Adam Ekberg

Shadow and Eye

2010

Archival pigment print Signed and numbered on label, verso 13 x 19 inches, image (Edition of 10 + 2 APs) 20 x 30 inches, image (Edition of 10 + 2 APs) 27 x 40 inches, image (Editi...

Archival pigment print Signed and numbered on label, verso 19 x 13 inches, image (Edition of 10 + 2 APs) 30 x 20 inches, image (Edition of 10 + 2 APs) 40 x 27 inches, image (Editi...

Archival pigment print Signed and numbered on label, verso 13 x 19 inches, image (Edition of 10 + 2 APs) 20 x 30 inches, image (Edition of 10 + 2 APs) 27 x 40 inches, image (Editi...

Archival pigment print Signed, titled, and inscribed in pencil, recto 17 x 17 inches, sheet 11 x 11 inches, image This artwork is offered by ClampArt, located in New York City. Ro...

Archival pigment print Signed, titled, dated, and numbered on label, verso 11 x 11 inches (Edition of 7) 15 x 15 inches (Edition of 5) This photograph is offered by ClampArt, locat...

Archival pigment print (Edition of 5 + 2 APs) Signed, titled, dated, and numbered on label, verso This photograph is offered by ClampArt, located in New York City. Frances F. Denny'...

'Harvest Dance' Limited edition archival photograph. Unframed, hand signed and numbered _________________ Late August, captured in the glow of the evening sun, my daughters join han...

This fine art print features back of a woman wearing Yellow-Gray scarf, holding two of her babies. This image was shot by Dorte Verner in Djibouti, East Afr...

This Photograph features a beautiful Geisha walking it the rain holding a red umbrella. Geisha are Japanese women who entertain through performing the ancient traditions of art, danc...

This Photograph features a side-view of a beautiful Geisha walking in the rain holding a purple umbrella. Geisha are Japanese women who entertain through performing the ancient tradi...

Documentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...

The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...