Colin Edgington

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	<title>Colin Edgington</title>
	<link>https://colinedgington.com</link>
	<description>Colin Edgington</description>
	<pubDate>Sun, 14 Mar 2021 20:37:58 +0000</pubDate>
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		<title>Student Work</title>
				
		<link>https://colinedgington.com/Student-Work</link>

		<pubDate>Sun, 14 Mar 2021 20:37:58 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

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		<description>Student Work
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		<title>Personal Work</title>
				
		<link>https://colinedgington.com/Personal-Work</link>

		<pubDate>Sun, 14 Mar 2021 19:28:21 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

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		<description>Personal Work
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&#60;img width="868" height="1336" width_o="868" height_o="1336" data-src="https://freight.cargo.site/t/original/i/243ed953daa058c766d70938a823ef5aa7d19cc32bdf1bbd6aaa732b9bf99d03/Detail_futuregrove_No1.jpg" data-mid="102005003" border="0"  src="https://freight.cargo.site/w/868/i/243ed953daa058c766d70938a823ef5aa7d19cc32bdf1bbd6aaa732b9bf99d03/Detail_futuregrove_No1.jpg" /&#62;
&#60;img width="1420" height="1008" width_o="1420" height_o="1008" data-src="https://freight.cargo.site/t/original/i/2b19feea6d696e014bd18b30c5e7b84443402f476211953ba10e8d50c06c61b4/Snow-Grid.jpg" data-mid="102005933" border="0"  src="https://freight.cargo.site/w/1000/i/2b19feea6d696e014bd18b30c5e7b84443402f476211953ba10e8d50c06c61b4/Snow-Grid.jpg" /&#62;
&#60;img width="1400" height="1121" width_o="1400" height_o="1121" data-src="https://freight.cargo.site/t/original/i/e349e4d931f361f74654deb986608fa2e0ea38eec6b981ae643f93598b50e273/Rainfall.jpg" data-mid="102005932" border="0"  src="https://freight.cargo.site/w/1000/i/e349e4d931f361f74654deb986608fa2e0ea38eec6b981ae643f93598b50e273/Rainfall.jpg" /&#62;
&#60;img width="959" height="1440" width_o="959" height_o="1440" data-src="https://freight.cargo.site/t/original/i/a036d18b24f891a4cde8883166c5b2f6a36e71f1ab5de8838b8b1a069962ca7f/Mountain-CMYK_K.jpg" data-mid="102000534" border="0"  src="https://freight.cargo.site/w/959/i/a036d18b24f891a4cde8883166c5b2f6a36e71f1ab5de8838b8b1a069962ca7f/Mountain-CMYK_K.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Untitled 2016 - Present</title>
				
		<link>https://colinedgington.com/Untitled-2016-Present</link>

		<pubDate>Tue, 02 Jun 2020 18:29:47 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/Untitled-2016-Present</guid>

		<description>Untitled 2016 - Present
This body of work began out of my interest in the flow of images, the granular nature of things, and in process as a matter of thinking. This work is rooted in experimentation with digital and analog processes—a layering like that of history—and speaks directly to image consumption and collective memory.
Each work is built first by accumulating images (often with their peripheral existence in mind) from print and digital sources before running them through a process of manipulation by hand—drawing, cutting, staining, folding, etc—and digitally. A negative is produced and contact printed to film through a variety of means. Layers upon layers reflect the image as a mediation of experience and knowledge while pointing to notions of distance and rhythmic or transitory existences. The granular nature of each step exists in the final work: grain, dot-matrix, pixel, etc. 
This process is a dance between permanence and impermanence, control and accident, magic and purpose. Each final work stands alone as an image-object full of detail, history, process, mark-making, and digitization and ultimately draws out our relationship to the peripheral and fast images—each full of significant and latent meaning—that we consume every day.


