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2009— |
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2008—Amend
title carries Landin image “Allison Amend is a gifted storyteller whose view of contempory life is wonderfully acute, original, and surprising”. —Allison Lurie, author of Women
and Ghosts and The
Last Resort |
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| 2005—B&W ANNUAL 2005—Single Image Contest Award |
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Portraiture/Children
Merit Award Mistero 1 |
Metaphor/Abstract
Merit Award Mistero 24 |
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2003—B&W
Magazine—February, Issue 23—Cover and Spotlight article |
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1998—NEWCITY,
March 12, “Shows To See Now” Artemisia
Gallery |
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 Twenty-three
black-and-white images explore the limits of New Age spirituality and
the significance of symbolic objects —eggs, stars, conch shells—to
the artist’s children. New Age spirituality, a major tendency in contemporary photography, is brought to one of its limits in Nancy Landin’s twenty-three black-and-white images of her young Eurasian son and daughter posing with symbolic objects, such as cups, conch shells, eggs, candles, sticks and especially five-pointed stars. Landin’s photos are not portraits, but records of significant gestures, such as offerings, libations, salutes and prayerful meditations, from a nonexistent religion. Her children do not assert individuality against the generic meanings that Landin has programmed into her vignettes, but seem willingly to acquiesce in the role of archetypes. In the show’s best image, the only one that breaks with tranquility, Landin’s daughter, wearing a slightly parted white blouse, holds her hand over her breast below a broken starfish resting on her chest. |
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1994—Chicago
Reader, “On Exhibit: 20 small stories about Nancy Landin” |
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 Nancy
Landin calls her current series of photographs “Small Stories,”
because many of them suggest “magical” tales to her. Her subjects
are mysterious and suggestive: some leaves on a wall, a broken window,
an indistinct nude in gentle light. The colors are soft, supple, sensual,
with none of the glossy assertiveness of much conventional color photography—a
result of the unusual process she uses to print them. Read
the entire article |
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1993—NEWCITY, August 12—“Hearts and Bones” Artemisia Gallery “Hearts and Bones” silver gelatin portraits of young girls and women. In “Hearts and Bones,” her moving photographic series of funerary statues of women, Nancy Landin “sees the world of women through a lens of unresolved sorrow.” Taken close up, in clear but not sharp black-and-white, Landin’s subjects float in an uncertain zone between flesh and stone. The faces on the statues are reposeful yet deeply expressive of grief. They eternalize mourning. In one remarkable shot, Landin breaks the peace of sadness with a wild Gothic gesture, capturing herself in a graveyard, dressed in black, seizing the back of a stone angel suspended from a cross. Landin’s face wears the same expression of tranquil agony that appears on funerary statues, but she makes sure that she cannot be confused with a piece of sculpture. Does this refusal to identify signal romantic hope or stoical despair? (Michael Weinstein) |
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