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Test of Faith (2016)
Aunties (2014)
Legendary (2012)
Iraq | Perspectives (2010)
The Bathers (2008)
Driftless: Photographs from Iowa (2006)
The Weather and a Place to Live (2004)
On Fire (2002)

CDS/Honickman First Book Prize in Photography: “Reason #2 to Love Photography Now,” Photo District News Photo Annual 2008

 

“Lauren Pond plunges us into the hothouse atmosphere of the Wolfords’ faith. Through her photographs, I can almost feel the physical strain of Mack’s worship, and I long to hear the song that his mother, Snook, sings as he accompanies her on guitar. Who are these purposeful, vibrant people so different from myself? Test of Faith commands this question and prompts me to consider the basis and limitations of my own worldview.”Peter Barberie

“Lauren Pond’s beautifully intimate portraits of spiritual yearning and loss should be reminders to all the rest of us that ‘feeling after God’ is dangerous business and was never intended to be otherwise.”Dennis Covington, author of Salvation on Sand Mountain: Snake Handling and Redemption in Southern Appalachia

Test of Faith
Photographs and text by Lauren Pond
Foreword by Peter Barberie
144 pages | 11 x 10 | 96 color photographs
$45.00, hardcover | ISBN 978-0-8223-7034-5

Book available in November 2017 from Duke University Press

See Exhibitions and Events Listings Below

“How Can Journalists Cross Cultural Divides in the Age of Trump?: Getting to Know a Pentecostal Snake Handler Might Provide an Answer,” Pacific Standard

“Lauren Pond’s Intimate View of West Virginia Serpent Handlers,” American Photo

EXHIBITIONS AND EVENTS

Talk, Book Signing, and Reception
November 16, 2017, 5:30–7:30 p.m.; talk at 6:00 p.m.
Rubenstein Photography Gallery and the Holsti-Anderson Family Assembly Room
Cosponsored by the Archive of Documentary Arts at the David M. Rubenstein Library

Exhibition
November 11, 2017–February 4, 2018
Rubenstein Photography Gallery
Cosponsored by the Archive of Documentary Arts at the David M. Rubenstein Library

 

Sablin cover

“In these pictures it is always spring or summer, the garden flourishes, the women enjoy the span of the seasons. . . . [Sablin] chooses to show their way of living as almost enchanted: we can hardly believe that what we see in these pictures will ever disappear.”Sandra S. Phillips

Aunties: The Seven Summers of Alevtina and Ludmila
Photographs by Nadia Sablin
Foreword by Sandra S. Phillips
88 pages | 11 x 8.25 | 54 color photographs
$45.00, hardcover | ISBN 978-0-8223-6047-6

See Exhibitions and Events Listings Below

“Sisterly Love and Tradition in a Remote Russian Village,” ABC News website

“Endless, Enchanted Summer”: PDN Photo of the Day

“The best photography books of 2015”: The Guardian

“In a time before tech: the Russian sisters living defiantly off the grid”: The Guardian

“Nadia Sablin Chronicles”: Photo District News

“Yesterday’s Summers”: Photo District News

10 of the best photographers documenting post-Soviet life: The Guardian

Nadia Sablin’s “Aunties”: The New Yorker Photo Booth

Nadia Sablin: Winner: Lenscratch: Fine Art Photography Daily

Snapshot: “Aunties”: The Financial Times

Nadia Sablin Wins First Book Prize: Photo District News

EXHIBITIONS AND EVENTS

Talk, Book Signing, and Reception
February 19, 2016, 6–9 p.m.
Northlight Gallery, Grant Street Studios
Herberger Institute for Design and the Arts, Arizona State University

Exhibition
February 19–March 5, 2016
Northlight Gallery, Grant Street Studios
Herberger Institute for Design and the Arts, Arizona State University

Exhibition: By the Book: New Photography Publications
February 5–April 23, 2016
The Print Center
Philadelphia, Pennsylvania

Talk, Book Signing, and Reception
November 12, 2015, 5:30–7:30 p.m.
Rubenstein Photography Gallery and the Holsti-Anderson Family Assembly Room
Cosponsored by the Archive of Documentary Arts at the David M. Rubenstein Library

