#victoriasambunaris

[nevver]

States of change, Victoria Sambunaris

[source-insta]

kathleenwhitaker

Coal mine in Schuylkill County, Pennslyvainia, photographed by @victoriasambunaris. Via @jasonschmidtstudio

[lisablasstudio]

Monday's image: March 13, 2017

Victoria Sambunaris, Untitled, from the series The Border, Chromogenic print, 63 x 45 3/8 inches, 2010, San Francisco Museum of Modern Art, California

[bphoto2018]

PHOTO of the day | April 23, 2018 | tmagazine | #EllsworthKelly's “Austin,” a colored-glass-filled chapel, is very much the culmination of the late artist’s oeuvre, not just a summation of his work’s themes but his masterpiece, the grandest exploration of pure color and form in a seven-decade career spent testing the boundaries of both. Click the link in our bio to go inside Kelly's final work and only building, which opens this month at the University of Texas’s @BlantonMuseum of Art. Photo by @VictoriaSambunaris.

[youralbrightknox]

#TBT: In 2011–12, the AK hosted "Victoria Sambunaris: Taxonomy of a Landscape," an exhibition of forty of Sambunaris's photographs taken during ten years of yearly cross-country drives. [📷 Tom Loonan] #AlbrightKnox #Art #5WomenArtists #WomensHistoryMonth #VictoriaSambunaris https://ift.tt/32QrGgW

[johnvigg]

I love me some #roadsidehistory @victoriasambunaris I remember you said to read every road side sign, and this one was right up my alley. #wheresvigg (at Mars Bluff, South Carolina)

[carlgunhouse]

Was lucky enough to have @victoriasambunaris come talk to intro class (at Montclair State University)

(http://victoriasambunaris.com/)

[lessonsindetail]

“We must make art like the Egyptians, the Chinese and the African and Island primitives - with their relation to life. It should meet the eye - direct.” ~Ellsworth Kelly via @tmagazine photography @victoriasambunaris #artmatters #whowantstogo (at The Blanton Museum of Art)

[markus8winter-blog]

Great #exhibition #opening by @michaelreynoldsnyc @hostlerburrows #victoriasambunaris #jasonstein #shearling #michaelreynolds #wegner #hanswegnerchair #hanswegner #flaghalyard #chair #finnjuhl #chieftains #loungchair #curator #curation #danish #design #midcenturymodern #midcenturymodernfurniture #scandinavian #scandinaviandesign #vintage #danishmodern #danishdesign #furniture #furnituredesign #setdesign (at Hostler Burrows)

[victoriasambunaris]

ASMR4 will release volume 4, Ordinary Matter by photographer @k8tiemurray Sept 13, 7-9pm @spoonbillmontrose #ASMR4 is a collaboration between #katiemurray, #dantorop, adamputnam @arpzap and #victoriasambunaris. https://www.instagram.com/p/BnoSxZHFPDT/?utm_source=ig_tumblr_share&igshid=m9tg51rygp9q

[youralbrightknox]

#MuseumWeek #TravelsMW Pick: Each year, Victoria Sambunaris sets out from her home in New York to cross the US by car, alone with her camera. Her photographs, including "Untitled (white trains on salt flats, I-80, Great Salt Lake Desert, Utah)," 2002 (pictured here), capture the expansive American landscape and the natural and fabricated adaptations that appear throughout it. [Victoria Sambunaris (American, born 1964). "Untitled (white trains on salt flats, I-80, Great Salt Lake Desert, Utah)," 2002. Chromogenic color print, edition 1/3, 55 x 75 inches (139.7 x 190.5 cm). Collection Albright-Knox Art Gallery, Buffalo, New York; James G. Forsyth, Charles W. Goodyear, Sherman S. Jewett, Gerald S. Elliott and Charles Clifton Funds, 2011 (P2011:14.3). © 2002 Victoria Sambunaris, Courtesy of the artist and Yancey Richardson Gallery.] #albrightknox #art #museum #artmuseum #victoriasambunaris #trains #greatsaltlakedesert #utah #womenMW http://ift.tt/2sDdQxI

[victoriasambunaris]

TIME Special Preview: A Guide to the Best Spring/Summer Photo Books Read more: TIME Special Preview: A Guide to the Best Spring/Summer Photo Books - LightBox http://lightbox.time.com/2014/04/01/time-special-preview-a-guide-to-the-best-springsummer-photo-books/#ixzz2xf9nGyDY

[victoriasambunaris]

The Living Room “I am a fetishist when it comes to objects,” Michael Reynolds says. “Every area is a shrine for me. I need things around me that hold energy and have history. Bone is very sacred to me—wood, stone, and bone. It’s very shamanic to me.” A photograph by Victoria Sambunaris from the Yancey Richardson Gallery hangs over the Tobia Scarpa couch, and a black leather Poul Kjaerholm chair from R 20th Century is against the wall. A nineteenth-century elephant skull on the floor in the corner is from the late antiques dealer Amy Perlin.

[victoriasambunaris]

There is a sense of euphoria when first leaving New York and hitting the road. After crossing the Mississippi River going west, everything slows down. The wheels begin to churn and the bottled up thoughts begin to flow. The inner turmoil that seemed enormous appears trivial. Wide vistas pass along the windshield and the mind becomes transfixed. Passing in and out of towns, the townsfolk are curious about the sole traveler. Fleeting encounters of whole lives lived are pondered while driving on.

This is the allure of life on the road as a traveling photographer.

The hardest part is leaving what is comfortable, meeting the unfamiliar, and getting out of the car to take a picture. The capture of a singular moment—as in these photographs—is addictive. It keeps a photographer coming back and moving on.

The two bodies of work here—one of places, the other of people—might well be manifestations of the traveling photographer. I chose photographs from the collection that I identified with: views that I might have seen, people that I might have met, but didn’t. I wish I had.

The places reflect the physical experience of traversing the road: the anonymous towns, the snaking roads, the distant trains, the incessant sky, the grandeur of the open landscape. The people comprise intimate moments and transitory views of lives lived in the worlds that make up who we are in this place, at this time: the enraptured dancer, the jumping cowboy, the painted lady, the fellow traveler, the countless glances.

Each moment in each photograph has its own tale to tell and represents someone’s world—to know, to remember, and, in this digital exhibition, to make your own.

[victoriasambunaris]

For more than a decade, Victoria Sambunaris (American, born 1964) has traversed the United States equipped with a five-by-seven wooden field camera and sheets of color negative film. Covering seemingly every road and freeway between the coasts and beyond, she has captured the vast American landscape and terrain, and its intersection with civilization. Sambunaris has said that she has “an unrelenting curiosity to understand the American landscape and our place in it.” While humans are in awe of the power of nature, we are also energetic and domineering diggers, builders, and settlers. Sambunaris’s photographs thus strikingly record our ongoing, uneasy relationship with the natural world.

Victoria Sambunaris: Taxonomy of a Landscape originated at the Albright-Knox Art Gallery in Buffalo, New York and was organized by Christie Mazuera Davis, Program Director, Contemporary Art and Public Programs at the Lannan Foundation, and Albright-Knox Curator for the Collection Holly E. Hughes. The MoCP’s presentation and subsequent tour of Victoria Sambunaris: Taxonomy of a Landscape has been generously supported by the Lannan Foundation, Santa Fe, New Mexico. 

Join us February 7 (5-7pm) for a public reception celebrating this exhibition. The artist will be present at this event.