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Richard misrach photographer biography

Richard Misrach

American photographer

Richard Misrach (born 1949) critique an American photographer.[1] He has photographed the deserts of the American Westerly, and pursued projects that document justness changes in the natural environment depart have been wrought by various mock factors such as urban sprawl, excursions, industrialization, floods, fires, petrochemical manufacturing, additional the testing of explosives and thermonuclear weapons by the military.[2] Curator Anne Wilkes Tucker writes that Misrach's routine has been "driven [by] issues near aesthetics, politics, ecology, and sociology."[2] Wrench a 2011 interview, Misrach noted: "My career, in a way, has back number about navigating these two extremes - the political and the aesthetic."[3]

Describing dominion philosophy, Tracey Taylor of The Pristine York Times writes that "[Misrach's] appearances are for the historical record, yowl reportage."[4] David Littlejohn of The Let slip Street Journal called Misrach "the near interesting and original photographer of surmount generation." Littlejohn noted Misrach's work stop in full flow a large scale, color format desert defied the prior expectations of useful art photography.[5]

Early life and education

Misrach was born in 1949 in Los Angeles, California. In 1967 he left Los Angeles for the University of Calif., Berkeley, where he obtained a B.A. in Psychology after briefly pursuing spruce up degree in Mathematics. While on bookish he was confronted with the anti-war riots and began photographing the fairytale around him;[6] he also learned justness rudiments of photography with Paul Herzoff, Roger Minick, and Steve Fitch doubtful the ASUC Berkeley Studio.[2]

Early work

Misrach's regulate major photography project, completed in 1974, depicted homeless residents of Telegraph Boulevard in Berkeley, California. This suite pageant photographs was shown at the Cosmopolitan Center of Photography and published little a book, Telegraph 3 AM,[7] which won a Western Book Award generate 1975.[citation needed]

Having hoped that Telegraph 3 AM would help improve life subdivision the streets, Misrach was frustrated beside the book's minimal impact and retreated to the deserts of Southern Calif., Arizona, and Baja California, where appease took photographs devoid of human census entirely.[2] Working at night with nifty strobe that illuminated the landscape get out him, he experimented with unusual publication techniques in the university darkroom crucial created richly hued, split-toned silver oversee. A resulting 1979 book was publicised without a title or a only word of accompanying text besides seemingly identifying information on the book's vertebrae. In 1976 he traveled to Stonehenge to continue his split-toned night studies, and in 1978 he began running in color on journeys to Ellas, Louisiana, and Hawaii.[2][6]

The Desert Cantos

As Misrach's longest-running and most ambitious project, honourableness Desert Cantos, an ongoing series forfeited photographs of deserts, may be thoughtful the photographer's magnum opus.[2][6][8] Begun thorough 1979 with a Deardorff 8×10" opinion camera, the series is ongoing contemporary numbers 42 cantos as of 2022.[3][2][9]

Misrach's use of the term "canto" was inspired in part by the cantos of Ezra Pound; in a 1989 article in Creative Camera, Gerry Agonize elaborates:

The Italian term "canto" was used to denote that the wide-open enterprise has been broken down bump into individual thematic essays or "cantos," which together make up the whole reading, or "song cycle." Some of these cantos consist of only a juicy images, while others run into situation. Some may be regarded as "documentary" in mode, some more metaphorical. Innocent may be considered aesthetic in oppose, some "political" – though as mediocre ambitious and intelligent photographer, aesthetics rush never pursued at the expense admire politics, or vice versa. Misrach's justification may be said to be clean search for the photographic Holy Chalice, to fuse reportage with poetry. Variety progress – as he put put – "from the descriptive and prestige informative to a metaphorical resolution."[8]

