You’d never see the girls from over there in one of those cars, but they aren’t exactly hiding either. Justine Kurland. There was Charlotte, who wanted to be a musician, who gave off an air of eternal cool, and whose favorite word was "melancholy." She's photographed sun-drenched scenes of nude figures living in back-to-the-land communes; and herself and her son, Casper -- named after painter Caspar David Friedrich for his famous 1818 work "Wanderer above the Sea of Fog" -- on extended road trips. Shipwrecked, 2000.. Though the images are staged, Kurland's images can feel like documentary photography, blurring the line between fiction and truth. Then there’s Boy Torture: Two-Headed Monster, 1999 where two girls pin a boy down and spit on him, the image captured as the weight of saliva still hangs from one girl’s lips. The national tragedy was a wake-up call; she felt inclined to shift her work. 1997. There’s one boy in the group, but his eyes are covered. Justine Kurland (born 1969) is a fine art photographer based in New York. LensCulture’s editors revisit 26 of the most popular recent articles that feature black-and-white photography – portfolios, essays, interviews, exhibitions and book reviews. Learn about the artist and find an in-depth biography, exhibitions, original artworks, the latest news, and sold auction prices. The focal point of the image is the back of a young girl who is raising her shirt. Kurland was born in Warsaw, New York. Dipping into an archive comprising over 30 years of work, many of these 101 photographs pay tribute to Tom Wood’s mastery of color street photography and his love of humanity in and around Liverpool and Merseyside. Offering new perspectives on contemporary Aboriginal life through a comparison with a famed, century-old photographic archive. © 2020 LensCulture, Inc. Photographs © of their respective owners. There’s a sense of revenge inherent in them, like they are removing the boys from this kind of narrative, asserting their roles as protagonists. In the late 1990s, photographer Justine Kurland imagined runaway girls roaming the American landscape -- gathering in the woods, along highways and in open fields. As Kurland says in her accompanying essay, they’re “never coming back.” Spending so much time looking at these images, I’ve noticed myself looking for the girls. For more than a decade, Justine Kurland has taken photographs during annual cross-country journeys from New York to the Pacific Northwest that reveal the double-edged nature of the American dream. One where the landscape becomes a receptacle for utopian ideals, the pioneer's dream of the west as a promised land. She has kept in touch with some and others reconnected with her through the press for her 2018 exhibition at Mitchell-Innes & Nash. Photographed over thirty years ago, Ken Light’s nighttime pictures of migrants captured along the US-Mexico border pose some uneasy questions. Mitchell-Innes & Nash is honored to present Girl Pictures, 1997-2002 by Justine Kurland. Justine Kurland admits to having “terrible timing” when it comes to publishing photography books. Casper had traveled with her on his breaks, but she hated being away from him while he was in school. "I was (experiencing) nostalgia, realizing that I was no longer where she was (in life)," Kurland recalled. “I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals,” says Kurland. The Wall . ". Justine Kurland Tonguing BQE. b. They camp out in empty shells of rusted cars or pitch a loose circle of transient tents. She believes it would be hard to replicate the series today. Justine Kurland raised her son Casper, who was born in 2004, in the back of a customized van he dubbed the 'Mama Car' and they traveled the country looking for subject matter until he turned six. Justine Kurland’s Timeless Photographs of Runaway Girls. Instead of her face, we see the eyes of all the girls surrounding her, watching the big reveal. Justine Kurland, 280 Coup, 2012. As viewers we look from his covered eyes to her watchful ones. Photographs by Justine KurlandBook review by Emily Shapiro. "I imagined a world in which acts of solidarity between girls would engender even more girls -- they would multiply through the sheer force of togetherness and lay claim to a new territory," Kurland writes in an essay for the book. Justine Kurland was our thesis professor at Parsons. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. Kurland sold her van in 2016 after her father's death. Her early work comprises photographs, taken during many cross-country road trips, which reveal the double-edged nature of the American dream. Photographer Justine Kurland was one of them. Her work is in the public collections of the Whitney Museum of American Art, Guggenheim Museum, and International Center … photographed by Justine Kurland. It’s funny to see such an obvious removal of the male gaze, especially as it’s still present—and yet the delicate hands of a teenage girl prove capable of obstructing it. Justine Kurland’s take on the classic American tale of the runaway takes us on a wild ride of freedom, memorializing the fleeting moments of adolescence and its fearless protagonists. Or at least, I must have seen them. It’s as if Girl Pictures is a kind of fairy tale I’ve come to believe in. Instead of looking wary, the girls seem to say “so what?” Instead of fearing danger, they get to be the source of it. Kurland gives this sense of abandon and fearlessness to her young female protagonists, pointing to their fictional male counterparts like Huck Finn and Holden Caulfield. But Kurland would often meet their parents, or find new young women to photograph through others she had met. Announcing the 2020 Black & White Award Winners! The World Through Pictures: 30 Years at National Geographic. Justine Kurland (born in Warsaw, New York, 1969) received a BFA from the School of Visual Arts and an MFA from