Upward and Then Eternal Ends, 2009

The intense Kelly green of the present lot is a quintessential example of David Benjamin Sherry’s unique approach to landscape photography. Sherry achieves these bright monochromatic hues in the darkroom by pushing the cyan, magenta and yellow filters in specific combinations. Featured on the cover of Aperture’s Spring 2019 Earth issue, Sherry is interested in environmentalism and exploring the landscape of the American West—an arena of the photographic canon historically dominated by prototypical masculinity—with a queer sensibility. He desires to capture the mystical aspects of the natural world, in dialogue with photographers such as Ansel Adams, but does so through a technicolor lens, referring to himself as a ‘nostalgic futurist’.