After the Woolsey Fire devastated the Santa Monica Mountains in California, researchers placed trail cameras to observe the return of wildlife. Chase A. Niesner composed and performed “Signs of Life” from the images captured. In this exhibit, he reflects on the essence of being and the passage of time captured in this great return.
Rae Ferner Rose uses wildlife photography as a lens into nonhuman agency. Snapshots of bowerbirds and pufferfish nests in particular capture the collaborative craft of both “wildlife” and photographer.
Poet Ann Fisher-Wirth collaborates with photographer Wilfried Raussert and a team of translators to interpret street art across the Americas. Together, they illustrate the interconnectedness of people and nature in urban environments.
What does the Anthropocene look like? Angelica Modabber disentangles the complex layers of memory, ecological change, and identity in contemporary Iranian photography.
Tomiko Jones embarks on a photographic project exploring deregulated public lands and questioning constructions of national belonging.
In this photo essay, Joseph Heathcott captures edge ecologies and life in between at Oaxaca’s urban-rural interface.
Astrophotography saw Kaitlin Moore through months of COVID-19 lockdown, developing connections among the universe’s most isolated subjects.
A photo essay by Christine Horn from her fieldwork in Sarawak, Borneo, shows how oil palm plantations rearrange and displace communities and landscapes.
Fifty years after the first Earth Day, how have environmental campaigns changed? Alexandra Lakind cautions against stereotypes that focus on the personal instead of the structural.
In ClearCut – The Wages of Dominion, photographer John Riggs presents a guided meditation about the cultural mindset behind clearcutting.
