Paul Graham

Artist lecture Wednesday, February 09, 2011 7PM
Timken Lecture Hall, California College of the Arts, San Francisco
Pittsburgh, 2004, from the series a shimmer of possibility

British photographer Paul Graham belongs to a group of photographers born in the 1950s who formed the last generation to engage with photographic practice before it became part of the contemporary art world.

Graham was among the first photographers to unite contemporary color practice with the classic genre of “social documentary.” In 1981–82 he completed A1—The Great North Road, a series of color photographs from along the length of the British A1 road. This work had a transformative effect on the black-and-white tradition that had dominated British art photography up to that point.

Graham’s work distinguishes itself by retaining a firm and full commitment to life as it unfolds—to an understanding that at its core photography begins with an unblinking engagement with the world. Embracing this crucial axiom of photography, Graham’s work affirms this central area of photographic practice by expanding its visual language, and questioning what photography can say, be, or look like.

He now lives and works in New York City.


Larry Sultan Visiting Artist Program

Pier 24 Photography is pleased to present the Larry Sultan Visiting Artist Program in collaboration with California College of the Arts and the San Francisco Museum of Modern Art. Each year, the Larry Sultan Visiting Artist Program brings six photographers, writers, and curators to San Francisco to offer free and open lectures, and to work one-on-one with students at California College of the Arts.


Larry Sultan Photography Award


Awoiska van der Molen, #256-17, 2009

Awoiska van der Molen

Fall 2017 Residency
Headlands Center for the Arts, Sausalito, CA

Click HERE for more information on the Larry Sultan Photography Award

The work of Awoiska van der Molen (b. 1972, Netherlands) develops from a desire to comprehend the core of the isolated world she photographs. In order to achieve the sense of solitude necessary to gain access to the stoic nature of the landscape, she spends long periods of time isolated in the natural environment. She takes time to experience the landscape and penetrates deep into the essence of the remote, hushed world created in her photographs. She immerses herself in the landscape, moves slowly, returns repeatedly and by doing so makes these unknown places her own. This gradual and solitary working process continues into the darkroom where her pictures are printed by hand—an intimate process—further imparting a unique stillness that emanates from her work.