Steve Fitch
Highway 90, Van Horn, Texas; March 24, 2006

Name: Highway 90, Van Horn, Texas; March 24, 2006
Brand: Steve Fitch
Price: 650 USD
Availability: InStock

About the Item

In “American Motel Signs” Steve Fitch crisscrossed the United States documenting the colorful dynamic, advertisements inviting weary traveler to park their car and pack it in for the night. Tinged with nostalgia, these delightfully garish motel signs lovingly recall a mid 20th Century road culture speaking to a sense of independence and freedom central to the contemporary American identity. A trained anthropologist, Fitch’s approach to “American Motel Signs” is almost scientific. A topology of form is created by photographing the signs from an observational distance with a democratic square frame inviting viewers to compare regional differences in detail, design, and landscape. For Fitch, much of his photographic work was inspired by childhood family road trips from Northern California to South Dakota and continues to focus on what the artist has termed the ‘vernacular of the journey’.

Creator:

Steve Fitch (1949, American)

Dimensions:

Height: 12 in (30.48 cm)Width: 12 in (30.48 cm)

Medium:

Archival Pigment

Movement & Style:

Contemporary

Period:

20th Century

Condition:

Gallery Location:

Sante Fe, NM

Reference Number:

1stDibs: LU13422697851

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Steve Fitch

After graduating from the University of California at Berkeley in 1971 with a bachelor's degree in anthropology, and while teaching photography at the ASUC Studio on the Berkeley campus, I began work on a project photographing the vernacular roadside of the American highway. I received two National Endowments for the Arts Fellowships to aid in the completion of this project, one in 1973 and the second in 1975. Eventually, the photographs were published in the monograph, Diesels and Dinosaurs, in 1976. After receiving a master's degree in fine arts from the University of New Mexico in Albuquerque in 1978 I accepted a teaching position at the University of Colorado in Boulder. In 1981, as a member of the "Marks and Measures" project, I began photographing prehistoric Native American pictographs and petroglyph sites in the American West. This project was partly funded by the last National Endowment for the Arts Survey Grant awarded in 1981. My work on the project, along with that of the other four project members, was published in a monograph, Marks in Place: Contemporary Responses to Rock Art, by the University of New Mexico Press in 1988. I received several purchase awards in various exhibitions for photographs made during this period. Partly as a result of the work I did for Diesels and Dinosaurs, I became interested in the artistic possibilities of neon and learned to fabricate my own neon pieces in 1981. I have made a number of neon installations over the past thirty years, several of which are permanently located in outdoor locations in New Mexico. In 1990, after teaching at Princeton University for four years in the Visual Arts Program, I returned to New Mexico and began photographing the ongoing abandonment of the high Great Plains receiving the Eliot Porter Fellowship from the New Mexico Council for Photography in 1999 to aid in the completion of this project. In 2003 a book of these photographs entitled Gone: Photographs of Abandonment on the High Plains was published by the University of New Mexico Press and a traveling exhibition of the photographs was organized by the University of New Mexico Art Museum. The entire exhibition of forty photographs was purchased by the Smithsonian American Art Museum in Washington, D.C. Since 1990 I have taught photography at the College of Santa Fe. Today, my wife and I live off the grid in a passive solar adobe house we constructed ourselves over six summers, beginning in 1984, on rural land in Santa Fe County, New Mexico. We use photovoltaic panels to meet all of our electricity needs and collect water in an extensive rainwater gathering system. Recently, I finished a project photographing in the Llano Estacado region of western Texas and eastern New Mexico. My work on the project, as well as that of five other photographers, was partly funded by a grant from the Southwest Collection at Texas Tech University and will be published in an upcoming monograph by Texas Tech University Press.