While exploring the built environment of North Carolina beaches, Miller Taylor’s Upon Sand captures the dynamism of the coastline.
Jessica Ingram’s Road Through Midnight: A Civil Rights Memorial explores forgotten sites of the civil rights era. The project “is the result of a deep questioning of American racial history and ideas of collective memory, of how we mark historic sites—or don’t mark them.”
Featuring photographs by Phyllis B. Dooney and documentary poems by Jardine Libaire, Gravity Is Stronger Here documents five years in the lives of one dynamic family living in Greenville, Mississippi.
In The Sound the Dryfly Makes, Ian Mahathey considers how boyhood aspirations are transformed by adulthood.
In Love Valley, Michaela O’Brien chronicles the lives and history of the people living in North Carolina’s “cowboy haven.”
In Rabun, Jennifer Garza-Cuen photographs a community in northern Georgia, a place “steeped in the cultural specifics associated with both the Deep South and Appalachia.”
Glenn Hall’s DarkWater captures the changing biological and environmental landscape of the Ohio River Valley—and what may be a dying way of life.
Tatum Shaw’s New Songs avoids any singular place of focus, creating instead a collection of dissonant hymns collected from across the South, Los Angeles, Portland, and New York City.
In The Seven Natural Wonders of Georgia, Caitlin Peterson explores the relationship between man and nature by drawing attention to the artificial elements of “the most wonderful natural places in all of Georgia.”
In Fair Bluff Evan Simko-Bednarski explores a North Carolina town “in danger of simply fading away,” struggling to recover from the damage caused by Hurricane Matthew in 2016. The flood and its destruction come after the one-two punch of the tobacco and textile industries crumbling in the 1990s. As one resident put it, “The town was dying. The hurricane just sped us up by ten or fifteen years.”