&#60;img width="959" height="1440" width_o="959" height_o="1440" data-src="https://freight.cargo.site/t/original/i/aeec92a1474781605eb3f3e09398845486c4c90ae1aa615c321eff2f8565ca85/Mountain-CMYK_K.jpg" data-mid="95720377" border="0"  src="https://freight.cargo.site/w/959/i/aeec92a1474781605eb3f3e09398845486c4c90ae1aa615c321eff2f8565ca85/Mountain-CMYK_K.jpg" /&#62;
&#60;img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c02a8ff24f6a7a8070d9f5c86c3c3790ceb26238c87aec046795577ced643b88/Mountain-CMYK_K_detail.jpg" data-mid="95720380" border="0"  src="https://freight.cargo.site/w/800/i/c02a8ff24f6a7a8070d9f5c86c3c3790ceb26238c87aec046795577ced643b88/Mountain-CMYK_K_detail.jpg" /&#62;
&#60;img width="795" height="1000" width_o="795" height_o="1000" data-src="https://freight.cargo.site/t/original/i/657a8cf87ad226d133f2d67dc905b6065f1873a866856ab29083f580b547ebc0/The-Penthos-of-a-Man-on-the-Other-side-of-the-World-2012.jpg" data-mid="74649993" border="0"  src="https://freight.cargo.site/w/795/i/657a8cf87ad226d133f2d67dc905b6065f1873a866856ab29083f580b547ebc0/The-Penthos-of-a-Man-on-the-Other-side-of-the-World-2012.jpg" /&#62;
&#60;img width="953" height="1200" width_o="953" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a5d7bea5d35a0755f4f0852a226949f35be8826d08f7d40a0a93268db94b7229/Distance011b.jpg" data-mid="74650022" border="0"  src="https://freight.cargo.site/w/953/i/a5d7bea5d35a0755f4f0852a226949f35be8826d08f7d40a0a93268db94b7229/Distance011b.jpg" /&#62;
&#60;img width="1400" height="1749" width_o="1400" height_o="1749" data-src="https://freight.cargo.site/t/original/i/e7e71cd402a2097f7c6444f66b0973790c661e2cf3228e48e93cdd0d10c96b15/distance_20210502_0017.jpg" data-mid="121620247" border="0"  src="https://freight.cargo.site/w/1000/i/e7e71cd402a2097f7c6444f66b0973790c661e2cf3228e48e93cdd0d10c96b15/distance_20210502_0017.jpg" /&#62;
&#60;img width="1160" height="1452" width_o="1160" height_o="1452" data-src="https://freight.cargo.site/t/original/i/5414704c6dd1b97184577a48fc7f2cc42246f5fb05ef50d24ac6ef2f01594956/Screen-Shot-2021-05-24-at-1.39.20-PM.png" data-mid="121620110" border="0"  src="https://freight.cargo.site/w/1000/i/5414704c6dd1b97184577a48fc7f2cc42246f5fb05ef50d24ac6ef2f01594956/Screen-Shot-2021-05-24-at-1.39.20-PM.png" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>sweepings 2014 - Present</title>
				
		<link>https://colinedgington.com/sweepings-2014-Present</link>

		<pubDate>Tue, 02 Jun 2020 17:53:57 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/sweepings-2014-Present</guid>

		<description>Sweepings [2014 – Present]


Yesterday’s sweepings piled up on the sweepings of the day before yesterday and of all its days and years and decades. — Italo Calvino


In 2014, I began to make work inspired by adjuncthood. This ghostly living of coming-and-going from institution to institution, residence to hotel room, class to class, pointed to my existence as a transient intellectual laborer. Rather than photographing the spaces, I decided to sweep them and collected the dirt from the classrooms/labs that I taught and the spaces in which I lived. This was never a daily and consistent act. It was not a ritual but an existential meditation. The sweepings were done in isolation and the solitary nature of each weeping reflects the contingent and transient life.


The collected detritus and mote became material for photograms that I printed in the darkroom on gelatin silver fiber paper. In each print exists the random arrangement of the debris left by the people passing through each space and from the natural and man-made environments. The photograms then become another way to make a photograph specific about place, temporality, and identity. Each work contradictorily suggests and obscures its meaning. Each work is a portrait of the collective movement of all that pass through the space. Each plays with microcosmic and macrocosmic worlds, stretching from the minute to the infinite. This meditation extends to current works on the prints that I am building on with charcoal and paint; a mediation that (like the sweeping) becomes a space between a mental state of nothingness and the socio-political context in which the works are made.


