1995 Conversations in the Park; Reggio Emilia, Ruberia, Italy
1997 Making Waves: The Sudbury River; New England
Science Center, Worcester, Massachusetts
Group Exhibitions
1975 New Topographics: Photographs of a Man-Altered
Landscape; International Museum of Photography,
George Eastman House, Rochester, New York
1978 Mirrors and Windows: American Photography since
1960 ; Museum of Modern Art, New York
1979 American Photography of the ‘70s; Art Institute of
Chicago, Chicago, Illinois
1981 American Landscapes; Museum of Modern Art, New
York, New York
1982 An Open Land: Photographs of the Midwest, 1852–1982;
Art Institute of Chicago, Chicago, Illinois and traveling
1985 Paris-New York-Tokyo; Tsukuba Museum of Photo-
graphy, Tsukuba, Japan and traveling
1987 American Dreams; Centro de Arte Reina Sofia,
Madrid, Spain
1988 The Second Israeli Photography Biennial; Mkshkan
Le’Omanut, Museum of Art, Ein Harod, Israel
Tradition and Change: Contemporary American Land-
scape Photography; Houston Center for Contemporary
Photography, Houston, Texas
1989 Photography Now; Victoria and Albert Museum, Lon-
don, England
Photography Until Now; Museum of Modern Art, New
York (traveled to the Cleveland Museum of Art, Cleve-
land, Ohio)
1993 Contemporary American Photography; Jingshan Tush-
uguan, Guangzhou, China
1995 From Icon to Irony: German and American Industrial
Photography; Boston University Art Gallery, Boston,
Massachusetts
1998 Expanded Visions: The Panoramic Photograph; Addi-
son Gallery of American Art, Andover, Massachusetts
1999 Pictures of Europe; DeCordova Museum and Sculp-
ture Park, Lincoln, Massachusetts
2002 Photographers, Writers, and the American Scene;
Museum of Photographic Arts, San Diego, California
A City Seen: Photographs from the George Gund Founda-
tionCollection;ClevelandMuseum ofArt,Cleveland,Ohio
Selected Works
Grain Elevator/Midway area, Minneapolis, Minnesota, 1972
Abandoned Grain Elevator/Homewood, Kansas, 1973
Landscape/near Littlefield, Texas, 1975
View Down Two Streets, Wichita Falls, Texas, 1978
Area Clear Cut Prior to 1980 Eruption Surrounded by
Downed Trees - Clearwater Creek
Valley - 9 Miles East of Mount St. Helens, Washington, 1981
Eroding Basalt—Near Allanche, Auvergne, France, 1986
Reservoir #3 on the Sudbury River–Framingham, Mass.,
January, 1990
Porta Marghera, 1996
Breezevale Cove, Rocky River; View North, 1997
Flushing, Queens, 2003Further Reading
Adams, Robert. ‘‘Frank Gohlke.’’Aperture86 (1982): 40–51.
Enyeart, James, ed.Visions of Passage: Photographers, Wri-
ters, and the American Scene. Santa Fe, New Mexico:
Arena Editions, 2002.
Gohlke, Frank. ‘‘Frank Gohlke,’’Aperture 98 (Spring 1985): 28–35.
Gohlke, Frank, and John Hudson.Measure of Emptiness:
Grain Elevators in the American Landscap, Baltimore,
MD: Johns Hopkins Press, 1992.
Gohlke, Frank,et al. The Sudbury River: A Celebratio, Lin-
coln, Massachusetts: DeCordova Museum and Sculpture
Park, 1993.
Gohlke, Frank.Linea di Confine della Provincia di Reggio
Emilia, Laboratoriodi Fotografia 7: Frank Gohlke, Parco
del Gigante. Rubiera, Italy: Comune di Rubiera and
Provincia di Reggio Emilia, 1995.
Jenkins, William, ed.New Topographics: Photographs of a
Man-Altered Landscape, Rochester, New York: Interna-
tional Museum of Photography, 1975.
Mescola, Sandro, ed.Identificazione di un Paesaggio: Vene-
zia-Marghera: Fotographia Transformazioni nella Citta`
Contemporanea. Milan, Italy: Silvana Editoriale, 2000.
Mission Photographique de la DATAR.Paysages Photo-
graphies. Paris: Editions Hazan, 1989.
Szarkowski, John.Frank Gohlke: Mount. St. Helens, 1981–
1990.New York: Museum of Modern Art, 2005.NAN GOLDIN
American
Nan Goldin’s color portraits of her bohemian com-
munity in the 1970s turned the intimate family
snapshot into an artistic genre and valid photo-
graphic art. Reappropriating the family medium
of the slide show and the photo album, Goldin
creates a visual diary of the private lives of her
chosen ‘‘family’’ of gays, lesbians, transgender peo-
ple, and others outside of mainstream society whom
she has photographed consistently over 30 years.
Her work with familiar characters known affect-
ionately as ‘‘the family of Nan’’ and her emotional
intensity are evocative of cinematic narratives, largeGOLDIN, NAN