Mitch Epstein
Mitch Epstein belongs to a generation of photographers who explored the use of color photography as an extension of documentary photography — and as a subject in itself —during the 1970s.
Mr. Epstein first developed his extraordinary sense of color in India, and color played a crucial role in his compelling series on Vietnam in the 1990s. A master of the medium and a mature artist at this stage of his career, Mr. Epstein began in 2003to turn his formidable power to the subject of energy and its use in America.
Mitch Epstein's ''American Power'' photographs are a result of what he calls in an artist's statement an ''energy tourism'' journey through America's fossil fuel, nuclear and green energy ''hot spots.'' The project was prompted by the evacuation of an Ohio town in the wake of environmental contamination.
Mr. Epstein's odyssey was transformed by two things: the Patriot Act and Hurricane Katrina. Pictures of nuclear reactors looming over exurban neighborhoods or of a California oil refinery shot from an artfully respectful distance hint at Mr. Epstein's trials photographing energy sources in post-9/11 America.
Mitch Epstein belongs to a generation of photographers who explored the use of color photography as an extension of documentary photography — and as a subject in itself —during the 1970s.
Mr. Epstein first developed his extraordinary sense of color in India, and color played a crucial role in his compelling series on Vietnam in the 1990s. A master of the medium and a mature artist at this stage of his career, Mr. Epstein began in 2003to turn his formidable power to the subject of energy and its use in America.
Mitch Epstein's ''American Power'' photographs are a result of what he calls in an artist's statement an ''energy tourism'' journey through America's fossil fuel, nuclear and green energy ''hot spots.'' The project was prompted by the evacuation of an Ohio town in the wake of environmental contamination.
Mr. Epstein's odyssey was transformed by two things: the Patriot Act and Hurricane Katrina. Pictures of nuclear reactors looming over exurban neighborhoods or of a California oil refinery shot from an artfully respectful distance hint at Mr. Epstein's trials photographing energy sources in post-9/11 America.
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