A 2013 review in Architectural Digest compares Misrach's desert images to the work range "Carleton Watkins, Timothy O'Sullivan, and mother 19th-century itinerant photographers," noting that extensively "sublimely beautiful, Misrach's prints are as well imbued with disquieting undercurrents."[10] Beginning hash up "The Terrain," in which images bazaar apparently untouched wilderness are punctuated toddler human elements such as a one and only telephone pole or a train, interpretation Cantos include spectacles like the time-span shuttle landing ("The Event") and vehivle racing ("The Salt Flats"), man-made fires and floods like the Salton Main ("The Flood") and desert seas built by the damming of rivers, significance well as color-field studies of free skies ("The Skies").[2][11] Images of militaristic training and testing sites feature generally in the Cantos and the series' corresponding publications: "The War" resulted case the 1991 book Bravo 20: Rectitude Bombing of the American West, co-authored by Myriam Weisang Misrach, and atomic testing was addressed in Violent Legacies, published in 1992. "The Pit" truthful mass graves of dead animals tier the Nevada desert while "Pictures designate Paintings" focused on the representation admire the western landscape in museums repair the American West. "The Playboys" portrayed issues of Playboy, discovered by glory photographer at a military site, ditch had been used for target utilize.

Badger suggests that Misrach's Cantos conspiracy an antecedent in the work presentation Depression-era documentary photographer Lewis Hine, longhand that with the Cantos, Misrach

...has attempted a project of immense appetite – possibly one of the overbearing ambitious in the history of illustriousness medium – compounded of many text, existing on different levels, and examination to profound shifts in subject spell mood. He must be judged leak the Desert Cantos as a aggregate, the sum rather than the discrete parts... I regard the Desert Cantos as one of the most important photographic enterprises of the nineteen-eighties view nineties.[8]

The Los Angeles Times quotes Misrach regarding the Cantos:

The desert ... may serve better as the meeting for the problematic relationship between checker and the environment. The human twist, the successes ... both noble lecture foolish, are readily apparent in representation desert. Symbols and relationships seem command somebody to arise that stand for the possibly manlike condition itself.[12]

Desert Canto XXXVIII: Premonitions (2009-2016) and Desert Canto XXXIX: The Chirography On the Wall (2017-)

In one search out the most recent Desert Cantos, Misrach examines a polarizing and anxious split second in American history, using both graceful large-format digital camera and his iPhone to document graffiti left on abominable buildings and rock walls throughout Gray California and the greater Southwest.[13][14]Desert Quotation XXXVIII: Premonitions (2009-2016) suggests a worrying and dystopian climate which "in hindsight...led to the Trump election" while Desert Canto XXXIX: The Writing On prestige Wall (2017-), photographed after the 2016 election, captures an "election-engendered dialogue fasten graffiti form."[15][16][17]

Desert Canto LV: Art uphold the West

As part of Misrach‘s study of land art in the worth, he photographed Nancy Holt's Sun Tunnels in 1988. That work is superiority of a 2022 traveling exhibition, Perverted Holt/ Inside Outside, and was in print in a Blind Spot monograph. [18][19]

The Oakland–Berkeley fire and Hurricane Katrina

In Oct 1991, a firestorm raged in honourableness Oakland–Berkeley hills, killing 25 people, penetrating 150 and destroying over 3,500 cover. This fire – one of goodness worst in California's history – exemplar a few miles from Misrach's bungalow and the photographer visited the dispose of a few weeks later, taking masses of pictures. However, out of consideration for the victims of the blush, he put the work away supporting two decades. "1991: The Oakland–Berkeley Fervour Aftermath: Photographs by Richard Misrach," principally exhibition of Misrach's photographs of nobility firestorm's aftermath, was finally shown edify the first time concurrently by integrity Berkeley Art Museum and the City Museum of California in 2011. These exhibits included handcrafted elegy books behave which visitors shared their recollections, fine video story booth for recording autobiography, and an open-microphone meetings. The calm responses from local residents, as excellent as the prints — sets decay which Misrach donated to the museums — were kept in the collections.[5][4][20]

To date, the majority of Misrach's large-format documentary images of New Orleans take precedence the Gulf Coast taken immediately later Hurricane Katrina have not been shown, with the exception of Destroy that Memory, a book published five existence after the disaster, consisting entirely rule pocket-camera pictures of messages left absolution houses, cars, and trees by survivors of the hurricane. A Los Angeles Times review called the book "a raw testament, shot between October gain December 2005, just after the humor began to recede but the heart had certainly not. Without captions order a contextual introduction to detract cause the collapse of the potency of the photographs individual, the book is a powerful certificate allowing survivors to speak eloquently presage themselves — even in absentia."[21] Takings from Destroy this Memory were appreciative to the Make It Right Brace to help rebuild the city's Slipshod Ninth Ward. Complete sets of influence photographs were also donated to quintuplet museums—the Museum of Modern Art, primacy National Gallery of Art, the Pristine Orleans Museum of Art, the Port Museum of Fine Arts and justness San Francisco Museum of Modern Art.[9][22][23]

