On The Beach 2.0 by Richard Misrach
Richard Misrach is an American photographer "firmly identified with the introduction of color to fine art photography in the 1970s, and with the use of large-format traditional cameras". David Littlejohn of the Wall Street Journal calls Misrach "the most interesting and original American photographer of his generation," describing his work as running "parallel to that of Thomas Struth and Andreas Gursky, two German contemporaries." Littlejohn notes that all three used a large scale color format that defied the expectations of fine art photography at the time.
Misrach is widely recognized as "one of this century’s most internationally acclaimed photographers." He is perhaps best known for his depictions of the deserts of the American west, and for his series documenting the changes brought to bear on the environment by various man-made factors such as urban sprawl, tourism, industrialization, floods, fires, petrochemical manufacturing, and the testing of explosives and nuclear weapons by the military. Curator Anne Wilkes Tucker writes that Misrach's practice has been "driven issues of aesthetics, politics, ecology, and sociology." In a 2011 interview, Misrach noted: "My career, in a way, has been about navigating these two extremes - the political and the aesthetic." Describing his philosophy, Tracey Taylor of the New York Times writes that " images are for the historical record, not reportage."
Misrach has been married since 1989 to writer Myriam Weisang and has a son, Jake, from his first marriage to Debra Bloomfield.
He is represented by the Fraenkel Gallery in San Francisco, Pace/MacGill in New York, and Marc Selwyn Fine Art in Los Angeles.