&#60;img width="857" height="1200" width_o="857" height_o="1200" data-src="https://freight.cargo.site/t/original/i/5da61e589702ca3437535a302f4a4be28b4cbf5260cdb3c454086dd49ac1772c/sweepings064.jpg" data-mid="74050775" border="0"  src="https://freight.cargo.site/w/857/i/5da61e589702ca3437535a302f4a4be28b4cbf5260cdb3c454086dd49ac1772c/sweepings064.jpg" /&#62;
&#60;img width="863" height="1200" width_o="863" height_o="1200" data-src="https://freight.cargo.site/t/original/i/09254329d0e8721ad3db4d3930174d43e1427dc593029f8538018015594025e4/sweepings062.jpg" data-mid="74050777" border="0"  src="https://freight.cargo.site/w/863/i/09254329d0e8721ad3db4d3930174d43e1427dc593029f8538018015594025e4/sweepings062.jpg" /&#62;
&#60;img width="862" height="1200" width_o="862" height_o="1200" data-src="https://freight.cargo.site/t/original/i/12fdcf003245d609bb19e47440d6f57e517a279c0216485df09e3f29733d5807/sweepings051.jpg" data-mid="74050784" border="0"  src="https://freight.cargo.site/w/862/i/12fdcf003245d609bb19e47440d6f57e517a279c0216485df09e3f29733d5807/sweepings051.jpg" /&#62;
&#60;img width="852" height="1200" width_o="852" height_o="1200" data-src="https://freight.cargo.site/t/original/i/efd5767855cb4db4503b298458c416acecc465b37914f2d92cd5e72a4276fab0/sweepings041.jpg" data-mid="74050786" border="0"  src="https://freight.cargo.site/w/852/i/efd5767855cb4db4503b298458c416acecc465b37914f2d92cd5e72a4276fab0/sweepings041.jpg" /&#62;
&#60;img width="854" height="1200" width_o="854" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1cad33dbbdaeb0e5222baefb6fe0a723bb78a81c899cda563b60fab776d60deb/sweepings029.jpg" data-mid="75360134" border="0"  src="https://freight.cargo.site/w/854/i/1cad33dbbdaeb0e5222baefb6fe0a723bb78a81c899cda563b60fab776d60deb/sweepings029.jpg" /&#62;
&#60;img width="858" height="1200" width_o="858" height_o="1200" data-src="https://freight.cargo.site/t/original/i/1ac8469b54e5853f0f90aa43c1bce4fc9fa53fb2d1ae45a86201cc7ec28200ba/sweepings020.jpg" data-mid="74050812" border="0"  src="https://freight.cargo.site/w/858/i/1ac8469b54e5853f0f90aa43c1bce4fc9fa53fb2d1ae45a86201cc7ec28200ba/sweepings020.jpg" /&#62;
&#60;img width="851" height="1200" width_o="851" height_o="1200" data-src="https://freight.cargo.site/t/original/i/93a41369b895e279941e0211bcf6ff18e14436d23728e0cb125ad30955a133eb/sweepings045.jpg" data-mid="74050810" border="0"  src="https://freight.cargo.site/w/851/i/93a41369b895e279941e0211bcf6ff18e14436d23728e0cb125ad30955a133eb/sweepings045.jpg" /&#62;
&#60;img width="856" height="1200" width_o="856" height_o="1200" data-src="https://freight.cargo.site/t/original/i/dc8bf8e0d60e06e5fecaa1c50da43bacf8226c834db66277f6d46dfbca5c0e86/sweepings002.jpg" data-mid="74050818" border="0"  src="https://freight.cargo.site/w/856/i/dc8bf8e0d60e06e5fecaa1c50da43bacf8226c834db66277f6d46dfbca5c0e86/sweepings002.jpg" /&#62;


&#60;img width="3111" height="2219" width_o="3111" height_o="2219" data-src="https://freight.cargo.site/t/original/i/a8a8479ffb04f43a8256963f49f98c3e060635c97ce3c90fe933278fd0006ef4/Untitled.jpg" data-mid="74694673" border="0"  src="https://freight.cargo.site/w/1000/i/a8a8479ffb04f43a8256963f49f98c3e060635c97ce3c90fe933278fd0006ef4/Untitled.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>[umbrae]</title>
				
		<link>https://colinedgington.com/umbrae</link>

		<pubDate>Tue, 02 Jun 2020 17:53:57 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/umbrae</guid>

		<description>
	[umbrae] 


This body of work, haphazardly begun in 2011, details the journey of a man across an abandoned world inhabited only by shadows. It began when I discovered a photograph in a pawn shop in New Jersey. This photograph depicted a man—who I have come to name the "Unknown Wanderer" (or UW)—in an ice cave. On the back of each photograph were written numbers suggesting coordinates which led me to a spot in the High Desert of New Mexico. At this spot, I would discover a box, buried, full of other photographs, objects, and writings. 


[umbrae] project was awarded the Iowa Review Photography prize in 2013:&#38;nbsp;“His work whispers, makes you move in closer in hopes of hearing a secret,” wrote judge Alec Soth.


