• Sommer1
  • Doorknob_Venice_1992
  • Michael_New-York_1001
  • Sommer2
  • Ike_New-York_CircaEarly_1990s
  • Sommer3
  • Self-Portrait_Los-Angeles_Circa_Early_1990s
  • Lyle_Guadalajara_CircaMid_1990s
  • Sommer4
  • Lyle_Los-Angeles_Circa_Early_1990s
  • Self-Portrait_Rome_1992
  • Sommer5
  • Blacks-Beach_San-Diego_Circa_Mid_1990s
  • Ike_LA_Eyeworks_1995
  • Sommer6
  • Neon_Vancouver_1992
  • 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.