JUSTINE KURLAND
280 Coup
2012
Inkjet print
18 1/2 by 24 in. 47 by 61 cm.
Edition 1 of 6
JUSTINE KURLAND
Tigers on Cesar Chavez
2011
Inkjet print
18 1/2 by 24 in. 47 by 61 cm.
Edition 1 of 6
JUSTINE KURLAND
Rebuilt Engine
2013
Inkjet print
20 by 24 in. 50.8 by 61 cm.
Edition 1 of 6
JUSTINE KURLAND
Spray Fire Custom
2013
Inkjet print
20 by 25 in. 50.8 by 63.5 cm.
Edition 1 of 6
JUSTINE KURLAND
Sparrow Road Kill
2013
Inkjet print
11 by 14 in. 27.9 by 35.6 cm.
Edition 1 of 6
JUSTINE KURLAND
Car Show
2013
Inkjet print
11 by 14 in. 27.9 by 35.6 cm.
Edition 1 of 6
JUSTINE KURLAND
Stop Yield Do Not Enter
2013
Inkjet print
24 by 30 in. 61 by 76.2 cm.
Edition 1 of 6
JUSTINE KURLAND
After Darius Kinsey
2010
C-print
40 by 30 in. 101.6 by 76.2 cm.
JUSTINE KURLAND
Snake
2011
Digital C-print
19 by 23 in. 48.3 by 58.4 cm.
JUSTINE KURLAND
Donner Pass
2008
C-print
50 by 40 in. 127 by 101.6 cm.
JUSTINE KURLAND
Hemp Bracelet For Spanging
2008
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Prospecting the South Fork of the Platte River
2008
C-print
19 by 23 in. 48.3 by 58.4 cm.
JUSTINE KURLAND
Casper on the Back Porch
2008
C-print
19 by 14 1/2 in. 48.3 by 36.8 cm.
JUSTINE KURLAND
Astride Mama Burro, Now Dead
2007
C-print
40 by 50 in. 101.6 by 127 cm.
JUSTINE KURLAND
Doyle, CA: Cuervo saying it won't come and to quit so we can drive to the gas station and buy more wine
2007
C-print, ed. 1/6
40 by 50 in. 101.6 by 127 cm.
JUSTINE KURLAND
Waterfall Lesson, Drawing a Stick Figure
2007
C-print
40 by 30 in. 101.6 by 76.2 cm.
JUSTINE KURLAND
Ghost Town CSX
2007
C-print
14 1/2 by 19 in. 36.8 by 48.3 cm.
JUSTINE KURLAND
Walking The Rowena Dells
2007
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Mount Baker, Commanding View
2007
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Woman and Child on the Santa Fe River
2006
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Siskiyou Mountain Tea Party
2006
C-print
30 by 40 in. 76.2 by 101.6 cm
JUSTINE KURLAND
Sea Stack
2006
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Waterfall, Mama Babies
2006
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Sleeping Mermaids
2006
C-print
19 3/8 by 22 3/8 in. 49.2 by 56.8 cm.
JUSTINE KURLAND
Mama Baby, Ocean View
2006
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Pine Forest
2005
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
Witch Circle
2005
C-print
30 by 40 in. 76.2 by 101.6 cm.
JUSTINE KURLAND
The Burned Down Forest, Twisted Limbs
2004
C-print
40 by 50 in. 101.6 by 127 cm.
JUSTINE KURLAND
Fool of Moxie in Tin Canoe
2003
C-print
17 3/4 by 22 1/2 in. 45.1 by 57.2 cm.
JUSTINE KURLAND
The Pale Serpent
2003
C-print
40 by 50 in. 101.6 by 127 cm.
JUSTINE KURLAND
The Mud Puddle
2001
Satin finish UV laminated C-print on 1/8" Sintra
30 by 40 in. 76.2 by 101.6 cm.
b. 1969, Warsaw, New York
Lives and works in New York, NY
Justine Kurland is known for her utopian photographs of American landscapes and the fringe communities, both real and imagined, that inhabit them. A lifelong nomad, Kurland takes photographs during cross-country journeys that reveal the double-edged nature of the American dream. She presents a reality where utopia and dystopia are not polar opposites, but rather fold together in an uneasy coexistence. For her most recent exhibition at Mitchell-Innes & Nash, Sincere Auto Care (2014), Kurland returned to a purely documentary style in the tradition of Walker Evans, exploring two competing narratives: the car as an aspirational symbol of freedom, sex, the American Dream, and the bleaker daily life behind the scenes.
Justine Kurland was born in 1969 in Warsaw, New York. She received her BFA from School of Visual Arts, NY in 1996, and her MFA from Yale University in 1998. Her work has been exhibited extensively at museums and galleries in the U.S. and internationally. Museum exhibitions have included Into the Sunset: Photography's Image of the American West at the Museum of Modern Art, NY (2009) and Role Models: Feminine Identity in Contemporary American Photography at the National Museum of Women in the Arts in Washington, D.C. (2009). Kurland was also the focus of a solo exhibition at CEPA in Buffalo, NY (2009). Her work is in the public collections of institutions including the Whitney Museum, the Guggenheim Museum, and the ICP, New York; the Corcoran Gallery in Washington, D.C.; and the Museum of Fine Arts, Montreal.
All images © Justine Kurland.