	Since discovering this collection, I have made it my mission to assemble, rephotograph, and reprint each image in earnest and to compile the writings with my own assessment of it all. As a collective, the body of work is called [umbrae]. The collection of photographs left by UW are henceforth known as the Shadow Archive (SA) due to the nature of its content, its dated appearance, and in UW’s own cryptic labeling system. I have deduced, through graphology and style, that each original photograph was made by the same individual (not to mention it was all contained in one box).


&#60;img width="800" height="619" width_o="800" height_o="619" data-src="https://freight.cargo.site/t/original/i/8173539fd3a7e646c5e6850521d34c583313532d2149ce9a86550a5d1bf4f6aa/0168-TU-020-SA_o.jpg" data-mid="74051724" border="0"  src="https://freight.cargo.site/w/800/i/8173539fd3a7e646c5e6850521d34c583313532d2149ce9a86550a5d1bf4f6aa/0168-TU-020-SA_o.jpg" /&#62;
&#60;img width="800" height="645" width_o="800" height_o="645" data-src="https://freight.cargo.site/t/original/i/e22e58f3a65b005d516ea95aaec0a286deddddcca2a222ffe74ce5bd8c3d174a/0657-TU-012-SA-light-on-horizon_o.jpg" data-mid="74052012" border="0"  src="https://freight.cargo.site/w/800/i/e22e58f3a65b005d516ea95aaec0a286deddddcca2a222ffe74ce5bd8c3d174a/0657-TU-012-SA-light-on-horizon_o.jpg" /&#62;
&#60;img width="638" height="800" width_o="638" height_o="800" data-src="https://freight.cargo.site/t/original/i/045d5293a1cf9d97e60a42369ccc2652a5757dce5e3225e042b9fd172a4fbc1d/1516-TU-017-SA_o.jpg" data-mid="74052056" border="0"  src="https://freight.cargo.site/w/638/i/045d5293a1cf9d97e60a42369ccc2652a5757dce5e3225e042b9fd172a4fbc1d/1516-TU-017-SA_o.jpg" /&#62;
&#60;img width="674" height="800" width_o="674" height_o="800" data-src="https://freight.cargo.site/t/original/i/3384aabd922576ad8423578a18a80f51a15b912b95829cf10920f70f79d9a418/0080-TU-015-SA_o.jpg" data-mid="74052081" border="0"  src="https://freight.cargo.site/w/674/i/3384aabd922576ad8423578a18a80f51a15b912b95829cf10920f70f79d9a418/0080-TU-015-SA_o.jpg" /&#62;
&#60;img width="800" height="608" width_o="800" height_o="608" data-src="https://freight.cargo.site/t/original/i/54429339cd175f644fb831e507cd336b45cf55876b26e9aff9ce62b49568a8f8/0200-TU-002-SA-shadow-WO-owner-and-dirt_o.jpg" data-mid="74051980" border="0"  src="https://freight.cargo.site/w/800/i/54429339cd175f644fb831e507cd336b45cf55876b26e9aff9ce62b49568a8f8/0200-TU-002-SA-shadow-WO-owner-and-dirt_o.jpg" /&#62;


Amongst the discoveries of photographs were various items: a journal, loose writings and sketches, objects, vials of soil and ash, and other things. I am slowly photographing these items as an anthropologist or archeologist might. They are labeled according to their material existence, Objects and Ephemera.


&#60;img width="928" height="1200" width_o="928" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fa007606104414940037c0736f76d31546f889f60afb923dc1c91953e32fa518/Object-no6-StrangeMineral.jpg" data-mid="74052223" border="0"  src="https://freight.cargo.site/w/928/i/fa007606104414940037c0736f76d31546f889f60afb923dc1c91953e32fa518/Object-no6-StrangeMineral.jpg" /&#62;
&#60;img width="941" height="1200" width_o="941" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f244b1e16db267cdd999c47f762720ed20d9fee35aa6da287902b5f75b3baa15/Writing-no.3-An-Energy.jpg" data-mid="74052199" border="0"  src="https://freight.cargo.site/w/941/i/f244b1e16db267cdd999c47f762720ed20d9fee35aa6da287902b5f75b3baa15/Writing-no.3-An-Energy.jpg" /&#62;
&#60;img width="1200" height="928" width_o="1200" height_o="928" data-src="https://freight.cargo.site/t/original/i/9245bc845532e41e8a200160bbdc324d25d3cd230709db34e667dc56a5bfc6d0/Drawing-no.3-Petroglyph.jpg" data-mid="74052255" border="0"  src="https://freight.cargo.site/w/1000/i/9245bc845532e41e8a200160bbdc324d25d3cd230709db34e667dc56a5bfc6d0/Drawing-no.3-Petroglyph.jpg" /&#62;

	
</description>
		
	</item>
		
		
	<item>
		<title>Fifteen Fujigrams 2015</title>
				
		<link>https://colinedgington.com/Fifteen-Fujigrams-2015</link>

		<pubDate>Tue, 02 Jun 2020 18:28:13 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/Fifteen-Fujigrams-2015</guid>

		<description>
	Fifteen Fujigrams [2015]

This small body of work contains a series of photograms made on instant film with a variety of random materials. Each work was made under a color enlarger and with a custom-made setup to hold the pack film in place and to allow me to pull it, thus putting into motion the development process. It is a singular work of multiples. 
	
