What inspired you to start taking photographs, and what is the primary inspiration for you to keep working in this field?
ZS
I began making photographs as a component of a large-scale installation I cooked up. It's a ten year project and I'm in the 8th year of it right now; I exhibit 231 photographs once a year, the first weekend in May, under Interstate 95 in South Philadelphia. The concept for the installation came first and the photographs came second, but as soon as I started making the photographs I knew I loved it and that's what I wanted to do, make photos. I love making the photos... I'm interested in the actual recording of moment and the interaction that precedes the photo. I'm interested in composing the photo, both in the frame and the cropping and clean up in photoshop. I love the editing process and the construction of different narratives by changing the sequencing and placement of the photos. Even though this major project will be over in 2 years, I'm going to work with photography for the rest of my life, just based on the pleasure I get from making photos.
MW
In your opinion and experience, how can emerging photographers evaluate themselves as ready to start promoting their works and seek broader exposure for their photographs? What is one vital action you would recommend photographers undertake to find their audience, be included in exhibitions, and gain professional representation?
ZS
I think there's a balance of contradictions in strong self-evaluation. People should question and be very critical of their own work while simultaneously being certain and confident of their ability to bring their work to a place where they feel it's ready to be shown. When someone feels confident in their work being ready to go out into the world, they should work their ass off to get it out there. There's not one action someone can take to be included in exhibitions or get representation, it's a long haul filled with people's opinions as the basis for how work is shown, so there's no way anyone can bank on having curators or gallery directors all show interest in one's work.
The most important thing to do in terms of seeking exposure for one's photographs is to figure out who is being addressed with the work . And then figure out which venues would allow those audiences to see the photos, and then work to get them there. Keep pressing and keep working and keep working.
That's not a super helpful answer, but it's true.
MW
How did it come about that you achieved the status of successful, professional photographer? What steps were involved in reaching your level of success?
ZS
I had a very straight forward, albeit incredible, movement into the art world. My work being recognized comes from a bunch of things, the first being that I work endlessly and am like a fucking wide open throttle freight train when it comes to my work. I am incredibly ambitious in terms of producing the strongest work I can. So here's how it happened... I began producing the I-95 installation and hen in 2002 I applied for a grant, a Leeway grant, which I got. From that grant, the Philadelphia Museum of Art became interested in my work and bought 8 of my photos. Then I applied for a Pew grant in 2005 and got that fellowship. One of the Pew panelists who juried in 2005 was a curator for the 2006 Whitney Biennial, which she then asked me to participate in. Coming out of the Whitney Biennial was an offer to have a show at Silverstein Photography and now I'm represented by them. Someone who saw that show introduced me to a publisher who then offered me a book deal... and around the same time that the book was coming about, I received a United States Artists grant. It was kind of one great thing after another.
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail
Zoe Strauss, I-95 Detail© all images Zoe Strauss