Radio Interview
The State of Things
November 11, 2015
Broadcast locally on WUNC

Exhibition
November 7, 2015–February 28, 2014
Rubenstein Photography Gallery
Cosponsored by the Archive of Documentary Arts at the David M. Rubenstein Library

Exhibition
November 3, 2015–December 22, 2014
Firehouse Plaza Art Gallery
Nassau Community College, State University of New York

 

Gaskin 01

“Regardless of our walks of life, we are all looking for safe spaces to express ourselves. Legendary allows us to bear witness to a group of people who are courageous enough to create their safe space.”Deborah Willis

Legendary: Inside the House Ballroom Scene
Photographs by Gerard H. Gaskin
Introduction by Deborah Willis
With an essay by Frank Roberts
120 pages | 9 x 12 | 92 color and black-and-white photographs
$45.00, hardcover | ISBN 978-0-8223-5582-3

“Flamboyance Immortalized.” — The New York Times 

See Exhibitions and Events Listings Below

As seen in Ebony, New York Magazine’s “The Cut,” USWeekly, Harlem News, New York Daily News, Curve, Bay Area Reporter, NY1’s “The Book Reader” and on Philadelphia’s ABC Action News

2013 Holiday Book Picks: Village Voice

2013 Best Photo Book: Dodge & Burn

Being Seen Inside an Unseen World: The New York Times Lens Blog

Print versions of this article appeared in both the “Metropolitan” section and international edition of The New York Times in November 2013.

Review: Fraction Magazine

Artist Spotlight: Gerard H. Gaskin: The Advocate

Real Legends: Interview Magazine

Behind the Ballroom with Gerard Gaskin, The WILD

Legends: The Huffington Post

All Kinds of Vogue Ball Fierceness: PAPER

Interview with Gerard H. Gaskin: Mosaic Literary Magazine

Tens Across the Board!: Lambda Literary Review

Images from the Gerard H. Gaskin Collection: Soul Train

Living Legendary: Gay.com

New York’s Ballroom Scene on Full Display at Charity-Minded Exhibit: Out Traveler

On the Road to Legendary: Art21 Magazine

20 Years of Ballin’: Opening Ceremony

Preview of Legends: Fuzion Magazine

Legendary: The Edge

Gerard H. Gaskin is Legendary: GAYLETTER

Ballroom Hall of Fame: berBICE [MRKT]

Photographer Provides Inside Look at House Ball Scene: The Herald-Sun

Review: The Chronicle

Making Ordinary Lives Legendary: ARC

Interview with Gerard H. Gaskin: The Luna Show

EXHIBITIONS AND EVENTS

Reception
Thursday, September 10, 2014, 4–5:30 p.m.

Butcher Library Gallery at Morrisville State College
Morrisville, New York

Exhibition
August 1–September 20, 2015
Butcher Library Gallery at Morrisville State College
Morrisville, New York

Exhibition
June 12–August 23, 2015
The African American Museum in Philadelphia
Philadelphia, Pennsylvania

Panel Discussion
Monday, June 9, 2014, 6:30 p.m.

Schomburg Center for Research in Black Culture
New York, New York

Panel Discussion
Monday, April 28, 2014, 7 p.m.

Gender and the Caribbean Body
Center for Worker Education at CUNY
New York, New York

Panel Discussion
Saturday, April 26, 2014, 1:30 p.m.
Carrie Mae Weems LIVE: Written on Skin: Posing Questions of Beauty
The Guggenheim Museum in New York
New York, New York

Book Signing
March 30, 2014, 2–5 p.m.
Center for Documentary Studies table, Philadelphia Photo Arts Alliance Book Fair
Philadelphia, Pennsylvania

Talk, Book Signing, and Reception
March 29, 3–5 p.m.