	&#60;img width="1440" height="1152" width_o="1440" height_o="1152" data-src="https://freight.cargo.site/t/original/i/43d4ecbf29f4d34a6f236bcbe1c8d4d871181911724e009d220b8eb3b0f5ab7a/Fifteen-Fujigrams.jpg" data-mid="73296132" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/43d4ecbf29f4d34a6f236bcbe1c8d4d871181911724e009d220b8eb3b0f5ab7a/Fifteen-Fujigrams.jpg" /&#62;
&#60;img width="980" height="1200" width_o="980" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3a523b0ab3382ce109fa3b65663d79cb12d3204b34234e42233abaf0a62dc4f8/Fujigram010.jpg" data-mid="78733317" border="0" data-scale="84" src="https://freight.cargo.site/w/980/i/3a523b0ab3382ce109fa3b65663d79cb12d3204b34234e42233abaf0a62dc4f8/Fujigram010.jpg" /&#62;
&#60;img width="980" height="1200" width_o="980" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ce6aa9763633c381c0d9a83b424ca6591d92ecd778df9170fa2f897d52f78660/Fujigram007.jpg" data-mid="78733316" border="0"  src="https://freight.cargo.site/w/980/i/ce6aa9763633c381c0d9a83b424ca6591d92ecd778df9170fa2f897d52f78660/Fujigram007.jpg" /&#62;
&#60;img width="980" height="1200" width_o="980" height_o="1200" data-src="https://freight.cargo.site/t/original/i/80529d4d60f7bef69c5e353c469625be41901e62f141e8464270efbfbd7094b4/Fujigram005.jpg" data-mid="78733313" border="0"  src="https://freight.cargo.site/w/980/i/80529d4d60f7bef69c5e353c469625be41901e62f141e8464270efbfbd7094b4/Fujigram005.jpg" /&#62;
&#60;img width="980" height="1200" width_o="980" height_o="1200" data-src="https://freight.cargo.site/t/original/i/9adb2d67de3225ef7fb26c71c213bbef5d85245a92832f35412867b949ebb7c9/Fujigram002.jpg" data-mid="78733312" border="0"  src="https://freight.cargo.site/w/980/i/9adb2d67de3225ef7fb26c71c213bbef5d85245a92832f35412867b949ebb7c9/Fujigram002.jpg" /&#62;
&#60;img width="980" height="1200" width_o="980" height_o="1200" data-src="https://freight.cargo.site/t/original/i/3cd3e03956e3e65b8e71fce9d8cde9e9b44eb2b22939d77db7e22c81d46cd514/Fujigram014.jpg" data-mid="78733318" border="0"  src="https://freight.cargo.site/w/980/i/3cd3e03956e3e65b8e71fce9d8cde9e9b44eb2b22939d77db7e22c81d46cd514/Fujigram014.jpg" /&#62;
&#60;img width="980" height="1200" width_o="980" height_o="1200" data-src="https://freight.cargo.site/t/original/i/53dbfbbf796a96f53790782ec863a4d9986e2ec64d63166b9aebe85e62e4b94e/Fujigram001.jpg" data-mid="78733311" border="0"  src="https://freight.cargo.site/w/980/i/53dbfbbf796a96f53790782ec863a4d9986e2ec64d63166b9aebe85e62e4b94e/Fujigram001.jpg" /&#62;

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		<title>White Empty Earth 2008 - 2010</title>
				
		<link>https://colinedgington.com/White-Empty-Earth-2008-2010-1</link>

		<pubDate>Tue, 02 Jun 2020 17:53:58 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

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		<description>In early 2008, I began building sets as a response to the landscape as a constructed device, and nature as a human plaything, particularly concerning embedded colonial and imperial attitudes. Many images are inspired by old photographs or paintings (Constable's cloud studies and Steiglitz's equivalents for example), while some are invoked by dystopia, literature, and science. From 2008-2010 I built, staged, and photographed various views and ephemeral happenings that I ultimately called White Empty Earth. Here are a few works from that series.


