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Mitch Epstein: Sunshine Hotel


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About the Author

A pioneer of 1970s color photography, Mitch Epstein has photographed for half a century how we engage with our landscape. Epstein has won numerous awards including the Prix Pictet, the Berlin Prize and a Guggenheim Fellowship. His work is held in collections including the Museum of Modern Art and Tate Modern, and in 2013 the Walker Art Center commissioned a theatrical rendition of his "American Power" series. Epstein has conveyed the cultural and physical evolution of the United States from 1973 to the present in his Steidl books Family Business (2003), Recreation (2005), American Power (2011), New York Arbor (2013) and Rocks and Clouds (2017).


retrospective look at five decades of work that demonstrates even more dramatically than any single exhibition could the breadth and depth of his questioning of the troubled beauty of our shared and divided histories.--Barry Schwabsky "Brooklyn Rail "
Sunshine Hotel, offers a deftly curated selection from his complete oeuvre, all characterized by the timeless and multifaceted beauty Epstein is known for.--Amanda Benchley "1stdibs "
What emerges is that Epstein's deepest feelings are for the compromised landscape, and that he takes beautiful photographs...--Luc Sante "New York Times: Book Review "
Arranged out of chronological order by the editor Andrew Roth, the photos portray an artist with abiding curiosity, able to see both the personal and the political.--Hilary Moss "New York Times: T Magazine "
Sunshine Hotel, is a linear exploration of past and present reality, told through a visual narrative of the United States. Through his artistic craft, Epstein's work spans across the cultural, environmental, political, and social shifts of the nation, offering a detailed visual recounting of events, people, and places. As a pioneer of color photography, Epstein's cumulative work offers detailed insight into the complexities of America: the place, its ideas, and its people.--Rachel Cheung "Document Journal "
Epstein's study, aided by his large-format camera, combines topographic and social realism with picturesque conventions in ways that analogize the relationship between close observation and distant speculation, between the specificities of local realities and the abstractions of politics.--Drew Sawyer "Document Journal "
[Sunshine Hotel] threads recent photographs ... into an anachronistic sequence that heightens the connections between new and archival photographs.--Rebecca Bengal "Aperture "

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