fbpx Lucinda Devlin: Sightlines now on view at the George Eastman Museum | George Eastman Museum

Planning a visit? Masks are required for unvaccinated visitors, including children 3 and over. Masks are optional for fully vaccinated visitors.

Learn more about our new health & safety proceduresAdvance tickets required for nonmembers.

Lucinda Devlin: Sightlines now on view at the George Eastman Museum

The exhibition explores the relationship between our bodies and the spaces they inhabit

Rochester, N.Y., June 28, 2017Lucinda Devlin: Sightlines is now on view at the George Eastman Museum through December 31, 2017. Photographer Lucinda Devlin has devoted her forty-year career to exploring the relationship between our bodies and the spaces they inhabit. Her work, made with a 2¼-inch camera and wide-angle lens, consists in large part of photographs of interiors associated with pleasure or pain.

“While drawing attention to the power relationships embedded in a room’s architecture and decor, her pictures also function as poignant meditations on the familiar yet extraordinary spaces in which our bodies pass time,“ said Lisa Hostetler, Curator in Charge, Department of Photography, George Eastman Museum.

Lucinda Devlin: Sightlines, includes a selection of images from three of the photographer’s series, including Pleasure Ground (1977–90), which portrays places designed for the pursuit of pleasure—strip clubs, discos, tanning salons, hotels, and resorts, many of which boast extravagant, themed rooms; Corporal Arenas (1982–98), photographs of surgical and therapeutic facilities that she began while teaching at Syracuse University, where she played an instrumental role in the establishment of the well-known photography program; and The Omega Suites (1991–98), which depicts execution chambers in US prisons. Presented together, these three bodies of work locate Devlin’s photography at the intersection of visual pleasure, visceral sensation, and moral complexity.

“Devlin’s early embrace of color photography as an artistic medium and her predilection for meticulous, formally stringent compositions that construct a seemingly objective point of view—a trait her work possessed long before the international emergence of the Düsseldorf School of Photography—mark her work as simultaneously ahead of its time and quintessentially of the moment,” added Hostetler.

This exhibition is selected from a full retrospective organized by the Weatherspoon Art Museum of the University of North Carolina at Greensboro. Support provided by the North Carolina Arts Council and the Elizabeth Firestone Graham Foundation. For more information, visit eastman.org.