new-york

Alec Soth

Yossi Milo Gallery

In 1999, photographer Alec Soth left his hometown of Minneapolis to take a voyage down the Mississippi River, and found on its banks a world at once ancient and brand-new. He discovered submerged mattresses in dark sloughs in Arkansas; mustachioed men in soiled jumpsuits in Minnesota; overstuffed easy chairs and old pornography in Iowa—the ingrown evidence, in other words, of a peculiarly American brand of dilapidated romance.

Soth’s work represents an old-fashioned kind of imagemaking, fitting into a long line of itinerant photographers running from Carleton Watkins to Robert Frank, all of whom prowled the nation’s byways and riverbanks in search of their now-iconic material. This tradition lost a little steam during the past two decades but has recently shown signs of rebirth, in the appreciation of artists such as Robert Adams, William Eggleston, Steven Shore, and Joel Sternfeld, as well

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