Center for Photography at Woodstock Special Event
Hudson Valley LGBTQ Community Center
Kingston, New York

Talk, Book Signing, and Reception
February 12, 2014, 7 p.m.
LightWork
Syracuse, New York

Exhibition
February 1–August 8, 2014
LightWork
Syracuse, New York

Exhibition and Philanthropic Initiative
December 1–31, 2013
Legends
W Hotel on Lexington Avenue (at 49th Street), New York City

Radio Interview
Strange Fruit 
November 23, 2013
Broadcast on WFPL

Talk, Book Signing, and Reception
November 19, 2013, 6 p.m.
Sponsored by the Department of Photography and Imaging
Tisch School of the Arts at New York University

Talk and Slideshow
November 14, 2013, 7 p.m.
The Camera Club of New York Lecture Series 
School of Visual Arts, New York City

Talk, Book Signing, and Reception

November 7, 2013, 5:30–8 p.m.
Center for Documentary Studies at Duke University
Cosponsored by the Archive of Documentary Arts at the David M. Rubenstein Library

Radio Interview
The State of Things
November 7, 2013
Broadcast locally on WUNC

Exhibition
November 4, 2013–February 23, 2014
Center for Documentary Studies at Duke University 
Cosponsored by the Archive of Documentary Arts at the David M. Rubenstein Library

Talk and Slideshow
September 21, 2013, 2:30–3:30 p.m.
Visionaries at Photoville 2013 at Brooklyn Bridge Park

Best Photobook, 2012 New York Photo Awards

Review: A Photo Editor

Best Books of 2011: photo-eye

Images Tell Stories of the Iraq War: CNN’s BackStory

TIME’s Best Books of 2011: LightBox from the Photo Editors of TIME

Capturing Iraq Through a Humvee Window: CNN Photos

Q&A: Benjamin Lowy on His New Book: American Photography,

Best Photobooks of 2011: British Journal of Photography

Interview with Jon Stewart: The Daily Show with Jon Stewart

Notable Books 2011: Photo District News

Best from Indie Publishers in 2011: USA Today

Shelf Unbound: Top 10 Books of 2011

Benjamin Lowy: War Photographer: The New Yorker Photo Booth

Review: Foto8

Ben Lowy in Conversation with Joerg Colberg: Conscientious Extended


The Bathers was featured in an ELLE magazine Culture post, with senior photo editor Jackie Bates writing, the “book features classically informed platinum prints of women bathing at European and Turkish bath houses. The photos are soft, intimate, timeless—and quite stunning. A great addition to the ELLE photo department coffee table.”

“Imagine a vector, a cutaway, of a bath in Turkey and one of a sports club in Manhattan and what the bodies in each would look like at any given moment in time, how they’d be posed, their shapes. Even inside a steam room in the city, we’d sit differently than the ladies in Williams’s images do: farther apart, semi-erect, draped in towels. We are thinner, more muscular. Our notions of privacy are evident in how we sit and in the position of our eyes—cast down, away from other eyes and bodies. The Turkish bathers are engaged, with each other and with the camera.”—Macy Halford, New Yorker Book Bench

“On a depictive level, [Williams’s] work is straightforward and thoughtfully speaks to the physical realities of aging bodies. But coupled with her unassuming approach is an elegance and quietude that is half location, Eastern European and Turkish baths, and half observer. Avoiding obvious pitfalls—photographing nude women has many pitfalls—Williams offers the viewer a chance to reflect on the presence a physical body has in the world.”—Darius Himes

“Williams’s photographs recall and continue the tradition of the nude female form in art, ranging from ancient Western European sculpture to paintings by such artists as Ingres, Titian, and Lucian Freud. . . . The perfectly imperfect bodies, the range of ages . . . conjure up ideas of transience, fragility, and carnality. On the most basic level, however, the images serve as a celebration of the body and existence as a whole.”—Tara Sellios, Boston Photography Focus

“In Williams’s lauded collection of photos, female forms are shown in all their plump softness, reflecting the reigning ambiance of the collection: a peaceful reflection that can be seen not only in the visages of the women represented but also in the muted colours of the platinum prints. . . . This attractive volume is thought-provoking because it defies stereotypical gender norms and photo enthusiasts will also find it a stunning collection of images.”—Sophie M. Lavoie, Feminist Review

The Bathers by Jennette Williams is visual comfort food. . . . What works particularly well is the consistency of the light—you can feel the sweat and heat—and appreciate the technical difficulties inherent in making these images. . . . There is an elegance and timelessness in these old European style baths that is as equally soothing as Williams’ take that aging and fleshiness represents beauty.”—Renée Jacobs, photo-eye Magazine

