![]() How were the photographers and images curated and chosen to be in this book? As a curator, do you have a specific approach or rules you use?Ī: The aim was actually to avoid assembling a ‘who’s who’. Q: Each chapter explores a different photographer’s work including Joel Meyerowitz and Robert Frank. And through this you can really grasp the continuities and the changes in America and its pictures. ![]() So The Open Road brings together three or four generations, in conversation with each other. The other arts have had that disposition for a long time but it’s surprisingly recent in photography. It’s fascinating to see younger photographers responding to and developing challenges that were faced sixty, eighty, ninety years ago. But now is a very good time because photography finally has a mature and curious attitude to its own past. I was amazed that it hadn’t really been done before. ![]() So rather thinking about road trips and then looking for projects, I came at it the other way: wondering why the road trip has been so central to American photography. Why now? That’s what I wondered when my publisher Aperture invited me to put this book together. Q: The Open Road: Photography & the American Road Trip is the first book to explore the photographic road trip as a genre. What inspired you to bring the various photographers together in this book? Why do you think it’s important to examine this genre closely and why now?Ī: I began the book knowing that quite a lot of the very best photography made in America over the last century has been made on the road. Spanish version – En La Carretera, published by LA FABRICA Survey of photographic road trips in America, 1906 to the present.įrench version – Road Trips: Voyages photographiques à travers l’Amérique, published by Textuel
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