In her ongoing project Love Is an Action Word, Liz Moskowitz documents “the transformative experience of equine therapy” among veterans and their families at the Broken Wheel Ranch Project in northeast Texas.
“As the grandson of a well driller, I learned at an early age that water does not originate from a faucet, nor simply disappear after going down the drain.”
The stark and vulnerable images in Byan Schutmaat’s project, Good Goddamn, follow his close friend, Kris, in the final evenings leading up to a five-year prison sentence.
Elijah Barrett’s collection, Rockport, chronicles the weeks and months following the devastation of Hurricane Harvey. His photographs reveal the devastation enacted upon the landscape, and give insight into the lives of those who are now suspended in a state of wondering what comes next, and who are left to make sense of what happened.
With a backpack full of disposable cameras, Micah Fields walked over a hundred miles of Houston—his hometown, a city notorious for its “unwalkability”—to capture its vibrant communities and surprising geographical “idiosyncrasies.”
With painstaking clarity, Dalton captures scenes from Louisiana bayous, small-town Alabama, and urban centers of Texas, documenting a pervasive sense of isolation across the South and the hope that defies it.
For Zachary McCauley, making a home in the South is a matter of welcoming the often overlooked, banal moments of the land and people.
I’ll See You On The Beach addresses sites that commemorate the American legacies of exploration, conquest, and the instillation of nationalism by way of stimulating displays.
