Alec Soth: Artist Profile

Alec Soth, a photographer of quietude and a chronicler of the American grain, doesn't shout; he whispers. His large-format portraits and landscapes, often focused on the country's overlooked margins, possess a stillness that's less about the absence of noise and more about the presence of something deeply felt. He's not interested in the spectacular, but in the subtle poetry of the everyday, the hushed moments that reveal, almost inadvertently, the human condition. Think of him as a contemporary Walker Evans, but one who trades Evans's stark social commentary for a kind of melancholic tenderness. He photographs the vernacular, not as a detached observer, but as someone attuned to the quiet hum of existence. Soth, who has cited Diane Arbus as an influence, travels the backroads of America, collecting images like a wandering poet gathering verses. His journey along the Mississippi, documented in the self-published Sleeping by the Mississippi (2004), brought him to wider attention, with one of its images, "Charles," even gracing the poster for the 2004 Whitney Biennial.

Soth's work has drawn comparisons to Walker Evans and Stephen Shore, and he has shot for publications like The New York Times Magazine, Fortune, and Newsweek. But his approach is far from purely editorial. He's spoken of the nervousness he feels when photographing people, suggesting that his own awkwardness becomes part of the exchange, a kind of shared vulnerability. This vulnerability translates into an intimacy in his portraits, a sense of connection between photographer and subject. His process is deliberate, almost methodical. He’s described travelling with notes taped to his steering wheel, lists of image ideas – beards, birdwatchers, after the rain, figures from behind, and so on – a kind of visual haiku in progress. He asks permission, waits for his subjects to become comfortable, often working with an 8x10 camera. He seeks a “narrative arc and true storytelling,” a sense that each image flows into the next.

His work has continued to evolve since Sleeping by the Mississippi. Niagara (2006), for example, explored themes of love and desire, including a series of portraits of newlyweds arranged through a Niagara Falls wedding chapel. Last Days of W, a more politically charged project, reflected a nation exhausted by the Bush presidency. Between 2006 and 2010, Soth, under the pseudonym Lester B. Morrison, worked on Broken Manual, a kind of underground guide for those seeking escape. This project saw him exploring the retreats of monks, survivalists, hermits, and runaways, a journey into the fringes of society. Concurrently, he produced From Here to There: Alec Soth's America, a broader survey of his work. His practice is marked by these distinct projects, each a chapter in an ongoing exploration of the American landscape and its inhabitants.

Sleeping by the Mississippi, with its elegant design and thoughtful sequencing, serves as a prime example. His exhibitions, too, are immersive experiences, large-scale prints inviting contemplation. One remembers the hushed reverence of his gallery installations, the way the images command a space. His 2016 exhibition, Hypnagogia, explored the liminal state between waking and sleeping, a further exploration of interior landscapes. Even a seemingly straightforward assignment, such as a laughter yoga workshop in India for The New York Times Magazine, led to a year-long break from commercial work and a renewed focus on personal projects. A subsequent art residency saw him collaborating with the then 97-year-old choreographer Anna Halprin.

Soth’s work sits squarely within the tradition of American documentary photography, but it transcends the genre. His images are not simply documents; they are imbued with poetry and a sense of human connection. They resonate with the work of photographers like Robert Frank, whose subjective approach to documenting America also sought to unearth something deeper about the nation's character. As Philip Brookman has noted, Soth’s photographs are “both intimate and epic, personal and universal.” They capture the quiet grandeur of the everyday, the beauty in the mundane.

Soth has encouraged a new generation of photographers to slow down, to embrace the deliberate nature of large-format photography, to seek out the quiet corners of the world, and to connect with their subjects on a more profound level. While it’s difficult to pinpoint specific artists directly influenced by him, one can certainly detect a broader trend towards a more contemplative and personal approach to documentary work – a trend in which Soth has played a significant role. His founding of the publishing house Little Brown Mushroom (LBM) further underscores his commitment to fostering a particular kind of photographic storytelling. Through LBM, he publishes his own work and that of other like-minded photographers, creating “narrative photography books that function in a similar way to children’s books.” His collaborations with writers like Brad Zellar also highlight his interest in the interplay between image and text.

Soth's legacy is still being written, but his contribution to photography is already substantial. He has reminded us of the power of the still image to capture the complexities of human experience, to tell stories that resonate across cultures and time. He has shown us that the extraordinary can be found in the ordinary, if we only take the time to look. "I think photography is about paying attention to the world," Soth has said. "It’s about seeing what’s there and trying to understand it." This, perhaps, is the key to his work: a deep and abiding curiosity about the world and a commitment to seeing it, not as it should be, but as it is. His photographs, with their quiet beauty and profound empathy, will continue to challenge and inspire for years to come.

