Arlington, Tennessee Pictured here is my maternal grandfather Aaron, the man I am named after. During his entire life, he worked with his hands, a self-taught carpenter and contractor. His life started in Crawfordsville, Arkansas, then he moved on to Earle, Arkansas, where he, his father, and his brothers grew cotton and sold their harvest »
Hale County, Alabama LEDus stand here ____ future dinosaurnear the errors of three hands clappingwhat indifferent god particle sparking,through the strong ear and out the other.perhaps forgetting some string theory dangling,out inside the dinning deafness
Miami, Florida The Tea Room is part of my FloodZone project, which looks at the subtle traces and signs of what is happening to the southern United States as it comes to terms with rising sea levels. The photograph was taken in Miami’s Vizcaya Gardens on Biscayne Bay after heavy rain. The tide is high »
Elliston, Virginia Musician Laney Sullivan has been a powerful, persistent advocate for environmental accountability and efforts to stop the Mountain Valley Pipeline (MVP) and recently cancelled Atlantic Coast Pipeline. Her band Holy River has played countless fundraisers and its members have been leaders in connecting artists with impacted communities along both routes.
Black Mountain, North Carolina As I walked up the hill with my camera, the Quiet House slowly came into view. I didn’t recognize it at first. I had memorized the photographs that Hazel Larsen Archer and Robert Rauschenberg made of the stone sanctuary and imagined a scene closer to their vision. But over seventy years »
“Thanks for Looking” is a collection of (mostly) unpublished photographs I made just off to the side of what was supposed to be the main attraction. As a daily news stringer and freelance commercial photographer, I’m lucky to provide a livelihood for my family with my camera, but I’m also at the mercy of the »
Driving south on I-85 from Richmond into North Carolina, the trees begin to envelop you. Not being from here, I am seduced by that wilderness. It’s like entering an open storybook, a deep trove of mythologies and histories built into the landscape and etched into memory from the stories of others, both recent and generations »
“I found myself wanting to find a way to bridge the gap between the Black and white experiences of living in Claiborne County, and I hoped that the photos I took might someday help others see how they might flourish, as my girls did, from immersive contact with a culture not their own.” In 1973, »
“My dad spent much of his childhood in this North Mississippi landscape, and the process of wandering alone through these woods gave me a sense of connection to him that I hadn’t expected.” Early this Spring, at the beginning of quarantine, my wife and I had the privilege of living at my grandmother’s lake house, »
The land, creeks, and rivers of Orange and Alamance Counties in North Carolina have been the core of my photographic work for the last decade. With creeping subdivisions snipping away at farmland and open fields year by year, I feel this work of photographing them has taken on a documentary element I did not intend. »
On a sticky June Sunday in 1959, two people meet each other outside an eastern Kentucky hamlet called Daisy. A twenty-seven-year-old college grad living in New York City, the grandson of Russian Jewish immigrants, wants to experience the Great Depression, and he is listening for music that might work like time travel. The other man, »
“The boundaries of traditional documentary tend to encourage a certain rigid empathy. When I was learning, it seemed like an emotional calculus I would never master.” While writing this from an isolation spurred by a novel corona-virus pandemic, I’m stressed for a million reasons. One is that I’m at my home in Mississippi when I »