225 - Mitch Epstein

Mitch Epstein helped pioneer fine-art color photography in the 1970s. His photographs are in numerous major museum collections, including New York's Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art; The J. Paul Getty Museum in Los Angeles; the San Francisco Museum of Modern Art; and the Tate Modern in London.

In October 2024, Gallerie d’Italia in Turin, Italy will present a major multi-media exhibition of Mitch’s project, Old Growth; and in September 2024, Old Growth will be shown in NYC at Yancey Richardson Gallery. Mitch’s Indian photographs and films (Salaam Bombay! and India Cabaret) were exhibited in 2022 at Les Rencontres d'Arles festival in France. Mitch has had numerous other major solo exhibitions in the USA and worldwide.

Mitch’s seventeen books, all published by Steidl Verlag, include Recreation (2022); Property Rights (2021); In India (2021); Rocks and Clouds (2017); New York Arbor (2013); Berlin (Steidl/The American Academy in Berlin 2011); American Power (2009); and Family Business (2003), which was winner of the 2004 Kraszna-Krausz Photography Book Award.

In 2020, Mitch was inducted into the National Academy of Design. In 2011, he won the Prix Pictet for American Power. Among his other awards are the Berlin Prize in Arts and Letters from the American Academy in Berlin (2008), and a Guggenheim Fellowship (2003).

Mitch has worked as a director, cinematographer, and production designer on several films, including Dad, Mississippi Masala, and Salaam Bombay!. He lives with his family in New York City.

In episode 225, Mitch discusses, among other things:

• New York
• John Szarkowski at MOMA
• Editing
• India
• Garry Winogrand and his influence
• Going to LA in ‘74
• Working on the films of his then wife Mira Nair
• Trial and error
• Family Business
• American Power
• Old Growth

Referenced:

• John Szarkowski
• Eugene Atget
• Diane Arbus
• William Eggleston
• Todd Papageorge
• Raghubir Singh
• Jonas Mekas
• Hollis Frampton

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“Through disorientation, through not knowing, through being uncomfortable, things happen. And I think some of the most important periods for me in my life as an artist have been those periods where I have ultimately not known what I was doing or where I was going next. Now I’m a little bit better at just listening to the signals that come along, even though they may not give me the full-fledged answer they’ll just point in a direction. And I’m a little bit more patient with the process.”

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