In this image, the photographer has taken a picture of an isolated area. It looks polluted and looks dead. There is no green grass to be seen, only dead/dried up grass which indicates that this area is very hot or that the sun shines here a lot. The photographer who photographed this probably has a very strong connection to this place, maybe something childhood linked, this is because this region looks mysterious and hidden. You can tell that it's hidden because you cannot see anything living in the frame. Furthermore, the vantage point is low, the angle we are viewing the photo at is knee-height. Also, this zone looks secluded and feels as if we are in the landscape. This landscape gives me a lonely feeling, the man/woman who took this probably felt comfortable and safe in this place so decided to take a picture. In addition to this, the photographer felt detached to the world and craved the need to zone out in a place with no people.
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This photo speaks a lot to me. I can see a man, probably a cowboy, riding a camarillo white horse on a mountain. I think that the man riding the horse is a cowboy, because of his hat and the whip he is holding in his hand. Also, the background is beautiful. The sky is bright ocean blue and the clouds have a velvet-white colour, but it looks like an overcast day. The photographer who took this photo, probably did not know the man riding the horse and just took the picture because they were mesmerised. The landscape was taken maybe on the same platform as the rider, as it has a high vantage point and feels like as if we are watching the horse-rider live. This image gives me a feeling of freedom, the fact that he's riding so confidently in an open space on a rocky mountain indicates the risk that he's taking.
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In Dionne Lee’s work, the landscape is a refuge as well as a site of trauma. It’s a dichotomy she recognizes as inherent in her own identity: “Holding those two truths at once...grounds me in understanding my relationship to those spaces.” Growing up in Harlem, near Central Park, Lee (American, born 1988) did not know about the history of Seneca Village, the 19th-century settlement founded by free Black Americans; later, they were forcibly removed from the land by eminent domain to make way for the construction of the park that would one day provide Lee’s first experience of the “natural world.” Now, making and teaching photography in Northern California, she examines the history of American landscape photography, asking questions about who captured these images of the land and what the images were used for. Lee’s works are created through manipulation and multiplication; among other methods, she utilizes double exposures, scanning, collage, and added graphite. The works are frequently an amalgam of images she’s taken and images she’s found, and she appreciates the ambiguity that exists between them. One source of her imagery is wilderness survival manuals, which are geared toward teaching skills; in other works, Lee practices and performs these skills herself, re-embodying the actions and signs that have been used by others for generations.
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