25 Under 25 showcases twenty-five of America’s most promising photographers, twenty-five years old and younger. Illuminating and sometimes startling, the collection introduces work by an emerging generation of photographers at the start of their careers. These talented artists’ exploration of the medium is surprisingly sophisticated and engaging—their approaches to the art include photojournalism, highly personal essays, art constructions, candid snaps, portraits, still lifes, and photographs with a message. 25 Under 25 is a window into the dreams, anxieties, and ambitions of these innovative young photographers, of whom we will be seeing much more in years to come.
This vibrant collection reveals how these photographers are looking at the world and how they see themselves. Whether “straight photography” and documentary essays or highly personal and expressionistic stories, the work covers as broad a range of intriguing subjects and places as their titles suggest: “Dirt Track” (Andrew Rogers), “Cake and Hot Dogs” (Andreanna Lynn Seymore), “Working at Sloan” (Daniel Ramos), “Miss All-Star” (Colby Katz), “I Looked Like a Kid from Far Away” (Chana Warshauer-Baker), “Orphanage” (Misty Keasler), “Mother’s Unrealized Vacations” (Deirdre A. Scaggs), “Reason to Stare” (Hank Willis Thomas), “Postcards to Bangladesh” (Jason Goodman), “Between Monsoons” (Alex Ambrose), “After Midnight, Before Six A.M.” (Jen Moon), “Residue” (Isabelle Lutterodt), “Soviet Military Base, Former East Germany” (Brian McKee), “Harvard Works Because We Do” (Greg Halpern), “Broad Stripes, Bright Stars” (Kristin Posehn), “Under One Roof” (Jessica Ingram), “Abe” (Brett Myers), “Slight Apprehensions” (Laurel Ptak), “4th and Goal” (Kambui Olujimi), “Expressions of Self” (Justin Lively), “Spiritual Sites—A Caribbean Study” (Wyatt Gallery), “If I Could See Your Face I Would Not Need Food” (Eric Gottesman), “#36005-054” (Carrie Levy), “Lady Like” (Bayeté Ross-Smith), and “Girls’ School” (Laurel Nakadate).
This vibrant collection reveals how these photographers are looking at the world and how they see themselves. Whether “straight photography” and documentary essays or highly personal and expressionistic stories, the work covers as broad a range of intriguing subjects and places as their titles suggest: “Dirt Track” (Andrew Rogers), “Cake and Hot Dogs” (Andreanna Lynn Seymore), “Working at Sloan” (Daniel Ramos), “Miss All-Star” (Colby Katz), “I Looked Like a Kid from Far Away” (Chana Warshauer-Baker), “Orphanage” (Misty Keasler), “Mother’s Unrealized Vacations” (Deirdre A. Scaggs), “Reason to Stare” (Hank Willis Thomas), “Postcards to Bangladesh” (Jason Goodman), “Between Monsoons” (Alex Ambrose), “After Midnight, Before Six A.M.” (Jen Moon), “Residue” (Isabelle Lutterodt), “Soviet Military Base, Former East Germany” (Brian McKee), “Harvard Works Because We Do” (Greg Halpern), “Broad Stripes, Bright Stars” (Kristin Posehn), “Under One Roof” (Jessica Ingram), “Abe” (Brett Myers), “Slight Apprehensions” (Laurel Ptak), “4th and Goal” (Kambui Olujimi), “Expressions of Self” (Justin Lively), “Spiritual Sites—A Caribbean Study” (Wyatt Gallery), “If I Could See Your Face I Would Not Need Food” (Eric Gottesman), “#36005-054” (Carrie Levy), “Lady Like” (Bayeté Ross-Smith), and “Girls’ School” (Laurel Nakadate).
