is well-known for her manipulations of sunshine and kind that create advanced, surrealist scenes. She used angled mirrors to border, obscure, and replicate parts of scenes to dissolve a way of perspective and area, as seen on this nonetheless life comprising mirrors, pears, and a picture of the ocean. After just one semester learning underneath László Moholy-Nagy on the Bauhaus in 1927, Henri shifted her focus from portray to images and started utilizing numerous experimental methods akin to photomontage, a number of exposures, photograms, and damaging printing.

Text from the High Museum of Art web site

 

 

Barbara Kasten (American, b. 1936)
Construct NYC
1984
Dye destruction print
High Museum of Art, Atlanta, present of Lucinda W. Bunnen for the Bunnen Collection
© Barbara Kasten

 

Barbara Kasten’s artwork is as a lot in regards to the strategy of organising revolutionary nonetheless life scenes as it’s in regards to the images she makes of them. Her Constructs sequence focuses on large-scale advanced assemblages that she builds in her studio utilizing all kinds of supplies, together with painted wooden, plaster, mirrors, screens, and fibers. Her work is just not digitally altered; as an alternative, she complicates the scene utilizing mirrors and light-weight, a lot within the custom of Florence Henri, whose {photograph} can also be on view within the exhibition.

Text from the High Museum of Art web site

 

This ultimate part options photographers from the New Vision interval to the current day who experiment with bodily manipulating images. Through approaches akin to double publicity, photomontage, floor alteration, and multilayering, they problem and develop our perceptions of actuality. The artworks on this part prioritise the artistic course of by way of labour, intention, intervention, and theatricality.

Double exposures is the method of photographing a number of pictures with the identical damaging inside the digicam, leading to layered pictures that always present a frenetic, multifaceted view of a scene. In distinction to the in-camera strategy of double publicity, photomontage combines separate pictures within the darkroom to provide a ultimate {photograph} that emphasises the picture’s artifice and absurdity. Physically disrupting the floor of images with alterations akin to including unnatural color, drawing connections, stitching into prints, or inscribing texts augments the visible expertise and presents emotional and narrative depth. Finally, whether or not by way of historical visible methods just like the digicam obscure or new applied sciences like digital screens, these artists create enigmatic scenes by layering and bodily reworking topic, composition, and picture.

Wall textual content from the exhibition

 

 

Barbara Morgan (American, 1900-1992)
Protest
1940
Gelatin silver print
High Museum of Art, Atlanta, buy

 

 

Charles Swedlund (American, b. 1935)
31 St. Beach
c. 1955
Gelatin silver print
High Museum of Art, Atlanta, present of Steven Nordman
© Charles Swedlund

 

 

Jerry Uelsmann (American, 1934-2022)
Untitled
1964
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from a pal of the Museum

 

 

Lucinda Bunnen (American, 1930-2022)
Untitled
1974
Gelatin silver print
High Museum of Art, Atlanta, buy with funds from the Lawrence and Alfred Fox Foundation for the Ralph Okay. Uhry Collection
© Lucinda Bunnen

 

 

Duane Michals (American, b. 1932)
Untitled
1989
From the Indomitable Spirit Portfolio
Gelatin silver print
High Museum of Art, Atlanta

 

 

Paul Mpagi Sepuya (American, b. 1982)
Studio (0X5A8180)
2021
Archival pigment print
High Museum of Art, Atlanta, buy with funds from the Donald and Marilyn Keough Family Foundation
© Paul Mpagi Sepuya

 

 

Noémie Goudal (French, b. 1984)
Phoenix V
2021
Dye coupler print
High Museum of Art, Atlanta, buy by way of funds supplied by patrons of Collectors Evening 2023

 

Noémie Goudal visualises “deep time” (geological historical past of the planet) and paleoclimatology (research of previous climates) to problem our notion of the world. Referring to the traditional continental cut up two billion years in the past that fashioned South America and Africa, this picture options the Phoenix atlantica, a palm tree that grows on each side of the Atlantic. Goudal organized strips of photographic prints of the palms made on one continent in entrance of the bodily palms on the opposite and rephotographed the scene. The ensuing picture interweaves the 2 continents, making a glitchy, kaleidoscopic view meant to unsettle our sense of stability and the fidelity of the planet.

Text from the High Museum of Art web site

 

 

Naima Green (American, b. 1992)
It Lingers Sweetly
2022
Pigmented inkjet print
High Museum of Art, Atlanta, buy with funds from the LGBTQIA+ Photography Centennial Initiative

 

Naima Green’s follow centres connection and collaboration to solid a young lens on her personal queer neighborhood of color. Her lyrical portraits take form in intimate home areas and ethereal out of doors environments that embody havens for the individuals in these areas. Through double publicity and serial images, she offers what she calls “multiple entry points” right into a second in time, translating actions and feelings right into a single picture. She explains her curiosity in double publicity “as a means of capturing things that can’t be held in just one way … ,” permitting her to “play with loosening the narrative and letting go of some control.”

Text from the High Museum of Art web site

 

 

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