Overview

In "Escape Routes / JWB," I retrace the escape route of John Wilkes Booth, as he fled from assassinating Lincoln at Ford’s Theatre in Washington DC to his death in confrontation with Union soldiers near Port Royal, Virginia. During Booth’s 12-day and approximately 75 mile flight, he struggled to understand why he was not greeted as a liberator and war hero. His flight lead to public trials of his conspirators and the federal government’s first hanging of a woman for her role in the plot.

Tracing his path 150 years later, the route fascinates me – it is now a mixture of urban living, declining suburbs, new housing developments, rural pockets of country living, and highway commuter culture. I see a microcosm of American culture reflected through my lens as I photograph and I ultimately hope to convey the complexity of contemporary life in the United States.

Overview

On the sesquicentennial of the start of the Civil War, I made portraits of the last remaining living witnesses to the historic battles, documenting their integration into the present.

Using historical documents, period photographs, and historic preservation resources, I visit, contemplate, and photograph these trees in their environments. These trees are fascinating to me – they were present as tens of thousands of Americans were killed in action, they stood silently next to Abraham Lincoln as he delivered the Gettysburg Address, and they inspired Walt Whitman to write about the amputated limbs heaped beneath their branches. They are as old as the photographic technology that I now use to record them, and function as a historical marker in a similar manner. My act of making contemporary color photographs marks the significance of these trees, recognizing the otherwise overlooked historical importance and maps the past forward into the present.

Overview

On the sesquicentennial of the start of the Civil War, I made portraits of the last remaining living witnesses to the historic battles, documenting their integration into the present.

Using historical documents, period photographs, and historic preservation resources, I visit, contemplate, and photograph these trees in their environments. These trees are fascinating to me – they were present as tens of thousands of Americans were killed in action, they stood silently next to Abraham Lincoln as he delivered the Gettysburg Address, and they inspired Walt Whitman to write about the amputated limbs heaped beneath their branches. They are as old as the photographic technology that I now use to record them, and function as a historical marker in a similar manner. My act of making contemporary color photographs marks the significance of these trees, recognizing the otherwise overlooked historical importance and maps the past forward into the present.

Overview

Overview

Overview

We use publicly available embedded GPS information in Twitter updates to track the locations of user posts and make photographs to mark the location in the real world. Each of these photographs is taken on the site of the update and paired with the originating text. Our act of making a photograph anchors and memorializes the ephemeral online data in the real world and also probes the expectations of privacy surrounding social networks.

This grouping of photographs was produced in summer 2011 during a residency at Third Space Gallery, Saint John, New Brunswick and first shown in a solo exhibition there in February 2012. The larger Geolocation project is produced in collaboration with Marni Shindelman. For the purposes of the Baker Award, I have selected photographs from my contribution to the collaborative project.

Overview

We use publicly available embedded GPS information in Twitter updates to track the locations of user posts and make photographs to mark the location in the real world. Each of these photographs is taken on the site of the update and paired with the originating text. Our act of making a photograph anchors and memorializes the ephemeral online data in the real world and also probes the expectations of privacy surrounding social networks.

This grouping of photographs was produced in January 2011 during a residency at the Walter N. Marks Center for the Arts, for a solo exhibition in April 2011. The larger Geolocation project is produced in collaboration with Marni Shindelman. For the purposes of the Baker Award, I have selected photographs from my contribution to the collaborative project.

Overview

We use publicly available embedded GPS information in Twitter updates to track the locations of user posts and make photographs to mark the location in the real world. Each of these photographs is taken on the site of the update and paired with the originating text. Our act of making a photograph anchors and memorializes the ephemeral online data in the real world and also probes the expectations of privacy surrounding social networks.

This grouping of photographs was produced in summer 2010 during a residency at QUAD Art Centre, Derby, UK for the Format International Photography Festival in March 2011. The larger Geolocation project is produced in collaboration with Marni Shindelman. For the purposes of the Baker Award, I have selected photographs from my contribution to the collaborative project.

Overview

We use publicly available embedded GPS information in Twitter updates to track the locations of user posts and make photographs to mark the location in the real world. Each of these photographs is taken on the site of the update and paired with the originating text. Our act of making a photograph anchors and memorializes the ephemeral online data in the real world and also probes the expectations of privacy surrounding social networks.

This project is produced in collaboration with Marni Shindelman. For the purposes of the Baker Award, I have selected photographs from my contribution to the collaborative project.