“These women, are, for the most part, round, naked, and utterly unselfconscious. The inner world of the bath house is dreamy and surreal, breasts floating, steam rising, curves emphasized. . . . The bathers look like a gathering of goddesses, behind the scenes, assessing the world outside, where their secret knowledge is hidden in the traditions of daylight. there is a profound strength in the exposed soft tissues. While there is no hint of sentimentality in these images, there are genuine moments of joy and play.” —Cassandra Goldwater, Women’s Review of Books

Driftless: Photographs from Iowa was a New York Photo Award finalist for Best Photography Book of the year and was also selected for an exhibition of the year’s Best Photography Books curated by the LOOK3 Festival of the Photograph. Driftless was named one of the best photography books of 2007 by APhotoADay’s Melissa Lyttle, who writes, “When I saw this work win the Community Awareness Award, I instantly fell in love. It’s dark, it’s edgy, it’s real… and it’s all done in his backyard. It’s the kind of work I dream of doing. I’m glad to see this transcend a contest edit, and become a bigger body of work that translates beautifully onto the pages of a book.”

“The places Frazier has photographed . . . are daily disappearing, casualties of a generational and economic divide that separates rural and urban classes . . . . Soon, these towns will disappear off maps, fade from the pages of old books. Soon, a few photographs—a few exquisite images captured on film—will be all that remain to remind us that they ever existed. . . . I know the town of Hills sits just east of the highway, and I can’t help but think of Frazier’s stunning photograph of a lone farmhouse, locked in snowy silence, the only sign of life the smoke spiriting from the chimney and the barn light casting long shadows across the field. But tonight, even the faint lights of Hills flickering to life are nothing more than ghosts in the mist.”—Ted Genoways, Mother Jones

“Frazier knows firsthand the economic and cultural struggles currently playing out in the Midwest. The black-and-white images poignantly capture the tension of lives in transition. There are lots of guns, dead animals, and, similar to [Robert] Frank’s imagery, parades and American flags permeate the pictures. The seemingly careless framing of Frazier’s photographs shares the same poetic grittiness of Frank’s in that it sets up a subconscious tension in the viewer.”—Mary Anne Redding, photo-eye Magazine

“The intimacy of the photographs suggests that Frazier has been a part of this world; he conveys its essential dignity without a trace of sentimentality.”—John Edwin Mason, Virginia Quarterly Review

“Frazier presents a compelling look at life in contemporary Iowa. When chronicling just the land, Frazier portrays it in a harsh and biting manner through the use of high-contrast and grainy imagery. When documenting Iowa’s people, Frazier plays the role of a fly on the wall. He is able to blend in with all sorts of characters in all types of situations, a hallmark of a well-rounded photojournalist. . . . Frazier’s melancholy Driftless achieves success in the Iowan’s choice to shoot in a style more concerned with content and free-flowing compositions than with the rigors of technical matters such as precise exposure and exacting horizon lines.”—Chris Sweda, Chicago Sun-Times

“For a young documentary photographer, a black-and-white straight shooter in the tradition of Robert Frank’s The Americans, you can’t do much better than to have the grand master himself single out your work for publication. That’s what happened to Iowa photographer Danny Wilcox Frazier when Robert Frank selected his photographs for the 2006 Center for Documentary Studies/Honickman First Book Prize in Photography. . . . Danny Frazier’s book . . . conjures a dark poetry with gritty, grainy black and whites of bleak farm landscapes and roadside bars, hunting parties and drinking parties, worship and weddings, slaughterhouses and small town celebrations.”—Edgar Beem, Photo District News

“[Frazier’s] pictures of people recall the street-kid photos of Helen Levitt, the active group images in Ben Shahn’s FSA work, and the famous book The Americans (1959), by Robert Frank, who judged the competition this book won. Elegiacism and a certain bitterness inform the album as a whole. No one looks prosperous; even the young partiers don’t seem cheery. Maybe they’ll all be living in cities in a year. Powerful stuff.”—Ray Olson, Booklist

“If Larry McMurtry was a photographer, he might produce a book of images like Driftless . . . heartwarming and harrowing portraits of Iowa.”—Durham Herald-Sun