Paul Graham: Artist Profile

Paul Graham (born 1956) stands as a pivotal figure in contemporary photography, renowned for his quietly subversive approach to documenting the everyday. His work, often characterised by its understated beauty and subtle social commentary, has redefined the landscape of British and international photography, influencing generations of artists. This article explores Graham's career, tracing his influences, examining the significance of his work, and assessing his lasting legacy.

Born in Wolverhampton, England, in 1956, Paul Graham's initial engagement with photography was through the lens of social documentary. He was deeply influenced by the British documentary tradition, particularly the work of photographers like Tony Ray-Jones and Martin Parr, whose images captured the nuances of British social life with a blend of humour and critical observation. However, Graham's approach differed from his predecessors. While they often focused on the overtly "interesting" or "unusual," Graham found significance in the mundane, the overlooked corners of everyday existence. He was also influenced by the New Topographics movement in American photography, which emphasised a detached, objective approach to landscape, albeit one that often revealed subtle human interventions within the environment. This influence can be seen in Graham's early work, which displays a similar attention to the seemingly insignificant details of the built environment. "I was interested in the unregarded," Graham explained. "The things that are normally passed by, the things that are so obvious they are overlooked." This focus on the overlooked became a hallmark of Graham's work.

Early Work and the Shift to Colour

Graham's early work, culminating in his first book A1 - The Great North Road (1983), already hinted at his departure from conventional documentary practice. This series, documenting the length of the A1 road, presented a fragmented and often banal view of England. Far from the romanticised imagery of the countryside or the stark realities of industrial decline, Graham's photographs focused on the in-between spaces, the roadside cafes, the petrol stations, the fleeting encounters that make up the fabric of contemporary life. The book itself became a key element of his practice. Graham's use of the photobook as an artistic medium, not just a repository for images, allowed him to control the narrative and create a more immersive experience for the viewer. The sequencing of images, the pacing, and the overall design of the book all contributed to the meaning of the work.

Off Licence (1984), his second book, solidified his reputation as a photographer with a unique vision. The series, shot in and around off-licences (liquor stores) in working-class areas, offered a subtle commentary on social and economic realities without resorting to didacticism. The images, often characterised by their muted colours and seemingly detached perspective, allow the viewer to draw their own conclusions about the scenes depicted. "I wanted to make work that was more ambiguous, more open to interpretation," Graham stated. "I didn't want to tell people what to think." This ambiguity became a crucial element of his photographic language. He presented the reality of these spaces without judgment, allowing the viewer to consider the social and cultural context themselves.

The publication of Beyond Caring (1986) marked a turning point in Graham's career and in British photography in general. This series, documenting the lives of people in a Birmingham welfare office, was groundbreaking in its use of colour. At a time when black and white was still considered the dominant medium for serious documentary work, Graham's use of colour was both bold and innovative. He employed a restrained palette, capturing the drabness and mundanity of the welfare office without resorting to sensationalism. The photographs, often depicting individuals waiting, filling out forms, or simply staring into space, offered a poignant glimpse into the lives of those on the margins of society. "Colour was the reality of the situation," Graham explained. "Black and white would have been a stylisation." This pragmatic approach to colour, focusing on its descriptive potential rather than its aesthetic qualities, further distinguished Graham's work from conventional documentary photography. The series sparked considerable debate, with some critics accusing Graham of exploiting the subjects of his photographs. However, others praised its unflinching portrayal of social reality and its innovative use of colour. The series brought Graham international recognition and established him as a leading figure in contemporary photography. It also opened up new possibilities for the use of colour in documentary photography.

Shifting Focus, Later Work, and Photographic Language

In the 1990s, Graham's work began to move away from the explicitly social themes of his earlier projects. While still concerned with the everyday, his focus shifted towards a more contemplative exploration of time, space, and perception. Empty Heaven (1995), for example, marked a significant departure. Shot in Japan, the series features images of Shinto shrines and urban landscapes, often characterised by their serene beauty and subtle sense of unease. "I was trying to capture a feeling, an atmosphere," Graham said of this work. "It was less about documenting a specific place and more about exploring the way we see the world." This marked a shift from the social landscape to a more personal and introspective exploration of place and experience. The images in Empty Heaven are more atmospheric and suggestive than his earlier work, inviting the viewer to contemplate the spiritual dimensions of the everyday.

