Elijah Barrett’s collection, Rockport, chronicles the weeks and months following the devastation of Hurricane Harvey. His photographs reveal the devastation enacted upon the landscape, and give insight into the lives of those who are now suspended in a state of wondering what comes next, and who are left to make sense of what happened.
The images in Ryan Steed’s Went Out for Cigarettes span four Southern states but are occupied by a common “physical and psychological landscape” shaped by the act of travel itself. Marked by the omnipresence of roadside signs and messages scrawled on windows and walls, Steed’s project is concerned with the witness and discovery inherent in any journey.
The images in Matthew Genitempo’s Jasper capture the faces, lives, and daily landscapes of men who have chosen to sequester themselves in the Ozark Mountains of Arkansas and Missouri. Attuned to the allure of “running away from the every day,” Genitempo’s project occupies the hazy space “between fact and fiction.”
Bradley Marshall’s Hearing Through Walls is a photographic “exploration into American masculinity, lost youth, and domesticity.” The project often pairs the familiar with the unknown, involving childhood friends alongside relative strangers, and images of places to which Marshall has a deep personal attachment presented alongside photographs of new territory.
Devin Lunsford’s All the Place You’ve Got documents the changing landscape along Corridor X, a newly completed interstate project that connects Birmingham to Memphis through a once-remote part of northwest Alabama populated by desolate towns and shuttered coal mines.
Taken over the course of two consecutive summers, the photographs in Rosie Brock’s And Ever Shall Be explore the collision of economic depression and the familiar fantasy of the Southern county fair. A man in a Domino sugar t-shirt sits atop a white horse, a boy in a cowboy hat leans so close to the camera the rest of the world fades out of focus, and a woman, unsmiling, watches a carnival spectacle the viewer can’t see. Meanwhile the sun sets over empty train tracks and a carousel trailer, and the overall effect is at once hopeful and melancholic.