© 2020 LensCulture, Inc. Photographs © of their respective owners. Justine Kurland, Casper Roasting Marshmallows, July 11, 2013, Courtesy Mitchell-Innes & Nash JK: My work is part of a 19th century photographic tradition. There’s something about them that feels like so many teenage girls. There are other things uniting all the girls in these photographs. The focal point of the image is the back of a young girl who is raising her shirt. Kurland began "Girl Pictures" during a summer between semesters at Yale, when she was dating a man with a 15-year-old daughter. But Kurland’s subjects never fall into those tropes of late night news or cautionary tales. Welcome to an offbeat universe where cut-up photographs make us daydream…Pictures, both alluring and disquieting, absorb us in a deconstructed world conducive to emotional and physical discoveries…. I wanted to find places where they actually existed. In the late 1990s, photographer Justine Kurland imagined runaway girls roaming the American landscape -- gathering in the woods, along highways and in open fields. A conceptual look at this common practice. "I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals," says Kurland. Dipping into an archive comprising over 30 years of work, many of these 101 photographs pay tribute to Tom Wood’s mastery of color street photography and his love of humanity in and around Liverpool and Merseyside. The title feels this way to me, like something stolen back. Saved from k17k.livejournal.com. Yet it feels beside the point to spend too much time considering a male perspective when looking at this project. Kurland imagined an army of young women taking to the woods and rejecting societal standards. "I imagined a world in which acts of solidarity between girls would engender even more girls -- they would multiply through the sheer force of togetherness and lay claim to a new territory," Kurland writes in an essay for the book. Mitchell-Innes & Nash is honored to present Girl Pictures, 1997-2002 by Justine Kurland. Like catching a wild animal in a trap, it feels like by the time you look at each image of these girls you’ve already missed them. She began teaching more and found a different kind of community back in New York. There was Lily, whose life ended in tragedy some years later when she overdosed. They are often staged under bridges or beyond fences or on the sides of highways; places that feel synonymous with warnings. She believes it would be hard to replicate the series today. The gang picking flowers in Daisy Chain, 2000, isn’t the same as the one in Finger, 2000, but they might as well be. But just beyond the tops of the grass and above their heads, the fast food chain and a parking lot and power lines are all visible. Her early work comprises photographs, taken during many cross-country road trips, which reveal the double-edged nature of the American dream. We see this as they roast pigs in The Pig Roast, 2001, and carry all kinds of dead animals in images like Roadkill, 2000, Armadillo Burial, 2001, and Twelve-Point Buck, 1999. "There's always a disappointment in the photograph -- it's never going to be as amazing as you imagine it," she said. JUSTINE KURLAND is a Brookyln-based photographer. The girls in their leather boots and used sweaters. To say that Lili and I were excited to have interviewed her in her home is an understatement. As Kurland says in her accompanying essay, they’re “never coming back.” Spending so much time looking at these images, I’ve noticed myself looking for the girls. This kind of ironic playfulness repeats itself over and over again in this book. Taken between 1997 and 2002, two decades later, Kurland's photographs, titled "Girl Pictures," have been brought together, The photographs are a nostalgic glimpse of the era -- the girls wear ripped wide-leg jeans and shark's tooth necklaces, both popular at the time -- but the series still resonates in its timeless themes of defiance, self-actualization and female sexuality. In a great portrait, the subject holds a familiar presence as if we’ve known them for years—yet, at the same moment, we feel as if we are seeing this person for the very first time. She continued to venture on open roads for weeks or months at a time, for both that body of work as well as during her travels with Casper, the latter of which was published by Aperture in the 2016 book "Highway Kind." The primary subject of Kurland’s pictures, however, are the adolescent girls who inhabit these places, both familiar and uncanny, captured by the artist’s camera. It starts to feel as if they exist in their own reality, just removed enough. Living in the heart of Lisbon but very much on the periphery, this series documents the lives of people who have been forced to take shelter in seemingly abandoned buildings across the city. "They spill out of the car along with candy wrappers and crushed soda cans, bounding into the frame, already becoming a photograph. Though the images are staged, Kurland's images can feel like documentary photography, blurring the line between fiction and truth. They collapse in the snow in Snow Angels, 2000, and roast marshmallows over a garbage fire in Puppy Love, Fire, 1999. The camera stays just far enough away to keep the subjects slightly anonymous. "At the time when I was young, I didn't really think that much of it," she recalled. Perched in a cherry tree between the Hudson river and a highway, Alyssum looks back over her shoulder. Discover (and save!) The privacy of the overpass is also potent with all the stories we’ve heard of women getting hurt in such places. Instead of looking wary, the girls seem to say “so what?” Instead of fearing danger, they get to be the source of it. Just one letter shy of girly pictures, the title of this book is akin to categories like “chick lit” or “chick flicks.” I can almost hear someone critiquing these photographs as just a bunch of “girl pictures.” It makes me think of that image with the girl’s hands over the boy’s eyes again. At age fifteen, she had been sent to live with her father—a punitive measure for skipping school and smoking pot. "I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals," says Kurland. They are anything but harmless in photographs like Boy Torture: Hanging, 2000 where they’ve strung a boy upsidedown from a tree and approach him with sticks. Alyssum was the first girl I photographed. Browse 1 justine kurland casper stock photos and images available, or start a new search to explore more stock photos and images. When boys appear, the girls are in control, pinning one down to spit in his mouth, covering another's eyes as one of the girls teasingly lifts her shirt. Kurland’s focus is less on individual girls, and more on what happens when they band together. This is especially strong in the photographs that appear to capture two parallel worlds. Photographed over thirty years ago, Ken Light’s nighttime pictures of migrants captured along the US-Mexico border pose some uneasy questions. Behind the camera, I was also somehow in front of it -- one of them, a girl made strong by other girls. Together, she and Kurland envisioned the narrative of a runaway girl. There’s one boy in the group, but his eyes are covered. ", Teenagers are primed to stage such a rebellion. It’s unclear whether they’ve killed these animals themselves or not, but they certainly don’t cower away from them. Kurland recalled in her essay that Lily always wore rollerblades, and the poignant gesture when she hoisted her legs into Kurland's car. ", After days in her car, Kurland was often unkempt, approaching teenagers to photograph them -- it could easily seem predatory. photographed by Justine Kurland. In the years since she finished the series, Kurland has turned her camera on topics that still radiate from this first body of work: community, feminine identity, exploration and the rural American landscape. For the past 8 years, Joey Solomon has been photographing his mother. "This idea of the photograph being a site to imagine is still very much what I care about.". 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