“Frazier’s images endeavor to shed light on the people and places that mainstream media neglects to illustrate. As rural economies fail, people and resources are migrating to the coasts and cities, altering rural America. Taken by an insider who has lived in Iowa his entire life, Frazier’s photographs show us these abandoned places and describe the lives of those people who stay behind. His approach is completely different than this spring’s news stories about Iowa’ spring flooding, which presumed that the impacts, although awful, were limited to the present; nowhere on national media were reports of the long lasting effects of the flooding on Iowa’s already unstable rural economy.”—Callie Clark-Wiren, Rain Taxi

“[A] rebellious, defiant vitality rooted in the American suburban West. . . . Smith’s black-and-white photographs [include] stark expanses where the monumental blankness of a Utah or Colorado sky meets the equally blank geometry of irrigation pipes of two-car garages. Between mountains and fences, between a tremendous rock face and giant stacks of plywood, Smith’s images record not so much a contrast as two violent absences joining as a single force. Landfill, seedling, turnabout, heating coil collude with the sky and mountains in a triumph of disproportion: scale not so much confused or lost as irrelevant. . . . [L]ike true poetry, [the photographs] peel away my automatic responses, and invite me to look again.”—Robert Pinsky, “The Year in Culture 2005,” Slate

Steven Smith’s photos from The Weather and a Place to Live ran in consecutive issues of The Believer in April and May 2006 as part of the two-part story “Thirteen Ways of Seeing Nature in L.A.” by Jenny Price.

“There’s a distinct appeal to these images, deriving in part from their historical value but also from their dead-on description of the headlong, heedless character of these developments. Hambourg, who selected Smith for the award, places Smith in the lineage of Timothy O’Sullivan and Carleton Watkins on the basis of his “breadth, formal elegance, and concision”; Smith leavens and updates that legacy with a healthy dose of New Documents’ social critique and New Topographics’ ironic engagement with the built environment.—George Slade, photo-eye Magazine

“Steven B. Smith looks at the suburban sprawl of Utah, California, and Colorado and sees waste, hubris, folly, and great formal beauty. . . . [T]hese photographs set up a tension between the sadness inherent in the rampant ‘Californization’ of the West and the machine-like but also strangely organic beauty to be found in the process. Smith’s work, and his book, are both disturbing and lovely.”—R.K. Dickson, The Bloomsbury Review

“Documenting suburbia’s march into the Western wilds, Steven B. Smith finds art in the land even as it’s being tamed. . . . Not romantic vistas, but the terrain of transformation: mountains and desert covered in tar and concrete, walled off, scraped and gouged by developers eager to satisfy the demand for ever-spreading suburbia. . . . It might be regarded as simple kitsch, but through his lens Smith shows ‘how people can stamp a little pattern of nature on something and feel comfortable in the notion that they’re existing in an eco-friendly, harmonious relationship with nature.’”—Lynne Heffley, Los Angeles Times

“Working in the tradition of Robert Adams and Lewis Baltz, Smith has poked around construction sites from southern California to Utah with his view camera to observe the construction of walls that appear to define a gated community and the netting that covers a barren hillside where planned shrubbery will soon grow. The project sounds earnest, but through sharp description Smith manages to wring wry humor and a sad beauty out of the orthogonal walls and sinuous paths that overtake the ragged landscape.”—Blake Eskin, Newsday

“Say you’re a landscape photographer in the West. . . . The trick is always to find some new way of looking at the same old horizon. In this context, Steven B. Smith’s . . . The Weather and a Place to Live is a cool and cerebral compromise, a sharp spray of water, an artful kick in the ass.”—Allen M. Jones, The New West

“Photographing Utah’s red-rock country and other natural landscapes is so old hat. Inspired by Robert Frank’s immortal photography collection The Americans, American Fork native Smith instead takes us deep into the metamorphosis of the American West from desert landscape into suburban real-estate mega-development ghost towns. People live here, of course. But does the sculpted urban landscape have a soul? You’ll either find these photographs of Southern California and Southern Utah banal and empty, or spooky and unsettling. Either way, you’ve understood Smith’s visual message.”—Salt Lake City Weekly, Best of Utah 2006, Best Utah-Related Photography

