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Thomas Barrow, From the Series, Cancellations (from the New Mexico Portfolio), 1975 (printed 19…
Untitled (South of Albuquerque)
Thomas Barrow, From the Series, Cancellations (from the New Mexico Portfolio), 1975 (printed 19…
Thomas Barrow, From the Series, Cancellations (from the New Mexico Portfolio), 1975 (printed 1976), gelatin silver print, 9 1/8 x 13 1/2 in. Collection of the New Mexico Museum of Art. Museum purchase with funds from the public contribution box, 1978 (3957.23PH) ©Thomas Barrow. Photo by Blair Clark

Untitled (South of Albuquerque)

Artist (American, 1938-2024)
Date1975 (printed 1977)
MediumGelatin silver print
DimensionsImage: 9 × 13 1/2 in. (22.9 × 34.3 cm)
Support: 11 × 13 3/4 in. (27.9 × 34.9 cm)
Mat: 16 × 20 in. (40.6 × 50.8 cm)
ClassificationsPhotograph
Credit LineMuseum purchase with funds from the public contribution box, 1978
Object number3957.23PH
DescriptionA barren, landscape featuring a divided highway, shrubs, and mounds of dirt. Railroad tracks run parallel to the road in the background and a mountain range can be seen along the left horizon. Over the top of the landscape image is a white "X" that spans from corner to corner.
eMuseum Notes

Barrow began working on the series “Cancellations” after moving from Rochester, New York, to Albuquerque in late 1972. His ordinary looking views intentionally thwart the expectation that photographs should capture a spectacular vista or significant location. Also adopting this “deadpan” style in the late 1960s and early 1970s were photographers Lewis Baltz, Bernd and Hilla Becher, Ed Ruscha, who created multiple images of commonplace and utilitarian American spaces, rather than its landmarks. Barrow takes things a step further by inscribing an “X” across the face of his images, a bold gesture that shifts our attention from looking into the scene to the surface of the print, a flat piece of paper. The “X” carries a variety of cultural meanings, from the idea of cancellation, referred to in the series title, to standing as a legal signature. This untidy, disfiguring gesture can also be seen as a critique of the tradition of unmanipulated, purist photography and the growing mid-century market for fine prints. Ultimately, Barrow does not steer the viewer toward a single interpretation but leaves them pondering the ambiguities.

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