Series
Works
  • Dana Lixenberg, David A. Taylor, 2005
    Dana Lixenberg
    David A. Taylor, 2005
    Archival pigment print
    Printed in two sizes
  • Dana Lixenberg, Lisa Maples, 2005
    Dana Lixenberg
    Lisa Maples, 2005
    Archival pigment print
    Printed in two sizes
  • Dana Lixenberg, Rachel Walcott, 2002
    Dana Lixenberg
    Rachel Walcott, 2002
    Archival pigment print
    Printed in two sizes
  • Dana Lixenberg, Ross Ritz Jr, 2005
    Dana Lixenberg
    Ross Ritz Jr, 2005
    Archival pigment print
    Printed in two sizes
  • Dana Lixenberg, Sara Money, 2005
    Dana Lixenberg
    Sara Money, 2005
    Archival pigment print
    Printed in two sizes
  • Dana Lixenberg, Untitled I, 2005
    Dana Lixenberg
    Untitled I, 2005
    Archival pigment print
    Printed in two sizes
  • Dana Lixenberg, Darlie Routier, Gatesville, TX, 1996
    Dana Lixenberg
    Darlie Routier, Gatesville, TX, 1996
    Archival pigment print
    100 x 78 cms | 39 3/8 x 30 3/4 inches
  • Dana Lixenberg, Kathleen Turner, New York, NY, 2000
    Dana Lixenberg
    Kathleen Turner, New York, NY, 2000
    Archival pigment print
    96 x 75 cm | 37 3/4 x 29 1/2 in
  • Dana Lixenberg, Paul Anka, New York, NY, 2000
    Dana Lixenberg
    Paul Anka, New York, NY, 2000
    Archival pigment print
    96 x 75 cm | 37 3/4 x 29 1/2 in
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Biography

Dana Lixenberg is known for her stripped-down portraits that revel in the elemental characteristics of her subjects. She uses a large-format field camera – a cumbersome tool, which necessitates what the artist refers to as a ‘slow dance’ between her and her subjects. The resulting portraits contain an enormous amount of detail and texture, and are as revelatory as a personal encounter. The power of the work arises from its intimacy, compositional rigor and, importantly, the absence of social stereotyping. Lixenberg has been predominantly active in the United States, and her thorough understanding of the country and its society seeps through palpably in her work. 

Besides her extensive editorial practice, for which she photographed many cultural icons, she pursues long-term projects with a primary focus on marginalized communities. These projects include Jeffersonville, Indiana (2005), a collection of landscapes and portraits of a small town’s homeless population and The Last Days of Shishmaref (2008), which portrays an Inupiaq community on an eroding island off the coast of Alaska. Lixenberg’s most extensive body of work to date is Imperial Courts, 1993-2015 (2015), which she begun in the aftermath of the 1992 Rodney King riots. Spanning 22 years, the project tracks the changing shape of an underserved community in Watts, Los Angeles. In contrast to the often one dimensional, sensationalized media coverage of this neighborhood, Lixenberg employs a more subdued and collaborative photographic approach. Like her other projects, Imperial Courts consists of a series of photographs and a publication. Exploring other media for the first time, Lixenberg also included audio recordings and created a three-channel video installation. The project was awarded the Deutsche Börse Photography Foundation Prize in 2017 and continues to be exhibited internationally.

Dana Lixenberg lives and works in Amsterdam (NL) and New York, NY (US). She studied photography at the London College of Printing (UK) from 1984 to 1986, and at the Gerrit Rietveld Academie in Amsterdam (NL) from 1987 until 1989. Her work is collected widely and has been exhibited at institutions such as Aperture Foundation, New York, NY (US); Mai Manó Ház, Budapest (HU); Rijksmuseum, Amsterdam (NL); Centre Photographique, Rouen (FR); MMK, Frankfurt am Main (DE); The Photographers’ Gallery, London (UK); Busan Biennale (KR); Huis Marseille, Amsterdam (NL); LACP, Los Angeles, CA (US); Fotomuseum, The Hague (NL) and Stedelijk Museum, Amsterdam (NL).

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