Everyone in Cincinnati’s artistic community knows Katherine Hurley. They have for a long time. In my own case, for just under ten years. And we all know her solid career and her exceptional body of work, delicate and subtle as few others.
I have always found it difficult to comment on the genre of landscape. Not because I do not like it, but because, when it reproduces what nature itself has taken millennia of patient execution to achieve...

Anyone who approaches Pedro Abascal’s photography and speaks with the author about the spontaneous nature of his scenes cannot help but think: he’s taking me for a fool. So accustomed have we become to an art of effects—an art frequently structured around spectacle, one that opportunistically deploys “the technological” to shield the fragility of its premises—that it feels like a deception when he claims he neither goes out hunting for images nor resorts to manipulation of any kind to produce photographs of such suggestive force...