nashville

Katy Grannan, Anonymous, Modesto, CA, 2014, ink-jet print, 58 1/4 × 44 1/2". From the series “The Ninety Nine,” 2011–.

Katy Grannan

Sherrick & Paul

Katy Grannan, Anonymous, Modesto, CA, 2014, ink-jet print, 58 1/4 × 44 1/2". From the series “The Ninety Nine,” 2011–.

Katy Grannan’s photographs in “The Ninety Nine and the Nine” captured the bleak geography along Highway 99, a road connecting Fresno, Modesto, and other mostly unbeautiful, sometimes destitute cities in California’s Central Valley. Culled from two series that jointly provided the show’s title, these photos took us beyond the usual clichés of California as a land of broken dreams; there were no lonely palm trees here, or vacant swimming pools. In her series “The Nine,” 2011–, Grannan presents large-scale, grainy, black-and-white landscape shots of highways, scrubby hills, church walls, and parking lots. The human figures in these mostly depopulated scenes are dwarfed by the vast surrounding streetscapes, with the exception of Wanda Stands Alone Under 9th Street Bridge, 2014—a striking night view in which a pair of bare, muscular, high-heeled legs are illuminated against a

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