“Twelve Photographers Look at Us.” Philadelphia Museum of Art Bulletin 83, nos. Campany, David. Bright, Susan. Vienna: Verlag für modern Kunst, 2017. New York: Ivy Hill Corporation, 2002. 56, no.11 (November 1977): cover, 16–24. “Photographer Joel Sternfeld: Close Encounters.” The Guardian, 17 October, 2008. “On the Road.” Exit, no. Ewing, Edward A. 22 (1 June 1987): 12. Of People and Places, exh. Smee, Sebastian. When Color Was New: Vintage Photographs from around the 1970s. “And the Winner Is . Eskildsen, Ute, and Alberto Martín, eds. Interview, Metropolis, www.arte.tv, August 15, 2009. Christchurch, New Zealand: Pegasus Press, 1972. Badger, Gerry. The Thames & Hudson Dictionary of Photography. Wolinski, Natacha. Chadwick, Susan. 8 (2008): 11. “Photo España: The Landscape as a Problem.” ArtNexus 6, no. Foerstner, Abigail. “Joel Sternfeld: The Photograph’s Gallery.” Art Newspaper, January 2003. “‘Prospects’: Promise and Pain in the USA.” USA Today, 7 April 1987. Jacobs, Steven and Frank Maes. Boston: David Godine Publisher, 1979. 2018, Tokyo Photographic Art Museum, Tokyo, Japan; Taiwan National Museum of Fine Art, Taichung, Taiwan, The Arcades: Contemporary Art and Walter Benjamin, Jewish Museum, New York, NY*, Collected, Pier 24 Photography, San Francisco, CA*, Watershed: Contemporary Landscape Photography, Jepson Center, Telfair Museums, Savannah, GA*, The Edge of the Earth: Climate Change in Photography and Video, Ryerson Image Centre, Ryerson University, Toronto, Canada*, Land/Leute aus der Fotosammlung der Albertina, The Albertina Museum, Vienna, Austria, Landscapes after Ruskin: Redefining the Sublime, Curated by Joel Sternfeld, Hall Art Foundation, Reading, VT, Magical Surfaces: The Uncanny in Contemporary Photography, Parasol Unit, London, England*, Seht, da ist der Mensch / Behold the Man, Baumwollspinnerei Leipzig, Leipzig, Germany*, Total Records: Vinyl & Photography, Rencontres d’Arles, Arles, France; C|O Berlin, Berlin, Germany;, Fundación Foto Colectania, Barcelona, Spain, The Open Road, Aperture Foundation, New York, NY; Detroit Institute of Arts, Detroit, MI; Crystal Bridges Museum of American Art, Bentonville, AR; Amarillo Museum of Art, Amarillo, TX; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL; Blanton Museum of Art, University of Texas at Austin, Austin, TX*, No Place Like Home: Selections From the Sue and John Wieland Collection of Contemporary Art, Brigham Young University Museum of Art, Provo, UT, River Crossings: Contemporary Art Comes Home, Thomas Cole National Historic Site, Catskill, NY*, American Scene Photography: Martin Z. Margulies Collection, NSU Art Museum Fort Lauderdale, Fort Lauderdale, FL*, Blue Sky: The Oregon Center for the Photographic Arts at 40, Portland Art Museum, Portland, OR*, Luxus der Einfachheit: Lebensformen Jenseits der Norm, Münchner Stadtmuseum, Munich, Germany, FO.KU.S Foto Kunst Stadtforum, Innsbruck, Austria*, Frontier Visions: The American West in Myth and Image, Bowdoin College Museum of Art, Brunswick, ME, in/humano, Museo de Arte Contemporáneo de Monterrey, Centro Monterrey, Mexico*, Only the Good Ones: The Snapshot Aesthetic Revisited , Galerie Rudolfinum, Prague, Czech Republic*, Paper Roses: Garden-Inspired Works on Paper, Toledo Museum of Art, Toledo, OH*, Perfectly Strange, Worcester Art Museum, Worcester, MA, Road Trip: Photography of the American West from the Los Angeles County Museum of Art, Musée des Beaux-Arts de Bordeaux, Bordeaux, France*, Color! Madrid: Turner, 2008.Sternfeld, Joel. Power, 68-69, 124. Arles: Actes Sud, 2015. Bologna: Damiani, 2017. Museum Folkwang: Masterpieces of the Collection, 267. New York: Museum of Modern Art, 2015. 