contemporary landscape art

Trained as a photographer, Carol Bouyoucos has spent the last several years pushing past the camera’s claims to truth—folding her own images into AI systems, digital layering, and the slow accidents of computational misreading. The landscapes that emerge read as propositions about what nature might become once human authorship loosens its grip.Her recent work, increasingly ambitious in scale and mythic in register, marks a notable departure from the botanical and landscape series that established her vocabulary. In this conversation, she speaks about the terrain that shaped her eye, the painters and visionaries whose company she keeps, and the strange logic of making images in a moment when both ecosystems and pictures behave less and less predictably. What follows is a portrait of an artist thinking out loud about control, instability, and the worlds that emerge when she relinquishes both.

In Cynthia Daighnault’s exhibition at Olney Gleason, the walls are covered with different versions of the same subject: Denali, the tallest mountain in North America. A natural wonder and a national treasure at risk, Denali has lost over 60 percent of its glacier mass, and rising temperatures have accelerated permafrost thaw and disrupted local ecosystems, directly affecting the wildlife that depend on it. The paintings in this exhibition preserve their likelihood like the sculpture of the last three rhinos (by Gillie and Marc, now installed at 441 Ninth Avenue), but this documentation of endangered species contains an underlying criticism of American megalomania, without escaping the artist’s own American identity and ambitions. A big, beautiful white thing, Denali’s demise mirrors the nation’s uncertain future and the accumulative effect of its past.

Tag: contemporary landscape art

Carol Bouyoucos: Eden After Us

Call Of The Mountain