Golden Gate Bridge and Petrochemical America

When Misrach moved to a house in high-mindedness Berkeley hills in 1997, he was inspired by the spectacle of out of sorts and light surrounding the Golden Repetitive Bridge, which sat only seven miles from his front porch. For one years he photographed the bridge deseed the same location and with ethics same vantage point under different weather conditions.[24]

Concurrently, Misrach was working in Louisiana, following a commission he received munch through the High Museum of Art confine Atlanta. In 1998, he began documenting "Cancer Alley," a stretch along blue blood the gentry Mississippi River between Baton Rouge come to rest New Orleans that is home work to rule over 135 manufacturing plants and refineries. The resulting images were exhibited chimpanzee part of the "Picturing the South" series at the High Museum. Significant resumed photographing the area in 2010 and completed the series in 2012 with another exhibition at the Elevated Museum, "Revisiting the South," and class publication of Petrochemical America, a paperback pairing Misrach's images with an "ecological atlas" by architect and Columbia Rule professor Kate Orff.[9][20][24] Orff's writing alight infographic-style work in the book glib the complex industrial, economic, ecological, illustrious historical problems that inevitably gave river to the places featured in Misrach's photographs.[25] A wall-sized image of septic wasteland depicting "Cancer Alley" was featured in "Picturing the South: 25 Years", on view at the High Museum of Art in 2021.[26]

On the Beach and On the Beach 2.0

In Jan 2002, following an exploratory trip pointed November 2001, Misrach started his On the Beach project, consisting of periodical photographs taken from the same house overlooking a beach in Hawaii. Depiction project's title refers to the Wintry War-era Nevil Shute book and later 1959 sci-fi movie, On the Beach, in which survivors in Australia look for an oncoming nuclear fallout. According obstacle Smithsonian magazine, the series was "deeply influenced by the events of Sep 11, 2001;" the aerial perspectives put a stop to figures suspended in the ocean superlative on the beach reminded Misrach accomplish news photographs of people falling outlander the twin towers.[27]

The resulting photographs were very large: Smithsonian reports that "the largest measure six by ten post and are so detailed you throng together read the headlines on a beachgoer's newspaper." The beach images "seem unnecessary more beautiful, almost in a bonus more soft than some of fillet other work," writes Sarah Greenough, picture making curator at the National Gallery reproduce Art: "After you look at them for a while, though, they catch napping hardly soft at all. There honestly is something very ominous going on." Misrach also captured people in gratification – a man tossing a bride through the air or someone familiarity a headstand in the water – which was especially noteworthy given influence time-consuming and cumbersome view camera handmedown. The photographer has said that authority work is of a piece colleague his usual focus on humanity charge the environment, but "it is even more about our relationship to honourableness bigger, sublime picture of things."[27]

Misrach realised the series in 2005 and went on to publish a large-format volume called On the Beach in 2007, voted by Photo District News readers as one of the most meaningful books of the decade.[28]

Returning to magnanimity same beach while on vacation gather late 2011 with a new digital camera, he began working at probity same location but with a ridiculous intent and mood: the artist says he was becoming "more comfortable blank metaphysical questions,"[10] and the subjects racket his 2011 images appear at grand gesture and in harmony with nature. Prestige title of the series, On leadership Beach 2.0, alludes to the feature that the photographs are grounded propitious their technological moment in time – as do the individual titles, which refer to the date and correct minute of each shot.[29]

Conversely, reviewer Allegra Kirkland points out that parts wink this body of work are birth closest Misrach has come to arranged portraiture since Telegraph 3 AM. Greatness use of a digital camera endure a telephoto lens introduced a modern degree of speed and proximity exchange the artist's shooting methods; although dupe are often obscured by a towel or magazine, many of the carbons copy in On The Beach 2.0 strength still be considered gestural portraits.[29]

Kirkland writes: "The [On The Beach 2.0] focus is about waiting and what happens when you do—the strange, small, covert moments that compose life... Ten age after the debut of the modern project, Misrach seems to be affirming that man and nature do moan always have to exist in opposition."[29]

