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🎼
photography
( agricultural history)
Holly Lynton
(American, b. 1972)
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拍摄美国农村十五年
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在过去的十五年里，Holly Lynton一直在拍摄美国的农村社区。她探索信仰、劳动、历史和土地的交集，记录农村社区人类的谋生，基于研究的实践产生了一系列作品，这些作品抓住了植根于历史的不断衍生迭代的仪式和传统。
在这个历时10多年的项目中，Lynton也记录了的最后一个使用手剪的剪羊毛者，新英格兰唯一的堰渔民等等这些即将消失的行业和工作，表达了人与动物、自然、农业紧密而脆弱的联结。“我的目标是在一个定格的瞬间中，表达温度、光亮甚至气味等的感受，让人仿佛见证了连续的动作。以此来唤起、至少部分唤起我的拍摄对象所蕴含的威严和壮美。”她如此说道。
由霍莉·林顿拍摄的照片。Lynton拍摄的题材多聚焦于美国乡村，强调贴近自然生活的重要性。这是摄影师从事10年，她在美国拍摄生活在乡村的人，记录当地人在维持传统生活、保护自然的各种举措，同时摄影师也希望记录美国的风景。
她的著作和摄影作品收藏于耶鲁大学艺术画廊、现代艺术博物馆图书馆收藏、纽约大都会艺术博物馆沃森图书馆、洛杉矶县艺术博物馆图书馆收藏、亚利桑那大学创意摄影中心、罗格斯大学齐默尔艺术博物馆、英格尔斯图书馆和博物馆档案馆、克利夫兰艺术博物馆以及迈阿密大学罗威艺术博物馆等多家公共机构。
林顿获得了众多奖项和资助，包括亚伦·西斯金德个人摄影师奖学金、马萨诸塞州文化委员会奖学金、2021年临界质量前50名和先正达摄影奖。她已被提名为博物馆的莫德·摩根奖。
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BIO
For the past fifteen years, my photography in rural communities of the United States has explored the intersection of faith, labor, history, and the land. I am drawn to people and places that reveal subtle tensions, contradictions, and unresolved moments. My research-based practice yields bodies of work created over multiple years as I photograph contemporary rituals and traditions rooted in history, some of which are at risk of disappearing from the cultural landscape. My academic background in psychology makes me interested in portraying core aspects of the human condition, filtered through local contexts. In Bare Handed (2007–2021), I depict the connection between labor and spirituality, and the relationship of those practices to the history of the land in the U.S. I do this by photographing people working in tandem with their environments, using tools that have mostly been replaced by mechanization. These gestural portraits convey an elemental connection between humans and the land, sea, animals, and ritualized agricultural practices to which they remain committed.
While photographing for Bare Handed, I sought to resist long-standing art historical tropes of victimhood or suffering in representations of rural people, instead looking to portray people as empowered. Biblical and mythological allusions were created unexpectedly, leading me see that cultural visual memory is a vital aspect of my work. Often these references resulted from an arrangement of people, as in Lunch, PEAS Farm, Missoula, Montana, or a single gesture, as in Sienna, Turkey Madonna, Shutesbury, Massachusetts. “By incorporating recognizable symbols, Lynton invokes cultural memories, the touchstones that form us as individuals and unite us through shared experience,” writes art historian Terence Washington.
A year after starting this body of work, I moved from New York City to rural New England. This relocation reaffirmed a personal interest in living sustainably and my desire to continue telling stories about life in rural communities
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“Watching the Total Eclipse Across North America”The New York Times, April 8, 2024
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“Parsing American Style” New York Times, September 2021
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“I Saved an Abused, Broken Horse. Or Did She Save Me?” The Guardian, April 2022
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“Trader Joe’s Workers File for Election to Create Company’s First Union”The New York Times, June 2022
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“A Cautionary Tale of Workplace Harassment in the Cuomo Administration”The New Yorker, April 2021
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“Food for People Who Can’t Swallow Is the Ultimate Culinary Challenge”
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