Katherine Hubbard uses photography, text, and performance to plumb photography’s continuing significance, using analog photography—large format 4×5 cameras, disposable cameras, and camera-less darkroom techniques— to work from a moment within the technological history of the medium that is most closely in mimesis with the body. She asks how an embodied relationship to the medium allows its procedures to be called upon to reexamine socio-political histories and narratives. If vision is a mechanic of the mind and the mind is a field of subjective experience, Hubbard posits that we do not see the same things. How does the body think of perception? What does the subjectivity of vision offer towards framing a politics of looking? Hubbard’s recent solo exhibitions include Avoid glancing blows (2020) at Company, NY; Katherine Hubbard at Higher Pictures (2018) stages at Baxter St. Camera Club of New York (2017) and Bring your own lights at The Kitchen (2016). Her work was included in A Collection of Slow Events at The Luminary in St. Louis, Missouri (2017); The Artist’s Museum at The Institute of Contemporary Art, Boston (2016); and Greater New York at MoMA PS1 (2015). Hubbard’s performances have been presented at the Chinati Foundation in Marfa, Texas; Konstfack in Stockholm, Sweden; the Metropolitan Museum of Art; and the Whitney Museum of American Art. Hubbard received her MFA from Bard College in 2010 and is an Associate Professor of Art and the Director of the MFA graduate program at Carnegie Mellon University. Hubbard lives and works between Pittsburgh, PA, and Stone Ridge, NY.

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