American Night (1998-2002) further solidified this shift. This ambitious project, spanning several years and locations across the United States, explored the complexities of American identity through a series of fragmented and often enigmatic images. The series, characterised by its use of multiple exposures, blurring, and other experimental techniques, challenged conventional notions of photographic representation. "I wanted to create a more subjective, more poetic way of looking at the world," Graham explained. "I was interested in the way memory and perception shape our experience of reality." This work moved beyond the specific social context of his earlier projects to explore broader themes of identity, perception, and the nature of reality itself. The use of experimental techniques in American Night reflects Graham's desire to move beyond the limitations of traditional photographic representation and to create a more nuanced and subjective portrait of America.

a shimmer of possibility (2007) saw Graham return to a more observational style, though still infused with the poetic sensibility of his later work. This series, shot in various locations, captures fleeting moments of everyday life with a sense of quiet wonder. The images, often characterised by their subtle use of light and colour, evoke a feeling of ephemerality and the potential for beauty in the most unexpected places. The title itself suggests the ephemeral nature of these moments and the possibility of finding beauty in the ordinary.

The Present (2012) continued this exploration of the everyday, focusing on the rhythms and patterns of urban life. The series, shot in New York City, captures the city's energy and diversity through a series of fragmented and layered images. The photographs, often depicting multiple scenes within a single frame, create a sense of simultaneity and the interconnectedness of urban experience. The Present reflects the fragmented and multi-layered nature of contemporary urban life, capturing the sense of constant movement and change.

Throughout his career, Graham has developed a distinct photographic language, characterised by several key strategies. His use of colour, as discussed earlier, is both deliberate and understated. He avoids the dramatic hues and saturated tones often associated with colour photography, instead opting for a more muted palette that reflects the everydayness of his subjects. His compositions are often seemingly casual, even haphazard, but they are carefully constructed to create a sense of balance and harmony. He frequently employs techniques such as blurring, multiple exposures, and shallow depth of field to create a sense of ambiguity and to challenge the viewer's expectations. His use of these techniques is not simply aesthetic; they serve to disrupt conventional ways of seeing and to encourage the viewer to look more closely at the world around them. These techniques also reflect Graham's interest in exploring the subjective nature of perception and the way in which memory and experience shape our understanding of reality.

Graham’s Influence:

Paul Graham's influence on contemporary photography is undeniable. His work has paved the way for a new generation of photographers who are exploring the complexities of the everyday with a similar sensitivity and subtlety. His emphasis on ambiguity, his innovative use of colour, and his willingness to challenge conventional notions of photographic representation have all had a profound impact on the field. Photographers like Richard Billingham (though stylistically very different), and Alec Soth, while developing their own distinct voices, owe a debt to Graham's pioneering work. His influence can also be seen in the increasing number of photographers who are working with colour in a thoughtful and nuanced way, and who are exploring the potential of the photobook as an artistic medium. Graham's work has also helped to broaden the definition of what constitutes "documentary" photography, moving beyond the traditional focus on social issues to encompass more personal and poetic explorations of the everyday.

Graham's work has also had a significant impact on the art world more broadly. His photographs have been exhibited in major museums and galleries around the world, and he has been the recipient of numerous awards and accolades. His work has helped to elevate photography to the status of fine art, demonstrating its capacity to engage with complex social, political, and philosophical issues. He has challenged the traditional boundaries of the medium and expanded its possibilities.

Key Exhibitions and Books:

• A1 - The Great North Road (1983)

• Off Licence (1984)

• Beyond Caring (1986)

• Empty Heaven (1995)

• American Night (1998-2002)

• a shimmer of possibility (2007)

• The Present (2012)

• Does Photography Have a Future? (2010) - A significant exhibition and publication exploring the changing landscape of photography.

Quotes on Graham's work:

• "Graham's photographs are not simply documents of social reality; they are also meditations on the nature of seeing itself." – Gerry Badger, photography critic.

• "Paul Graham has changed the way we see the world. He has shown us the beauty and significance of the everyday, the overlooked, the mundane." – Charlotte Cotton, photography curator.

Paul Graham's own words:

• "I'm interested in the space between things, the in-between moments. That's where I think the real stories lie."

• "Photography is not about capturing the world as it is, but about creating a dialogue with it."

• "I want my photographs to be open to interpretation. I don't want to tell people what to think. I want them to engage with the work and draw their own conclusions."

Legacy:

Paul Graham's legacy lies not only in his own remarkable body of work but also in the influence he has exerted on subsequent generations of photographers. He has demonstrated the power of photography to explore the complexities of the everyday, to challenge conventional ways of seeing, and to engage with profound social and philosophical questions. His work has helped to redefine the landscape of contemporary photography, pushing the boundaries of the medium and expanding its possibilities. He has shown that the ordinary can be extraordinary, that the mundane can be meaningful, and that the overlooked can be profoundly significant. His quiet revolution in photographic vision continues to resonate, shaping the way we see the world around us. His work encourages us to look more closely, to question our assumptions, and to find beauty in the everyday. He has left a lasting mark on the world of photography, and his influence will continue to be felt for many years to come.