Joel Sternfeld’s American Prospects is on display in London for the first time in 15 years, a body of work that documents the upheavals in America of the 70s and 80s, a land of wealth and poverty, full of surreal contrast.
Kansas City, Kansas, May 1983
There's a great American tradition of photographers setting off across the country to capture its landscapes and people as they move through times of crisis, metamorphosis and distress. And now, post-election, Trump in power, America's at a crossroads again. Or rather it's reached a fork in the road, and picked a direction, and now we're all just waiting to see what's down that dark road. In a time like this, it's interesting to look back, to help us navigate the way ahead.
From the Civil War, which was one of the first conflicts to be shot and documented, to Walker Evans' haunting and harrowing images of the Great Depression, which showed an indomitable spirit that survived amongst the ruins and poverty. Then there's the other side, something less obviously political, William Eggleston's surreal and saturated take on everyday life across the country, for example, or Robert Frank's exhaustive, almost sociological, document of America seen through his outsider's eye as he travelled across the country. Or even, in the 21st century, someone like Ryan McGinley, whose subjects find themselves free, lost in nature, far from the world. Joel Sternfeld's American Prospects, a series he worked on for over a decade, is a little bit of all of the above.
In 1978 he set off, like Robert Frank before him, to travel across the country and capture what he saw. His vision though, is singular. His pictures are made on a large format camera, relishing in detail and a soft vibrancy of colour, full of dramatic composition. They are landscapes, in one sense, big and open and full of plains and mountains and suburbs and cities. But together they form a portrait of America that's indispensable, and worth revisiting right now, in this political climate, as they go on display for the first time in the UK in 15 years, at London's Beetles + Huxley gallery.
The America Sternfeld found is full of the conflict between a new world and an old world, a society that swings violently between wealth and poverty, a society navigating a changing world, sometimes unsuccessfully. His America is one of post-industrial deprivation, hermetic enclaves of wealth, rural seclusion, suburban bliss. People are rarely the centrepiece of Sternfeld's photography though, which masterfully utilises them compositionally instead; but almost paradoxically the people form an emotional core of his work.
These aren't candid street snaps like Frank's work, but America's architecture, landscape, and inhabitants all give in easily enough to dramatise the shocking contrast the country personifies. Riches and ruins, a plastic fakeness, a gritty reality. Nature sprouting out of artifice.
The images show an America in a state of flux; crumbling, decaying, sometimes even on fire, and a new America that seems somehow too pristine and groomed next to it. It's a mix too, that highlights America's inequality.
Not that American Prospects is a staid document of photojournalism and reportage, Sternfeld's images throb with something larger than life, the America he captures is surreal under the prosaic, Lynchian and a little uneasy, queasy muted colours soften the harsh reality. It's this dynamic that give the pictures such power.
One image might show a new Ferrari on a quiet street next to an Afghan hound and an impeccable bed of purple flowers. Another a collapsing, snow covered, run down industrial park. One an impoverished young man, homeless, living in a campground, or a guy fishing next to a warship in Alabama. Another shows Americans at leisure, playing in a water park, another a classic, 80s archetype of a kid in a Journey shirt sitting atop a dented green hot rod.
His most famous shot, is maybe his most surreal though. Exhausted Renegade Elephant (try coming up with a better name for a photo) shows just that. On a country lane in Washington state, a collapsed elephant is being hosed down, surrounded by a small group of onlookers and a local sheriff. It's a picture that defies belief. Or another, incredibly famous and surreal image, in the foreground, smashed pumpkins outside a roadside market stall. In the back, a house on fire. Look closer at the market, and there's a fireman shopping for pumpkins.
America's a weird place, right?
Joel Sternfeld, Colour Photographs 1977 - 1988 is on display at Beetles + Huxley from today until 18 February.
Text Felix Petty
Photography © Joel Sternfeld, courtesy Luhring Augustine and Beetles + Huxley