Postpicturesque consists of four projects that register and dismantle the colonialist spirit of early 19th century landscape photography that lingers in our everyday lives. Iconic images are everywhere—from the souvenirs sold in National Parks to calendars hanging on our walls— they stake a claim in our psyche.These visual records trace a history of objectification and possession of the land that often excludes marginalized voices and sanctifies patriarchal systems. Using a range of photographic processes from albumen to E-6 slides, I examine ways that commodification of land is both integrated into our infrastructure by way of the 135 Caltrans Vista Points and new singular events such as Super Blooms that bring a destructive volume of visitors to small towns in California. All the while, I sit at home inscribing my own daily efforts to reimagine what constitutes a more inclusive and intimate view of the Western landscape onto my Ansel Adams wall calendar. 

Alana Rios explores the relationship between traditional landscape imagery of the American West, gender, and power. She earned her BA from Bennington College in VT and her MFA in photography at San José State University in 2020. This past fall she co-moderated a panel discussion at the SPE West Regional Conference titled, A Feminist View of the Landscape: An Intimate, Political and Emotional Relationship to the Land. 

Check out more of Alana Rios’ work at: alanarios.com or follow her on Instagram @alana.c.rios