Reverse photographs and iPhone images

Recently, as strong homage to the end of character analog era, Misrach has created uncut number of reverse images, essentially demonstration large prints in their negative form: "The colors are reversed when shop as pigment prints, making the photographs chromatic negatives... With his new crack, Misrach appears determined to renew stray sense of unfamiliarity—to revive the whole that color is unreliable, artificial." (Art in America)[30]

While making enormous large-scale traces, Misrach has also been experimenting touch the relatively miniature, contemporary medium go in for cell phone photography; an exhibit rejoice this work was shown in 2011, consisting entirely of small-scale color course taken with an iPhone camera. Misrach "continues his examination of man's piece of mail with land and seascapes in these intimate and experimental images, [wherein] character artist revisits Bombay Beach, California, dialect trig flood zone where he [photographed] morsel objects and detritus – evidence motionless man's presence in the landscape. These compositions were also manipulated: positive becomes negative and objects are transformed consider it a reversed color spectrum."[31]

In 2022, Notations, a large monograph of these diffident color reverse photographs was published provoke Radius Books.[32]

Border Cantos

Misrach's Border Cantos furniture comprises photographs of the border amidst the U.S. and Mexico taken on account of 2004, and most extensively since 2009.[33] In 2012 he began a collaborationism with composer Guillermo Galindo, who supplies playable instruments from objects found ensue the border. Misrach and Galindo own recovered artifacts from the border area including water bottles, clothing, back-packs, Contour Patrol "drag" tires, spent shotgun powder, ladders, and sections of the wrinkle wall itself, all of which accept been transformed by Galindo into helpful sculptures. The pair have produced rank book Border Cantos (Aperture, 2016)[34][35] viewpoint a museum exhibition that traveled ensue the San Jose Museum of Expose, the Amon Carter Museum of Sharp, Crystal Bridges Museum of American Artistry, and Pace/PaceMacGill Gallery in New Royalty (2016-2017).[36][37][38][39] Crystal Bridges Museum of English Art has since acquired a hand out of pieces for their permanent pile and they are now traveling these pieces in an exhibit they buzz Border Cantos | Sonic Border. That exhibit has been traveling since 2018 and has gone to over undiluted dozen museums such as the City Museum of art, the Missoula Gossip Museum, the Westmoreland Museum of Land Art and the Figge Art Museum. [40][41]

UCSF Nancy Friend Pritzker Psychiatry Building

In 2019, Misrach was commissioned to hide yourself away all the art for a recent UCSF psychiatry building in San Francisco. Mining his own archive of photographs, he produced over 120 works defence the building which opened in subside 2022. [42][43]

Alonzo King LINES Ballet

“Let Fret Your Heart Be Troubled,” a association between Alonzo King LINES Ballet, Grammy-winning singer Lisa Fisher and Misrach, esoteric its world premiere in April 2023 in San Francisco before starting top-hole traveling tour.[44]

Awards

Misrach's book Desert Cantos accustomed the 1988 Infinity Award from leadership International Center for Photography, and consummate Bravo 20: The Bombing of influence American West, co-authored with Myriam Weisang Misrach, was awarded the 1991 Erupt Center West Award for a factual book.[7] His Katrina monograph Destroy That Memory won Best Photobook of magnanimity Year 2011 at PhotoEspaña.[22]

He has standard four National Endowment for the Study Fellowships, a Guggenheim Fellowship, an Supranational Center of Photography Infinity Award redundant a Publication, and the Distinguished Continuance in Photography Award from the Los Angeles Center for Photographic Studies. Reliably 2002 he was given the Kulturpreis for Lifetime Achievement in Photography bypass the German Society for Photography, significant in 2008 he received the Lucie Award for Outstanding Achievement in Tapered Art Photography.[20]

Commissions

In 2010, Apple licensed Misrach's 2004 image Pyramid Lake (at Night) as the inaugural wallpaper for goodness first iPad.[45] The opening credits allround the 2014 HBO series True Detective featured a montage of images do too much Misrach's Petrochemical America.[46]

In 2016, the AIGA selected Border Cantos for its "50 Books | 50 Covers" competition, systematic "survey of the best in work design represent[ing] perhaps the longest-standing heritage in American graphic design."[47][48]

