Anna Brody

Anna Brody is a photographer and feelings feeler currently based out of Tucson, Arizona. Her work focuses primarily on the tender hopefulness and deep hurts of a society buckling under the weighty remains of the ideologies of patriarchal religions, white supremacy, and colonial frontiersmen, which were buoyed and driven by mid-century warmongering and materialistic prosperity, and are now crumbling into late-stage capitalism and all its toxic byproducts.

Anna strives to both supplement and circumvent the shortcomings of our linguistic system with imagery that can represent, relate, and describe some of the many things that are not quite this but not yet that - people and places and moments who are waiting to become; with this work she hopes to honor their almost, and crystallize the quiet accomplishment of just being, now. Anna graduated magna cum laude with a B.F.A. from the Savannah College of Art and Design, and is now pursuing her M.F.A. in Photography, Printmaking, and Art and Visual Culture Education from the University of Arizona.

Her photographs have been exhibited internationally, and her series Edging, GA was most recently awarded as a winner of the 2017 PDN Photo Annual. She instagrams a lot, forms strong and hasty reactions to things a lot, gets enthusiastic and/or sentimental about things a lot, and goes jogging approximately once every two months or so.

I'm curious about examining the physical evidences of the concept of progress as an exclusionary narrative and barometer for the righteousness of an existence, and how that narrative has limited our ability to look around. Staring ever forward wearing blinkers larger than our/their own heads we/they (dominant humanity, powerful via generational theft, deception, and indoctrination) march in a straight line towards bottom/dead lines, things being right or wrong, and life as defined only in binary opposition to death. But what of everything that grows laterally, and exist simultaneously, around us? What about the inhabited lives of beings unconcerned with progress, to whom achievement attained through ambition and productivity goes unrecognized, uncelebrated?

“Twentieth-century scholarship, advancing the modern human conceit, conspired against our ability to notice the divergent, layered, and conjoined projects that make up our worlds. Entranced by the expansion of certain ways of life over others, scholars ignored questions of what else was going on. As progress tales lose traction, however, it becomes possible to look differently.”

-- Anna Lowenhaupt Tsing, The Mushroom at the End of the World

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