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&#60;img width="1200" height="948" width_o="1200" height_o="948" data-src="https://freight.cargo.site/t/original/i/f93216b5849fdfc8ad35a04ecee51c94092c026356b16043c3542b34983418df/13Edgington_Personal Work_o.jpg" data-mid="74056557" border="0"  src="https://freight.cargo.site/w/1000/i/f93216b5849fdfc8ad35a04ecee51c94092c026356b16043c3542b34983418df/13Edgington_Personal Work_o.jpg" /&#62;
&#60;img width="1200" height="798" width_o="1200" height_o="798" data-src="https://freight.cargo.site/t/original/i/a7f1f6781bd80159dbbb891f5ecee5d2ed376221ddb9f48a4154474bab1fe493/12Edgington_Personal Work_o.jpg" data-mid="74056529" border="0"  src="https://freight.cargo.site/w/1000/i/a7f1f6781bd80159dbbb891f5ecee5d2ed376221ddb9f48a4154474bab1fe493/12Edgington_Personal Work_o.jpg" /&#62;
&#60;img width="1200" height="961" width_o="1200" height_o="961" data-src="https://freight.cargo.site/t/original/i/38a4eefac3804e461c966c55cb52d48324c47991f5a37a1865d6254e8dee31d9/15Edgington_Personal Work_o.jpg" data-mid="74056542" border="0"  src="https://freight.cargo.site/w/1000/i/38a4eefac3804e461c966c55cb52d48324c47991f5a37a1865d6254e8dee31d9/15Edgington_Personal Work_o.jpg" /&#62;
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	<item>
		<title>Homepage</title>
				
		<link>https://colinedgington.com/Homepage</link>

		<pubDate>Tue, 02 Jun 2020 17:53:59 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/Homepage</guid>

		<description>
	recent writing:
On Raymond Meeks’s and George Weld’s The Inhabitants, for Lenscratch. January 2025, web.
Confronting the Legacy of Photography’s Anti-Blackness, a review of Kimberly Juanita Brown’s Mortevivum. Aperture, July 2024, web.&#38;nbsp;

Between the Qualia, an essay for the catalogue&#38;nbsp;I Keep the Ladders Clean: 2024 MFA Thesis Exhibition.&#38;nbsp;USF
On Mire Lee’s “Black Sun” at The New Museum. FLASH ART. Print/Web
On&#38;nbsp;Alfatih’s &#38;nbsp;“Day in the Life” at the Swiss Institute. FLASH ART. Print/Web

On&#38;nbsp;Doreen Lynette Garner’s “REVOLTED” at The New Museum. FLASH ART. Print/Web

The Internal Place: The Call of New Mexico in the works of Esteban Cabeza de Baca, Patrick Nagatani, Lucy Raven, and Richard Tuttle for Southwest Contemporary, Vol.6: Rooted, Poetics of Place. Print/Web.&#38;nbsp;

An interview with Esteban Cabeza de Baca for the Brooklyn Rail. Print/Web.

On Photographing the Pandemic for Frieze Magazine. Print/Web.&#38;nbsp;
On Alec Soth’s A Pound of Pictures at Sean Kelly Gallery. Artforum. Web.

After 9/11, Do We Prefer Images to Reality? On David Levi Strauss and 9/11. Aperture.org. Web.&#38;nbsp;

On David Row’s recent paintings at Locks Gallery for The Brooklyn Rail. Print/Web.
On Angela Dufresne’s Long and Short Shots at Yossi Milo Gallery. ArtForum. Web.

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		<title>Information</title>
				
		<link>https://colinedgington.com/Information</link>

		<pubDate>Tue, 02 Jun 2020 17:53:59 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/Information</guid>

		<description>&#60;img width="1200" height="1122" width_o="1200" height_o="1122" data-src="https://freight.cargo.site/t/original/i/2616585a62dd70dab2236a6a1ea5c73212aecae86c4d3c7c8f8eef0767134433/Black-Dog-Test.jpg" data-mid="75172921" border="0"  src="https://freight.cargo.site/w/1000/i/2616585a62dd70dab2236a6a1ea5c73212aecae86c4d3c7c8f8eef0767134433/Black-Dog-Test.jpg" /&#62;
Nox (2005 - 2019), an ancient one who still wanders with me wherever I go.&#38;nbsp;


Contact: colin[at]colinedgington.com

I am a visual artist and writer originally from New Mexico, USA.&#38;nbsp;


My visual work has been exhibited internationally and published widely. My photographic novel [umbrae] was awarded the Iowa Review Photography Prize (juried by Alec Soth and Kathleen Edwards) and appeared on the cover, and in the pages of, the Winter 2013/14 issue.