“[C]ompelling, often stunning. . . . Smith’s photographs of this constructed landscape confront us with the beauty of images as images yet push us to reflect on the massive devastation possible in the act of choosing a place to live. The deeper cumulative effect, as Smith shows, is that this commercial and geographic devolution leaves no sense of home, and in many cases no plant or animal life, only the weather and a place to live.”—John F. Barber, Leonardo

“The parallels with the New Topographics are obvious, but Smith’s approach feels very much his own. He has focused in on one specific aspect of these landscapes, which is the mechanics of the steadily expanding suburban sprawl. Suburbia is being built at a furious pace and in many of these photographs it feels as if the dust has not yet had the time to settle. . . . The thing that I found differentiated Smith’s work from . . . much of landscape photography . . . is the emotional range of his images. This kind of work normally operates in a deadly serious register, oscillating between the beautiful and the ordinary, but almost always without emotion. I found that Smith’s images treaded slightly different ground: they evoke fear, amazement, even sadness, but also a healthy does of humour. . . . And speaking of place, a special mention should go to the title.”—eyecurious

 

On Fire has been widely reviewed; the book is in its second printing.

“Schwarm’s pictures show flames stretching in unexpectedly polite lines over the Flint Hills, the largest remaining part of this once vast and luxurious landscape. . . . Behind the advancing incandescence, [the] pictures show the ground blackened and rocky as the moon. The last picture in On Fire is of the Flint Hills in spring, fresh with new plant life. . . . There is not a single person in these lovely photographs, just the ancient peacefulness of Nature’s begin-and-cease.”—Times Literary Supplement

“Here are gray waves of burnt hills and yellow-crested waves of burning hills; rows of flame marching across the lower element of sky-ground compositions, and thin cyclones rising from advancing fires to shear upper elements in twain; clouds of flame-lit smoke rising and fogging the moon; and studies of flame, burning branches, and a sea of not whitecaps but yellowcaps. These pictures record intentional, controlled burning, which may contribute to their clear forms, and they are appropriately concluded by a single, greening image of “new grass about two weeks after burning.” Exquisite.”—Ray Olson, Booklist

“In fire, smoke, and ash, Larry Schwarm found his paints, brush, and canvas . . . like the Color Field painters of the 1950s and 1960s, such as Mark Rothko, a favorite inspiration. . . . The contrasts and magic and skill of the images caught the eye of Robert Adams. . . . ‘In our world, which is very rational and highly urban, this work went back and rediscovered some basic mysteries: life and death, light and darkness, . . .’”—Photo District News

“Balancing light against landscape with human forms and manmade structures taxes the finest photographers—especially when flames are literally swirling nearby. Landscape photographer Larry Schwarm focused his lens on prairie fires—the kind that regularly sweep through his home state of Kansas.”—NPR’s Weekend Edition

“Its pages radiant with crackling sparks, searing flames, pinkish dawns, and indigo twilights, On Fire offers a captivating photo-documentary of the prairie fires that regularly surge across America’s largest tall-grass prairie. . . . The power of Schwarm’s work derives from the iconographic import of its subject—fire—and also from the abstract potential of each composition. The photos make a distant, largely visual experience more immediate, tactile, and in the case of the photos of smoke plumes, even olfactory.”—Library Journal

“Larry Schwarm’s color photographs of fire gnawing at the prairie have a hellish glory.”—Kenneth Baker, San Francisco Chronicle

“Schwarm’s lush color images of agricultural burns . . . push the limits of documentary believability. By turns sublime and apocalyptic, they aspire to the artistic heights of painting, echoing both traditional landscapes and modern abstractions.”—San Francisco Weekly

“Among the most dramatic scenes in the American Midwest are the fires each fall as farmers burn off dried grasses in their fields. Few photographers have more potently captured the power of these blazes than Larry Schwarm.”—Kyle MacMillan, Denver Post

“These pictures . . . are stunningly beautiful, displaying flames moving across vast open spaces of prairie, often as the sole link between earth and sky, photographed at day, night and twilight, under blue skies, clouds, and the moon. . . . Schwarm’s cogent afterword positions the fires as one of the four elements, along with earth, air and water, to underscore the mythic quality of the pictures and their subject.”—John Pultz, Great Plains Quarterly

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