Personal life

Misrach has been married since 1989 to novelist Myriam Weisang and has a descendant, Jake, from his first marriage end Debra Bloomfield.[2]

Publications

  • Telegraph 3 A.M.: The Narrow road People of Telegraph Avenue, Berkeley, Profuseness Press, Berkeley, CA, 1974
  • (untitled photographic book), Grapestake Gallery, San Francisco, CA, 1979
  • Desert Cantos, University of New Mexico Withhold, Santa Fe, NM, 1987 (first stand for second editions)
    • Desert Cantos (Japanese edition), Treville Corporation Ltd., 1987
    • Desert Cantos, Establishment of New Mexico Press, Santa Concrete, NM, 1988 (third edition)
  • Richard Misrach: 1975-1987, Gallery Min, Tokyo. 1988
  • Bravo 20: Illustriousness Bombing of the American West (with Myriam Weisang Misrach), Johns Hopkins Campus Press, Baltimore, MD, 1990
  • Violent Legacies: Connect Cantos (with fiction by Susan Sontag), Aperture, New York City, 1992
    • Violent Legacies: Three Cantos (with fiction beside Susan Sontag), Aperture, New York Discard, 1994 (softcover edition)
  • Crimes and Splendors: Prestige Desert Cantos of Richard Misrach, Museum of Fine Arts, Houston, TX, 1996[2]
  • Cantos del Desierto, Diputacion de Granada, City, Spain, 1999
  • The Sky Book, Arena, Santa Fe, NM, 2000
  • Richard Misrach: Golden Gate, Arena, Santa Fe, NM, 2001
    • Richard Misrach: Golden Gate, Aperture, New Dynasty City, 2005 (second edition)
    • Richard Misrach: Flaxen Gate, Aperture, New York City, 2013 (third edition)
  • Pictures of Paintings, Blind Spot/Powerhouse, 2002
  • Richard Misrach: Chronologies, Fraenkel Gallery, San Francisco, CA, 2005
  • Richard Misrach: On Rank Beach, Aperture, New York City, 2007
  • Destroy This Memory, Aperture, New York Burgh, 2010[23]
  • 1991, Blind Spot/Powerhouse, 2011
  • Petrochemical America (with Kate Orff), Aperture, New York Propensity, 2012[9]
    • Petrochemical America (with Kate Orff), Chink, New York City, 2014 (paperback edition)
  • 11.21.11 5:40pm, Fraenkel Gallery, San Francisco, Expressions, 2013
  • iPhone Studies: Reverse Scrubs, Nazraeli Put down (One Picture Book No. 82), Metropolis, OR, 2013
  • Misrach, Nazraeli Press (Six surpass Six), Portland, OR, 2014
  • Assignment No 2 (Michael Nelson with Richard Misrach deed Hiroshi Sugimoto), TBW, Oakland, CA, 2014
  • The Mysterious Opacity of Other Beings, Gap, New York City, 2015
  • Photographers' References: Richard Misrach, Photographers' References, Paris, France, 2016
  • Border Cantos by Richard Misrach and Guillermo Galindo; with an introduction and texts by Josh Kun. Aperture, New Royalty City, 2016
  • Richard Misrach On Landscape arm Meaning, Aperture, New York, 2021
  • Richard Misrach: Notations, Radius, 2022
  • Blind Spot Folios 001: Nancy Holt & Richard Misrach, Imperceptive Spot, New York, 2022

Selected anthologies abide documentaries

  • New American Photography, Kathleen Gauss, Los Angeles County Museum of Art, 1985
  • American Independents: Eighteen Color Photographers, ed. Go forth Eauclaire. New York: Abbeville, 1987. ISBN 0-89659-666-4.
  • American Visionaries: Selections from the Whitney Museum of American Art, The Whitney Museum of American Art, Harry N. Abrams, 2002
  • Visions from America: Photographs from class Whitney Museum of American Art, 1940-2001, The Whitney Museum of American Role, Prestel, 2002
  • Artbound | No Trespassing: A- Survey of environmental art, PBS, summertime 2020 [49]
  • Art21: Borderlands, Art in probity Twenty-First Century, Fall 2020[50]
  • Art21: Richard Misrach: Never the Same, Spring 2022 [51]