My writings have appeared in The Brooklyn Rail, Artforum.com, Frieze magazine, Flash Art, MOMUS, Exposure magazine, Afterimage, and Minding Nature, among others. I have contributed essays to catalogues for many group and solo exhibitions and monographs including Patrick Nagatani’s Buried Cars (MNMpress: 2018).


I hold an MFA in Art Criticism and Writing from the School of Visual Arts, NYC (2016), an MFA in studio art from the Mason Gross School of Arts, Rutgers University (2010), and a BAFA in studio art from the University of New Mexico (2005). I am currently a member of AICA-USA and the Society of Photographic Education.&#38;nbsp;


Artist statement: 

The photograph is a site of collision in which ontological, epistemological, and phenomenological elements exist simultaneously. My practice is centered on this idea, this existence, of the photograph. Analog and digital elements are intermixed and layered among other forms of expression including writing, drawing, collage, sculpture, and video. Ephemerality plays a crucial role as a nucleus between the material and immaterial, thus providing a physical expression of the slipperiness I find so exciting about images and their effects on the greater sphere of cultural activity. Themes that are recurrent in my work range from notions of belief, memory, and fiction, to politics of labor, exploitation, and the environment.


</description>
		
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		<title>Writing</title>
				
		<link>https://colinedgington.com/Writing</link>

		<pubDate>Tue, 02 Jun 2020 18:30:50 +0000</pubDate>

		<dc:creator>Colin Edgington</dc:creator>

		<guid isPermaLink="true">https://colinedgington.com/Writing</guid>

		<description>&#38;nbsp;

	Books and Catalogues

&#60;img width="481" height="600" width_o="481" height_o="600" data-src="https://freight.cargo.site/t/original/i/2035942a21c4c53a396dfe35333cddefe88dd6e09198ad04cda48881fd1ed237/Buried-Cars.jpg" data-mid="75172433" border="0"  src="https://freight.cargo.site/w/481/i/2035942a21c4c53a396dfe35333cddefe88dd6e09198ad04cda48881fd1ed237/Buried-Cars.jpg" /&#62;
Patrick Nagatani, Buried Cars (2018) via MNMM press. Special thanks to Joseph Traugott for finalizing the piece after Nagatani’s passing.


&#60;img width="930" height="1424" width_o="930" height_o="1424" data-src="https://freight.cargo.site/t/original/i/e5054a637588aae46d5f725c8bda5087b08757b6914c5130c7d7abc1acf2f919/Screen-Shot-2020-07-30-at-10.50.50-AM.png" data-mid="78726954" border="0"  src="https://freight.cargo.site/w/930/i/e5054a637588aae46d5f725c8bda5087b08757b6914c5130c7d7abc1acf2f919/Screen-Shot-2020-07-30-at-10.50.50-AM.png" /&#62;
&#60;img width="926" height="1426" width_o="926" height_o="1426" data-src="https://freight.cargo.site/t/original/i/8d5a96684d4712026bab5c5a95da15c0fc4a2a98e9078071994414685cd4c56f/Screen-Shot-2020-07-30-at-11.37.25-AM.png" data-mid="78730451" border="0"  src="https://freight.cargo.site/w/926/i/8d5a96684d4712026bab5c5a95da15c0fc4a2a98e9078071994414685cd4c56f/Screen-Shot-2020-07-30-at-11.37.25-AM.png" /&#62;
&#60;img width="932" height="1426" width_o="932" height_o="1426" data-src="https://freight.cargo.site/t/original/i/72f66dd6b163947e2dccdc70f28a2730d0f3e8a22a2b4b737d7378adab4cce20/Screen-Shot-2020-07-30-at-11.40.17-AM.png" data-mid="78731065" border="0"  src="https://freight.cargo.site/w/932/i/72f66dd6b163947e2dccdc70f28a2730d0f3e8a22a2b4b737d7378adab4cce20/Screen-Shot-2020-07-30-at-11.40.17-AM.png" /&#62;
&#60;img width="930" height="1430" width_o="930" height_o="1430" data-src="https://freight.cargo.site/t/original/i/5d57293ef376fc312d6dbe6eaa045beb9a252289f57c2b7e14d085949fc68e66/Screen-Shot-2020-07-30-at-11.46.15-AM.png" data-mid="78731265" border="0"  src="https://freight.cargo.site/w/930/i/5d57293ef376fc312d6dbe6eaa045beb9a252289f57c2b7e14d085949fc68e66/Screen-Shot-2020-07-30-at-11.46.15-AM.png" /&#62;

Catalogue essay co-written with Brian Scott Campbell for No Place Gallery (2018).


