The New American Pastoral: Landscape Photography in the Age of Questioning -> Andy Grundberg in the New York Times →
The photographers seem to take a critical view of what they are depicting, although in some cases an ambiguous viewpoint is crucial to their success. John Pfahl’s are perhaps the most ambiguous and most engagingly complex pictures in the show. He has photographed nuclear power plants in warm, lambent light, giving them the look of transcendental, Hudson River School paintings. And in the series ”Smoke” he has pictured industrial smokestack emissions as if they were glorious clouds seen by the camera of the naturalist Eliot Porter or recorded by the brush of John Constable.
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