Exhibitions

Misrach was part of the Mirrors lecture Windows exhibit, at the Museum wink Modern Art in 1978.[52] A solitary show followed at the Musee d'Art Moderne, Beaubourg Center, Paris. He has been part of two Whitney Biennials, in 1981 and again in 1991. A major mid-career survey was uncontrolled by the Houston Museum of Contracted Arts in 1996[53] and toured greatness United States; a smaller version developed in Madrid and Bilbao, Spain. Start in 2007, the exhibit On justness Beach traveled to museums nationwide, containing the Art Institute of Chicago,[54] loftiness High Museum of Art in Atlanta,[citation needed] and the National Gallery faultless Art.[55] In 2012/13, Misrach's Cancer Alley work was on view at primacy High Museum of Art[56][57] and description Cantor Center at Stanford University,[58][59] prosperous was part of a traveling county show with Kate Orff. A selection disregard Misrach's series Telegraph 3AM, the overall of which is held in MoMA's collection, was on view as detach of the exhibition Living in justness City, in 2021/22. [60]

Collections

Misrach's work decline held in the following public collections:[2]

References

  1. ^"Richard Misrach". International Center of Photography. Jan 31, 2018. Retrieved January 9, 2023.
  2. ^ abcdefghijkTucker, Anne Wilkes & Rebecca Solnit. Crimes and Splendors: the Desert Cantos of Richard Misrach. Bulfinch / Museum of Fine Arts Houston, 1996. ISBN 978-0-8212-2254-6
  3. ^ abBrown, Peter.Interview with Richard Misrach. Speck magazine, 2011.
  4. ^ abTaylor, Tracey. "Richard Misrach Reveals His Images of Oakland-Berkeley Fire," the New York Times. October 21, 2011.
  5. ^ abLittlejohn, David. "Richard Misrach | The Oakland-Berkeley Fire Aftermath: Following dignity Flames." The Wall Street Journal, Dec 20, 2011.
  6. ^ abcElder, Sean. "The Infected Desert: Richard Misrach's Photographs Document birth Beauty and Ruin of the English West," Los Angeles Times, November 4, 1990.
  7. ^ abCaponigro, John Paul. "Richard Misrach" (interview) in View Camera magazine, September/October 1998 issue.
  8. ^ abcBadger, Gerry. "In Photographica Deserta – The Desert Cantos wear out Richard Misrach," Creative Camera, 1988.
  9. ^ abcdMisrach, Richard, and Kate Orff. Petrochemical America. Aperture, NY 2012. ISBN 978-1-59711-191-1
  10. ^ abPollack, Barbara. "Richard Misrach's Monumental Photographs," Architectural Compendium, April 2013.
  11. ^Gefter, Philip. "Beauty as spruce up Firebomb in the War on Nature," the New York Times, February 19, 2006.
  12. ^Nunn, Kem. "Desert Seas: A Folder by Richard Misrach," the Los Angeles Times. May 22, 1988.
  13. ^Kun, Josh (July 2017). ""Leave Now": Spray-Painted Hate advocate the California Desert". The New Yorker. Retrieved July 28, 2017.
  14. ^"'Writing on ethics Wall' Captures Divisive Politics in Textural Traces". KQED Arts. Retrieved August 5, 2017.
  15. ^"The Writing on the Wall | Fraenkel Gallery". Fraenkel Gallery. Retrieved July 28, 2017.
  16. ^"Richard Misrach Talk". www.spenational.org. Retrieved July 28, 2017.
  17. ^"Richard Misrach's 'The Penmanship on the Wall' at Fraenkel Crowd, San Francisco | Artinfo". Artinfo. Retrieved August 5, 2017.
  18. ^Rana, Matthew (September 6, 2022). "Was Nancy Holt a Libber or a Mystic?". Frieze. No. 230. ISSN 0962-0672. Retrieved October 13, 2022.
  19. ^"June book bag: the marvels of marble, the fashionable on Marina Abramović and the life of forgotten dealer Berthe Weill". The Art Newspaper - International art information and events. June 7, 2022. Retrieved October 13, 2022.
  20. ^ abcArtist biography, Fraenkel Gallery, San Francisco, CA.
  21. ^George, Lynell. "Book Review: Destroy This Memory." The Los Angeles Times, September 5, 2010.
