• Sommer1

  • Doorknob_Venice_1992

    Doorknob, Venice, 1992, 2016

  • Michael_New-York_1001

    Michael, New York, 1991, 2016

  • Sommer2

  • Ike_New-York_CircaEarly_1990s

    Iké, New York, Circa Early 1990’s, 2016

  • Sommer3

  • Self-Portrait_Los-Angeles_Circa_Early_1990s

    Self Portrait, Los Angeles, Circa Early 1990’s, 2016

  • Lyle_Guadalajara_CircaMid_1990s

    Lyle, Guadalajara, Circa Mid 1990’s, 2016

  • Sommer4

  • Lyle_Los-Angeles_Circa_Early_1990s

    Lyle, Los Angeles, Circa Early 1990’s, 2016

  • Self-Portrait_Rome_1992

    Self-Portrait, Rome, 1992, 2016

  • Sommer5

  • Blacks-Beach_San-Diego_Circa_Mid_1990s

    Black’s Beach, San Diego, Circa Mid 1990’s, 2016

  • Ike_LA_Eyeworks_1995

    Iké, L.A. Eyeworks, 1995, 2016

  • Sommer6

  • Neon_Vancouver_1992

    Neon, Vancouver, 1992, 2016

  • Sommer7

By exhibiting this new suite of works from the Ektachrome Archive in conjunction with the large scale photomontages, Harris seeks to evoke a space in which temporalities collide, disrupting notions of history and memory as mere repositories, while activating their potential to reimagine a multiplicity of narrative readings. “Harris makes a map of visual and ideological connections . . . blending high criticality and personal narrative to suggest that all photography inherently carries representational meaning beyond the intent or making of the photographer,” notes critic Charlotte Cotton, former Head of the Wallis Annenberg Photography Department at the Los Angeles County Museum of Art and former Curator of Photography at the Victoria and Albert Museum, London.