Best known for her color aerial photography of the land, often after it has been pillaged, scarred and furrowed by extractive industries or worked over by agriculture, Terry Evans also gets down to ground level for her shots. In this reprise of her work of more than three decades, we see a variety of landscapes, from the Midwest prairie, where she began, to icy Greenland. Yet wherever she goes, Evans’ images always reveal a rough and ragged complexity that defies conventional expectations of pastoral bliss or awesome sublimity. The intensity of Evans’ distinctive style finds its climax in her least representative, but most impactful image: a head-on view of slag processed in a brick chamber at Indiana Harbor. White-hot light burns over the slag heap that sprouts glowing tendrils, bunched like sheaves of wheat, radiating out in twists and turns like unkempt hair and collapsing on the dirty floor like the flaming waste-products of a devil’s workshop. Evans carries this vision everywhere she goes. (Michael Weinstein)
Through October 27 at Catherine Edelman Gallery, 300 West Superior
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