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Since the 1970s Rick Dingus has photographed “landscapes”: remote wilderness and rural settings, vernacular traces, urban environments, and ancient pathways that invite viewers to look closer, to think about how to interpret what they are seeing. Perception unfolds in many ways in this volume, whose photographs document Dingus’s lifelong exploration of the intersections of time, place, culture, and nature.
Dingus discusses his creative process in practical and philosophical terms through brief opening passages and an in-depth interview with art curator Peter S. Briggs. An introductory essay by curator Toby Jurovics considers Dingus’s oeuvre within the evolution of landscape photography from the nineteenth century to the present day—offering a view of the photographer’s art as “resilient enough to contain both empirical and metaphorical truth; the descriptive and the personal; the past and the present.” An essay by Shelley Armitage offers a more personal reflection on the experience of viewing the photographs. And art critic Lucy R. Lippard provides a chronology and sustained interpretation of Dingus’s work, with its emphasis on transformation and on “translating information across visual borders.”
Landscape is always with us, deceptively simple, yet capable of providing something much more. By examining the rich variety of Dingus’s work and reflecting on the evolution of ideas that lie behind it, Shifting Views and Changing Places invites readers to critically examine the pursuit of seeing.
Dingus discusses his creative process in practical and philosophical terms through brief opening passages and an in-depth interview with art curator Peter S. Briggs. An introductory essay by curator Toby Jurovics considers Dingus’s oeuvre within the evolution of landscape photography from the nineteenth century to the present day—offering a view of the photographer’s art as “resilient enough to contain both empirical and metaphorical truth; the descriptive and the personal; the past and the present.” An essay by Shelley Armitage offers a more personal reflection on the experience of viewing the photographs. And art critic Lucy R. Lippard provides a chronology and sustained interpretation of Dingus’s work, with its emphasis on transformation and on “translating information across visual borders.”
Landscape is always with us, deceptively simple, yet capable of providing something much more. By examining the rich variety of Dingus’s work and reflecting on the evolution of ideas that lie behind it, Shifting Views and Changing Places invites readers to critically examine the pursuit of seeing.
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