From the Editor

I found myself reading James Wood’s How Fiction Works this summer at the suggestion of the artist Morgan Ashcom. As we were planning his exhibition, What the Living Carry, which opens at HCP this September, we discussed that one of the most critical aspects of his work is how it draws our attention to what the photograph does to … Continued

Spotlight: Beth Block Memorial Honoraria Recipients

A consistent dynamism unites the works exhibited in Houston Center for Photography’s 36th Annual Membership Exhibition. Though radically different in content, style, and format, the photographs chosen all demonstrate a fluidity that defies categorization. None can be easily fixed within the narrow confines of traditional genre classifications.  They are not simply portraits, nor landscapes, nor still lifes, but a complex combination of several of these categories, presented together to formulate a compelling comment on our … Continued

The Transnational Imagination

Tarrah Krajnak was born during a tumultuous period of military rule in Peru, adopted by Americans, and raised in the Midwest. She uses images, found and original, to navigate this personal history and experience. Krajnak‘s work offers insights on the nature and history of photography, international politics, and familial relationships. Her photography-based practice has grown to incorporate video, performance, … Continued

Figures, Grounds, and Mere Exposures

The body is polarized. The land is spoiled. The ideals of governments are questionable. A creative mind is a definitive act towards transformation. The visibility of bodies and the properties they are capable of are achingly necessary. Now is not the time to be catatonic or complacent. The fact of the matter is that the body is capable … Continued

Alluding to a Place: Photographs by Morgan Ashcom

“It is seeing which establishes our place in the surrounding world, we explain that world with words, but words can never undo the fact that we are surrounded by it. The relationship between what we see and what we know is never settled.”   (John Berger Ways of Seeing, 1972; page 7)   Morgan Ashcom’s sprawling project What the Living Carry intentionally muddles … Continued

The Art of Process

Basir Mahmood once made sculptures for Pakistan’s army. His skill earned him a place in Pakistan’s Beaconhouse National University, where, in his words, he spoiled himself by not making anything with his own hands, focusing on a theoretical practice instead and making video art. By the time he arrived at Rijksakademie, where he participated in its renowned residency program, he realized how much … Continued

Stories from the Toad

I met Bucky in 2015 on a tour of grad studios his first year at UT. I enjoyed that first studio visit and followed up with another every year.   I always enjoy speaking with Bucky about his evolving practice. Those conversations set the foundation for our exhibition at the gallery earlier this year.  Jonathan Hopson (JH): … Continued