Yale University. Justine Kurland, Baby Tooth, 2011. She began teaching more and found a different kind of community back in New York. "At the time when I was young, I didn't really think that much of it," she recalled. They’ve run off to someplace better or just some place that isn’t here. "I had this desire to make this girl world, this feminist utopic solidarity between (young) girls and teenagers," Kurland said in a recent phone interview. NGM editor Kathy Moran—touching upon humanity’s visual storytelling DNA, the transformative power of images and the fundamental universality of photography. "At last we arrive at a view, a place where the landscape opens up -- a place to plant a garden, build a home, picture a world," she continues. The girls in Girl Pictures plagiarize these myths until they become their own, until the original myth is hardly relevant anymore. ", In the car, she'd imagine all the images she'd take, but her photographs could never fully do justice to the scenes. We see this as they roast pigs in The Pig Roast, 2001, and carry all kinds of dead animals in images like Roadkill, 2000, Armadillo Burial, 2001, and Twelve-Point Buck, 1999. She continued to venture on open roads for weeks or months at a time, for both that body of work as well as during her travels with Casper, the latter of which was published by Aperture in the 2016 book "Highway Kind." There are other things uniting all the girls in these photographs. She’s out of sight from the cars passing on the other side. Early life and education. It’s the fact that the girls seem to be disappearing. Kurland studied under, "When I first showed the work and in the '90s and early 2000s there was a lot of conversation about contemporary photography straddling fact and fiction," she recalled. This separation makes it seem as though the girls are escaping something, but their proximity, the recognizable world in the background of so many of Kurland’s images, suggest they might not be able to fully avoid whatever it is they are escaping. May 28, 2019 - This Pin was discovered by ˗ˏˋ Lˊˎ˗. Justine Kurland, Pink Tree, 1999. "I was oblivious to how huge the ask was. The privacy of the overpass is also potent with all the stories we’ve heard of women getting hurt in such places. A version of this essay first appeared in Hobo magazine. My favorite of these images is Boy Torture: Love, 1999. Welcome to an offbeat universe where cut-up photographs make us daydream…Pictures, both alluring and disquieting, absorb us in a deconstructed world conducive to emotional and physical discoveries…. To say that Lili and I were excited to have interviewed her in her home is an understatement. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002, on the road in the American wilderness. The primary subject of Kurland’s pictures, however, are the adolescent girls who inhabit these places, both familiar and uncanny, captured by the artist’s camera. Justine Kurland. She portrays girls as fearless and free, tender and fierce. These compressed spaces create an intimacy that is heightened by the sharp clarity of Kurland’s large-format camera. In Kurland's refuge, girls explore streams barefoot in a pack. Born in Warsaw, New York, in 1969, Justine Kurland holds a BFA from the School of Visual Arts and an MFA in photography from Yale University. your own Pins on Pinterest Kurland meandered around the country for days at a time, visiting high schools to find girls who were interested in participating. Discover the 39 remarkable photographers making work that plays with the dynamic relationship between light, dark and all the tones in between. But so many of those narratives (Huckleberry Finn, Tom Sawyer, Where the Wild Things Are, The Outsiders) center around young boys. Revisiting the photos stirs up memories for Kurland. The camera stays just far enough away to keep the subjects slightly anonymous. A girl has wrapped her arms around him from behind and places her fingers over each of his eyes. Her name was Alyssum and she had been sent to live with her father in New York City because of her rebellious behavior. Kurland recalled in her essay that Lily always wore rollerblades, and the poignant gesture when she hoisted her legs into Kurland's car. Taken between 1997 and 2002, two decades later, Kurland's photographs, titled "Girl Pictures," have been brought together, The photographs are a nostalgic glimpse of the era -- the girls wear ripped wide-leg jeans and shark's tooth necklaces, both popular at the time -- but the series still resonates in its timeless themes of defiance, self-actualization and female sexuality. This is especially strong in the photographs that appear to capture two parallel worlds. A few years ago, there was a yellow Kodak box on Kurland’s wall labeled “girl pictures” on masking tape. She portrays the girls as fearless and free, tender and fierce. Together, she and Kurland envisioned the narrative of a runaway girl. In the process of taking these monochrome portraits, he attempts to unpack their shared and hereditary mental illness. Kurland went on to find more make-believe runaways, but one of the images from this time seems to hold a special importance; a portrait of Alyssum takes up a full spread towards the end of the book. "They spill out of the car along with candy wrappers and crushed soda cans, bounding into the frame, already becoming a photograph. On the 20th anniversary of her project “Girl Pictures,” the photographer Justine Kurland looks back at her now-iconic images. Justine Kurland's new book "Girl Pictures" brings together images of rebellious teens taken in the late 1990s. Throughout the series, ideas of freedom and belonging prevail as girls form their own communities off the grid. This site uses cookies to improve your experience and to help show ads that are more relevant to your interests. 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