of the Contemporary South. Maria Martinez-
Canas employed post-modernist methods to incor-
porate photography into her abstractions. Rogelio
Lopez Marin, better known as Gory, was simulta-
neously a painter and photographer. Manuel Lla-
neras, in hisMARTAseries (1994–1995), conveyed
the sense of isolation among the lone passengers of
urban mass transit. Using her ‘‘theatre of mem-
ory,’’ Silvia Lizama documented the building of
Interstate 95 in southern Florida.
Connecting on a broader artistic level to a global
aesthetic, without alignment to any particular regio-
nal influence, non-traditional artists were using
photography in new and different ways. MANUAL,
the husband and wife team of Suzanne Bloom and
Ed Hill at the University of Houston, were among
the first to see and use the potential of the computer.
Utilizing digital printmaking capabilities, Maggie
Taylor created and built up stages out of her own
paintings, working in photography in new, surreal
assemblages. Jamie Cook completely discarded hav-
ing a large studio and instead his computer became
the studio within which he transformed landscape
viewsintodreamscapes.Paintingonherownphoto-
graphs, Corinne Adams used photography to ex-
plore the subconscious and the shadow concepts of
Carl Jung. Cecelia Kane became the subject of her
work, a combination of performance, film, and pho-
tography. Mapping and how space is delineated in
different cultures describes the conceptual installa-
tion work of Gregor Turk.
Since the onset of feminist issues, there has been
a growing strong contingent of women photogra-
phers dealing specifically with women’s issues.
Jeanne Collins visually examined her own experi-
ence with breast cancer inChemo Savvy or Where is
Tonto When You Really Need Her.In her large
scale assemblageHeavyseries, Jenny Clifton repre-
sented the cultural commodification of the body
and the other side of the diet/weight controversy.
Engaged in an ongoing collaboration with Melanie
Pavich-Lindsay, Lisa Tuttle created installations of
old photographs, text, and illustrations about race
and women, the past and the present. Nancy FloydWilliam Eggleston, Untitled [Memphis], 1970, Vintage Dye Transfer Print, 16 2000 , 40.6
50.8 cm, Ed. 20. Original in color.
[Courtesy Cheim & Read, New York]
UNITED STATES: THE SOUTH, PHOTOGRAPHY IN THE