Art in focus: ‘Terraforming’


For their “Geolocation” series, Nate Larson and collaborator Marni Shindelman take photos of banal sites, accompanied by captions supplied by anonymous tweets sent from those locations (identified by GPS information embedded in the messages). (Nate Larson and Marni Shindelman)

Read my review of the smart, provocative show, and check out a sampling of images from it after the jump.


Larson and Shindelman’s photos may be unpopulated, but there’s an implied presence of the Twitter users who unknowingly supply their captions. (Nate Larson and Marni Shindelman)

Photographer Victoria Crayhon creates poetry on unused marquees, posting her own haiku-like musings on romantic disappointment. Part of a diptych, this untitled photo contains the first half of one such “intervention.” (Victoria Crayhon)

Crayhon completes her thought on the flip side. (Victoria Crayhon)

Camp NoBeBoSco in New Jersey is the subject of Joshua Greer’s otherwise unremarkable photo, which is accompanied by a caption describing a series of horrible murders that happened there. In fact, the murders come from the plot of the horror movie “Friday the 13th,” which was filmed there. (Joshua Greer)

Greer’s caption for “Century Plaza Towers” says that Washington Post reporter Bob Woodward met his Watergate source, Deep Throat, here. That’s only sort of true. This parking garage is where the movie “All the President’s Men” was filmed. (Joshua Greer)

Priscilla Briggs’s photo-and-text combos comment on consumerism and the commodification of celebrity, as in this portrait of Chinese basketball star Yao Ming. (Priscilla Briggs)

Jordan Tate’s photos from his “On This Site” series play on the power of memory and the idea that our feelings about landscape are inseparable from the things that happened there. (Jordan Tate)
Born and raised in Washington, D.C., Michael O’Sullivan has worked since 1993 at The Washington Post, where he covers art, film and other forms of popular — and unpopular — culture.
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