As part of Topic's Federal Project No. 2: Re-examining America, Justine Kurland on Fulton, New York is published alongside Walker Evans on Altanta, Georgia from 1936.
Justine Kurland is featured in Fondation Cartier's Autophoto, an exhibition on the relationship between photography and the automobile.
Join us for the launch and book signing of Justine Kurland's Highway Kind on Tuesday, November 15 from 6 to 8pm at Dashwood Books.
Justine Kurland is featured in The McNay Art Museum's Telling Tales: Contemporary Narrative Photography.
I want to tell you why I sold my van. It’s not the first van I’ve left behind but it might be the last. I would like to publicly renounce a belief system that once seemed useful and true to me; I’ve outgrown the romantic escapism of this mode of travel. The boy who bought my van was excited to have it. He had just graduated from Bard and was planning to use it to drive to Marfa, where he had an internship. I felt like I was passing a baton. But exactly what kind of baton was it? Few things in the popular imagination are as symbolically loaded as cars. Or as guitars, for that matter. But let me start with vans.
American photographers and mothers Justine Kurland and Winona Barton-Ballentine make work about the search for self-defined space, from inside of the home to out on the road. In celebration of Winona Barton-Ballentine's site-specific Photo Walls n Picture Collection exhibition Wild Stainless, Kurland and Barton-Ballentine converse about how culture, gender, social class, and motherhood, among other things, affect the desire for self-reinvention through the shaping of one’s surroundings; and how this is explored in photography and literature.
Saturday, April 9, 2016
455 Fifth Avenue
Mid-Manhattan Library, Corner Room
2:30 - 4:30, free and open to the public
This collection-based exhibition comprises over 60 paintings, sculptures, photographs, and works on paper that explore the universal themes of labor and leisure in America from the 18th century to the present day. The works on view range chronologically from Benjamin West’s exposure of political corruption in the painting Oliver Cromwell Dissolving the Long Parliament (1782) to the photograph The Stone Breakers (After Gustave Courbet), 2013 by Vik Muniz. This recent acquisition by a leading contemporary artist who lives and works in Brooklyn and Rio de Janeiro is a recreation of the French 19th-century Realist Gustave Courbet’s radical celebration of the common laborer at work. A photograph of a collage using images torn from magazines, The Stone Breakers (After Gustave Courbet) is complemented by scenes of industrial and urban labor in the 20th century by Thomas Hart Benton, Stuyvesant Van Veen, and others. Their rural counterparts are seen in the wood engravings of Winslow Homer from the 1870s, as well as the prints of Clare Leighton in the 1930s, the cotton pickers of William Gropper in 1952, and others. In her three prints entitled Executive Tower, West Plaza, 1982, Ida Applebroog features self-absorbed business people, as she explored issues of contemporary urban identity in terms of isolation, alienation, and dehumanization.
In a true collaboration, Justine Kurland and John Yau shared photographs and poems throughout the making of Black Threads from Meng Chiao, each reacting to the work of the other many times over. The result is a revelation for each: Kurland’s intimate, almost claustrophobic, interior black-and-white images offer a new side of an artist known for large-format color pictures of landscapes both peopled and not; Yau’s spare, precise language is given room to reveal multiple layers of meaning over the three distinct formal sections that comprise the title poem.
Caption: Justine Kurland, [to be titled], 2015
FOTODOK and Het Nutshuis present a double exhibition with work by Lucas Foglia, Bertus Gerssen, Justine Kurland, Pavel Prokopchik and Corine Vermeulen.
Featuring the works of Catherine Opie and Justine Kurland, America in View reveals a nation's ambitions and failings, beauty and loss, politics and personal stories through about 150 photographs spanning nearly 150 years.
Photographs : photographs by Justine Kurland CEPA Gallery 617 Main Street Buffalo, New York June 27 - August 22, 2009 New York City based Justine Kurland was born in Warsaw, NY, and is returning to her Western New York roots for her first exhibition in the region.
Mitchell-Innes & Nash is pleased to announce Justine Kurland in Into the Sunset, opening March 29th at the Museum of Modern Art, New York. Into the Sunset brings together over 120 photographs made by a variety of photographers.
In Highway Kind, we see Justine Kurland's on-the-road photographs as if through a film of fantasy - a very masculine, very American fantasy, about freedom and self-reliance and the big wide open.
The celebration of motherhood hasn't been a favored subject for artists since Impressionism and the early-twentieth century movements on which its influence is immediately discernable.
It's difficult when you have a kid," the photographer Justine Kurland said. "If they're in a good mood, you can get work done. But if they're in a bad mood, you're at their mercy." Ms. Kurland is known for photographing people in American wilderness landscapes, but the scene this day was the rent-stabilized apartment she shares with Casper, her 2-year-old son, on the Lower East Side of Manhattan.
In new works at the Mitchell-Innes & Nash gallery in Chelsea, naked mothers and children roam along blustery coasts and through forests, imbuing the rough settings with an idyllic grace. "Having a baby has thrown me back to something knowable only to women, a certain immediacy and connectedness to this little being and by extension to many other beings," Kurland explains.
In her show "Songs of Experience," Justine Kurland offered a world of enchantment--outside the bounds of time and convention. The setting was a forest, pictured in dramatic large-scale Cibachrome prints, her first landscapes without people.