&#60;img width="930" height="1306" width_o="930" height_o="1306" data-src="https://freight.cargo.site/t/original/i/1b21b9088b577f1c433016ff15734b465c539ba30c22fdb87229549cacf2a575/Screen-Shot-2020-08-16-at-4.47.11-PM.png" data-mid="80035396" border="0"  src="https://freight.cargo.site/w/930/i/1b21b9088b577f1c433016ff15734b465c539ba30c22fdb87229549cacf2a575/Screen-Shot-2020-08-16-at-4.47.11-PM.png" /&#62;
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&#60;img width="1846" height="1312" width_o="1846" height_o="1312" data-src="https://freight.cargo.site/t/original/i/97663ceaed1266a9a33185ab8c8a65cc80b307861f9c787a2cbad245c2640269/Screen-Shot-2020-08-16-at-4.49.56-PM.png" data-mid="80035441" border="0"  src="https://freight.cargo.site/w/1000/i/97663ceaed1266a9a33185ab8c8a65cc80b307861f9c787a2cbad245c2640269/Screen-Shot-2020-08-16-at-4.49.56-PM.png" /&#62;

when everything loses its edges and colours (2017) for A Field Guide to the Stars (Ballarat International Foto Biennale).&#38;nbsp;


	Below is a selection of recent writings and publications
2021
After 9/11, Do We Prefer Images to Reality? On David Levi Strauss and 9/11. Aperture.org. Essay.
On David Row at Locks Gallery, The Brooklyn Rail. Print/Web.
On Angela Dufresne’s Long and Short Shots, at Yossi Milo, ArtForum. Web.

2020An Eternal Telling of Some Kind of Dream. Brian Scott Campbell’s solo exhibition Home &#38;amp; Garden at Arts+Leisure. Exibition Catalogue essay.

What lives in the work, a response to artists writing about art for the Brooklyn Rail’s critics page, June 2020. Print.
Tom McGlynn At Present, the Brooklyn Rail, March 2020. Review. Print.&#38;nbsp;

2019
Dragging Through the Fire: On Erin Weirsma's Konza Prairie for Minding Nature: Fall 2019, Volume 12, Number 3. This work was a pared down version of an essay titled Stories on the Fire, included in the catalogue of Weirsma’s show at the Salina Art Center, KS.&#38;nbsp;Alec Soth’s I Know How Furiously Your Heart is Beating, the Brooklyn Rail, April 2019. Review. Print/web.
Esteban Cabeza de Baca's Worlds without Borders, his first solo show in NYC, via the Brooklyn Rail, June 2019 issue. Review. Print.Pedro Mesa's No One Listening at Creative Drive for the Brooklyn Rail, June 2019 issue. Review. Webex.


2018
&#38;nbsp;Juan Pablo Langlois: Afterwards no one will remember, at Cindy Rucker Gallery for the Brooklyn Rail, November 2018 issue. 

To the Pit of Things: On Patrick Nagatani and Mentorship, the Brooklyn Rail, September 2018 issue.
My "interview" with Patrick Nagatani featured in his monograph Buried Cars published by the Museum of New Mexico Press, and edited by Joseph Traugott.

As If a Field Could Become Some Dream, with Brian Scott Campbell. Catalogue essay, No Place gallery, Columbus, OH.

2017 When everything loses its edges and colors, catalogue essay for the exhibition “A FIELD GUIDE TO THE STARS” curated by Rebecca Najdowski, for 2017 Ballarat International Foto Biennale, Australia.

Let the World In Again: On Margaret Iverson’s&#38;nbsp;Photography, Trace and Trauma. exposure magazine, the Society of Photographic Education, September 2017 issue.

Hiding in Plain Site on Cordy Ryman's FREE FALL at Tower49 Gallery for the Brooklyn Rail, July/August 2017 double issue.

If There Be Any Art in the Weathers of This Earth, on Mark Steinmetz's South, at Yancey Richardson, NYC, for Degree Critical. - You can find the Spanish version, translated by José Peña Loyola, at Recodo.sx.

In Dream and Soil: A Conversation with Bea Nettles, Afterimage.

2016 
The Photograph is a Hinge: Taca Sui Traces a Cultural Slippage for Momus.

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