Editor James Alinder: "In approaching the landscape, the problem faced by photographers has been seen as one of discovering and defining, within the four edges of the frame, equivalences between the land as raw material, the artist as a creative being and the potentials of the medium itself. When the artist is unsuccessful the viewer forms a direct relationship with the subject rather than with the photograph. At those other times when an equivalence is reached, however, the photograph becomes an image that transcends specific subject matter. While their subjects exist, these images are not literal. One of the enduring traditions within landscape photography has rested on this emotional alteration of the subject to make an image, but at the same time it has denied the option of any physical alteration of the landscape. John Pfahl has challenged that assumption by physically changing the pictured environment and by creating an extended series of altered landscapes. This series combines wit and elegance in ways that reaffirm our belief that art needs artists, not rules. To be sure, there have been those throughout the medium's history who have fabricated photographs. Intentionally creating subjects that previously existed only in the artists' mind they have moved closer to the strategies of other art media. While the fabrication of photographs has even become commonplace in recent years, no other body of work approaches Pfahl's in its conceptual and visual richness. Pfahl made the photographs contained in Untitled 26 during the second half of the 1970s. The series, Altered Landscapes, has proved to be very popular with curators, critics and collectors. We are pleased to bring a substantial number of them together in this volume...." Includes 48 full-color plates.
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