He would go on to use that split-second sensation of moving from dark to light in his work, exploring how we do — and don’t — see the world that surrounds us. His latest collection, “American Night,” goes on display Sunday at P.S. 1 in Long Island City and juxtaposes huge, bright-white images of poverty beside Crayola-color pictures of chillingly pristine suburban homes.
The 47-year-old British photographer traveled from Memphis to Detroit from 1998 to 2002 shooting landscapes of destitution and prosperity: men walking along deserted roads, expanses of rundown urban neighborhoods and squeaky clean SUVs parked by mowed suburban lawns and picket fences. But he chose not to give them the Walker Evans treatment. Instead of casting shadows on his subjects, he bathes them in light.
“In photography, it’s somehow become accepted that shadows and darkness are how you convey poverty and disenfranchisement,” says Graham, who similarly played with light in his 1999 portraits of European teens in nightclubs called “End of an Age.” He lit the first set of photographs with a flash “where you could see every eyelash, every pore.” Seconds later, he shot the same teens, drinks in hand, using only ambient light, for a blurry, drunken feeling.
“The viewer is really pulled in two different directions,” Graham explains of the technique. “You’re uplifted by the whiteness, but then you’re faced with this sober subject matter.”
The title of his latest exhibit is a reference to François Truffaut’s 1973 “La Nuit Americaine” and to a filmmaking technique used to re-create nighttime during the day. Again, Graham uses it to play with the viewer’s expectations. “There’s a disconnection between using the word night in the title and the images being very bright. It’s a contrast between the title and the work.”