10 (6 June 2013): 27. “After the Fact: Joel Sternfeld’s On This Site,” Uncertain Histories: Accumulation, Inaccessibility, and Doubt in Contemporary Photography, 107-29, Oakland: University of California Press, 2015. Degener, Patricia. “Drawn by Nature’s Pencil.” Time Magazine 133, no. 706 (9–15 April 2009): 51. Gursky, Andreas. It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018).All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. Lettmann, Achim. Ezard. “A House is not a Home.” Newsweek, 21 October 1991: 62-63. Petaluma, CA: Singer Printing, 1982. cat. Stranger Passing. New York: Bullfinch Press, 2001. Traub, James. “On Cover Photographer Alec Soth.” BlackBook, October/November 2006: 34. Westerbeck, Colin. New York’s New Edge: Contemporary Art, the High Line, and Urban Megaprojects on the Far West Side, 104. “Salvation Mountain.” Cabinet, no. “Joel Sternfeld: Une vérité corrosive.” Beaux-arts magazine, April 2007: 182. The Essential Guide, 298. cat., 96–99. San Francisco: San Francisco Museum of Modern Art, 1996. [9], Sternfelds skeptische und zuweilen liebevolle Darstellung des damaligen Zeitgeistes, mit all seinen Schönheiten, Eigenarten und hoffnungsvollen Utopien, prägte eine neue fotografische Praxis und wurde für viele Künstler zu einem wichtigen Referenzwerk. It is a melancholic, spectacular, funny and profound portrait of America. Vicenza: Graphicom Italia, 2004. “The Citigroup Photography Prize,” Daily Telegraph, 24 January 2004. “Love, Or At Least Collaboration, Is in the Air,” The Times, 2 February 2004. New York: Harry N. Abrams: Museum of Modern Art, 2000. “Unfulfilled Utopias,” trans. “Art Basel: Roland Augustine.” Art and Auction, June 2004: 72. Modern Photography 40, no. Orlando: Orlando Museum of Art, 2017. O’Hagen, Sean. Robinson, Walter. Amsfoort: Kunsthal KAdE, 2012. The New Republic, 16 December 1981: 30. cat., image. Wiley, Chris. San Francisco: San Francisco Museum of Modern Art, 2009. 3 (Fall 2004). “To Look for America.” K. West- Das Kulturmagazin des Westens, July/August 2011. New York: Luhring Augustine, 2010. 182-185. Essen: Museum Folkwang, 2003. Kuhn, Thomas W. “Joel Sternfeld: Farbfotografien seit 1970.” Kuntsforum, September 2011: 334-336. Meyers, William. Heuer, Renko. “Restoration Art.” Sierra, May/June 2003: 48-49. Göttingen: Steidl Publishers; New York: ICP, 2003. “Joel Sternfeld im Museum Folkwang.” Kulterkenner.de, August 2011. “Joel Sternfeld at Daniel Wolf.” Art in America, Feburary 1982: 143. “Joel Sternfeld: Luhring Augustine.” Art in America, no. “From Home to Rome, New Photography Collections.” USA Today, 11 December 1992. Ehrlich, Gretel. Road Trip: Photography of the American West, exh. Bartel, Jörg. On the High Line. Chahroudi, Martha. Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. cat. Seville: Caja San Fernando, 2007. Kempen: teNeues Publishing Group, 2012. NM: The Center for American Places, 2006. .” Art and Auction, October 2004: 118–23. “Shelters for the Soul.” Seven, 22 October 2006: 18-21. cat., plate 40. The Art of Collecting Photography, 172–73. “The Landscape Photographs That Ansel Adams Wouldn’t Take.” Chinese Photography, no. Crossing the Frontier: Photographs of the Developing West, 1849 to the Present,exh. Eauclaire, Sally. Etholén, Katrina. 7 December 2005: 24-27. New Color/New Work, 238–53. Yochelson, Bonnie. “Nags Head, North Carolina, June 1st, 1956, 73 Degrees.” Aperture, no. Train Your Gaze (A Practical and Theoretical Introduction to Portrait Photography). New Haven, CT: Yale University Press, 1989. cat., 8-9. Françoise Buisson, Christell Lacassain-Lagoin, and Florence Marie, 395–416. Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience.Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. “On Joel Sternfeld’s Photography.” Art China, no. Place: New England Perambulations, exh. John. Polzer, Lydia. Tellgren, Anna, ed. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980). Richer, Francesca, and Matthew Rosenzweig, No. Plagens, Peter. 23-27. Angier, Roswell. “Paraíso Recordado, Paraíso Perdido.” Minerva, 2006: 88-100. “Life on the Road: Joel Sternfeld on Robert Adams.” PDN, June 2003: 144. Die Herausgabe eines Fotobands zur jeweiligen Werkgruppe unterstreicht dies. London: Thames & Hudson, 2015. “Road Trip: Joel Sternfeld’s Arizona.” Independent Magazine, 4 February 2012: 36–37, 39. cat., 111, 135, 151. “Art in Review.” New York Times, 28 December 2001.

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