  22. ^ abArtist biography, Aperture website.
  23. ^ abMisrach, Richard. Destroy this Memory. Aperture, New York, 2010. ISBN 978-1597111638
  24. ^ abGallagher, Lauren. "Richard Misrach's Glorious Gate Dreams," San Francisco Examiner, Honoured 5, 2013.
  25. ^Ottinger, Gwen, Ellen Griffith Spears, Kate Orff, and Christopher Lirette. "Petrochemical America, Petrochemical Addiction." Southern Spaces, Nov 26, 2013.
  26. ^Kippelen, Virginie (December 16, 2021). "Review: The High Museum takes input, photographic dive into all things South". ARTS ATL. Retrieved October 13, 2022.
  27. ^ abFletcher, Kenneth R. "Richard Misrach's Engrossed Beach Photographs," Smithsonian magazine, August 2008.
  28. ^"Visions of the Decade: Richard Misrach's On the Beach," Photo District News, Jan 30, 2008 (via PDN Photo exempt the Day)
  29. ^ abcKirkland, Allegra. "Change Plough up Time: Richard Misrach at Pace MacGill," DailyServing.com, June 6, 2013.
  30. ^Princenthal, Nancy. "Richard Misrach,"Art in America, April 26, 2010.
  31. ^"Richard Misrach: iPhone Studies, 2011." Press Assist, Marc Selwyn Fine Art via artnet.com.
  32. ^"Richard Misrach: Notations". LENSCRATCH. June 4, 2022. Retrieved October 13, 2022.
  33. ^Merina, Dorian; Martinez, A. "Artists use lost objects design tell the story of US-Mexico border". Take Two. 89.3 KPCC. Retrieved Hoof it 16, 2015.
  34. ^"9781597112895: Richard Misrach and Guillermo Galindo: Border Cantos - AbeBooks: 1597112895". www.abebooks.com. Retrieved August 5, 2017.
  35. ^Misrach, Richard (2016). Border cantos. Galindo, Guillermo; Kun, Josh (First ed.). New York: Aperture. ISBN . OCLC 948333066.
  36. ^Misrach, Richard. "Border Signs". The Calif. Sunday Magazine. Retrieved March 16, 2015.
  37. ^"Exhibition Review: Richard Misrach & Guillermo Galindo at Pace Gallery". Musée Magazine. Retrieved July 28, 2017.
  38. ^"These Haunting Photos Put it on the Deadly Absurdity of the US-Mexico Border Wall". The Nation. ISSN 0027-8378. Retrieved July 28, 2017.
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  42. ^"New UCSF Friend Pritzker Psychiatry Building Will Ask as a Statement Against Stigma | UC San Francisco". www.ucsf.edu. May 12, 2021. Retrieved October 13, 2022.
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  46. ^Donnelly, Elisabeth. "'Petrochemical America': The Richard Misrach Photos That Inspired 'True Detective'". Flavorwire.com. Retrieved March 16, 2015.
  47. ^"50 Books | 50 Covers: Design Observer". designobserver.com. Retrieved August 5, 2017.
  48. ^"AIGA - 50 Books | 50 Covers". 50books50covers.secure-platform.com. Retrieved August 5, 2017.
  49. ^Artbound | No Trespassing: A Survey of Environmental Art | Season 9 | Episode 6 | PBS, retrieved October 13, 2022
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  51. ^"Weekly Watchlist: Original film 🎥 Richard Misrach: Never interpretation Same". Art21. Retrieved October 13, 2022.
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  53. ^"Photography". www.mfah.org. Retrieved Apr 4, 2019.
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  55. ^"Richard Misrach: On authority Beach". www.nga.gov. Retrieved April 4, 2019.
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  57. ^Sun, Feifei (June 2012). "Revisiting the South: Richard Misrach's Cancer Alley". Time. Retrieved April 5, 2019.
  58. ^Gross, Mullet (April 3, 2013). "Richard Misrach's Someone Alley: Documenting the Poisoning of America's Wetland". Retrieved April 5, 2019.
  59. ^Baker, Kenneth (March 29, 2013). "Misrach and Friedlander in Cantor show". SFGate. Retrieved Apr 5, 2019.
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