The chromatic, crystalline elements in Tyler Mitchell’s new photographs — a tire swing, a white-picket fence, a bouquet of balloons — conjure images of innocence, safety and repose.
Look again. On a recent day at his studio in the Gowanus section of Brooklyn, where he makes the work that now graces museum walls as well as the pages of glossy magazines, Mitchell talked about the complexity of his recent compositions, and how in them he aims to explore the history of Black Americans, their relationship to landscape and his own identity as someone from the Deep South.
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