E D I TO R ’ S L E T T E R
b y An d re a Bl a nch
When I think about the sentiment behind Place, I get
ing a region defined by conflict, paradox, and faith.
a little nostalgic—I remember the feelings I had at par-
Other artists transcend the physical notion of place, in-
ticular instances over the course of my life. The time I
stead locating this concept in humans’ interactions with
pretended to be asleep while robbers crept through my
their environments. John Divola records derelict, Los
Paris apartment. The time my friend and I hitched a ride
Angeles structures—which he further vandalizes with
with men who turned out to be escaped convicts on the
graffiti—linking the natural process of decay with human
run. The time I fell deeply in love after a photo shoot in
intervention. Conversely, Alec Soth’s intimate portraits
Rome, changed my life, and moved there. Life is made up
of American communities in the Midwest unite character
of places, places defined by moments in time and, if we’re
with environment. Images by Maurice Broomfield convey
lucky, captured by a lens. I’m writing this letter from the
something similar, portraying the British industrial labor
comfort of my bed when it occurs to me that this is the
force i n their workspaces with dignity and grace. Perhaps
place where most people will spend two thirds of their
fittingly, this is the first time Broomfield’s photographs
life. After this realization I suddenly imagine I shouldn’t
will be published in the United States.
feel so comfortable.
Sebastião Selgado joins the physical and abstract in his
What is place, and how does it impact us? The twenty-two es-
seminal photographs which depict person and environment
tablished artists featured in this issue have approached place
with equal sensitivity, compassion, and respect. His striking
in compelling and diverse ways—investigating the intersec-
compositions betray the touch of both a naturalist and a hu-
tions of metaphysics and environment, politics and memory.
manist in their complex portrayals of subject matter.
Stephen Shore and William Eggleston, both early and es-
This issue is replete with work that challenges me to
sential advocates of color photography, meditate on and
think deeply and critically about our theme. I would like
critique perceptions of the American landscape. Their
to thank the twenty-two established artists—and addi-
iconic compositions immortalized familiar and unremark-
tional emerging artists—who allowed us to spotlight their
able spaces. In doing so, they have sanctified the Ameri-
outstanding and insightful work. In their hands, place
can road as national landmark.
becomes more than just a physical concept. Rather, it is
Shimon Attie considers the politics of place differently. In his
multidimensional—encompassing the mental, emotional,
recent project, Facts on the Ground, images feature illuminat-
and bodily (see Dianne Yudelson’s work addressing the
ed messages, which adorn sites across Israel and Palestine.
emotional fallout surrounding miscarriage). For our read-
While Facts resists invoking a particular political framework
ers—I hope the fantastic images featured in Place inspire a
or vantage point, it does prompt profound questions regard-
little bit of restlessness and adventure!
Sebastião Salgado, Gold mine of Serra Pelada. Pará, Brazil., 1986. Photo courtesy of Contact Press Images.
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