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Kurland studied under Gregory Crewdson and Philip-Lorcia diCorcia while earning her masters at Yale University -- both photographers use the language of cinema to build narrative stills.
And though her practice has evolved over the years, the core ideas in her work haven't changed. Throughout the series, ideas of freedom and belonging prevail as girls form their own communities off the grid.
Packs of roving girls. Kurland began "Girl Pictures" during a summer between semesters at Yale, when she was dating a man with a year-old daughter.
Her name was Alyssum and she had been sent to live with her father in New York City because of her rebellious behavior. Together, she and Kurland envisioned the narrative of a runaway girl.
Kurland began the project in the city, photographing Alyssum and other girls smoking in playgrounds, or climbing trees along the highway.
As she expanded the territory in which she photographed -- first the Northeastern US and then westward -- the series became more about the secluded landscapes where her subjects would find a new sense of belonging.
In Kurland's refuge, girls explore streams barefoot in a pack. They roast pigs on a spit and lay supine in snowy fields.
They camp out in empty shells of rusted cars or pitch a loose circle of transient tents. When boys appear, the girls are in control, pinning one down to spit in his mouth, covering another's eyes as one of the girls teasingly lifts her shirt.
Kurland envisioned that their freedom, play and camaraderie could spark a wildfire. The girls remain in control in the society they have built, capturing or teasing boys who enter their realm.
Behind the camera, I was also somehow in front of it -- one of them, a girl made strong by other girls. Teenagers are primed to stage such a rebellion.
Traveling the American West. The idea of escaping into American landscape has been closely linked with masculinity, from photographer Ansel Adams traversing the High Sierras to writer Jack Kerouac on the open road.
Kurland gives this sense of abandon and fearlessness to her young female protagonists, pointing to their fictional male counterparts like Huck Finn and Holden Caulfield.
Kurland imagined an army of young women taking to the woods and rejecting societal standards. Kurland's initial love for photography was informed by those who wandered the land -- she points to Frank's seminal "The Americans" and Josef Koudelka's "Gypsies.
Though locations are kept vague, the American West and the long, romanticized history of the road trip through it became central to Kurland's work.
Kurland meandered around the country for days at a time, visiting high schools to find girls who were interested in participating.
Looking back, she is surprised at how many girls agreed to go with her. After days in her car, Kurland was often unkempt, approaching teenagers to photograph them -- it could easily seem predatory.
But Kurland would often meet their parents, or find new young women to photograph through others she had met. She had a simple pitch: " I told them I was imagining girls who had run away and lived in the woods.
Did they want to come? Drama Science fiction Black comedy. Entertainment Weekly. Retrieved August 18, Deadline Hollywood. Retrieved July 24, The Futon Critic.
Retrieved September 24, The Hollywood Reporter. July 23, Retrieved August 6, Retrieved August 22, Huge thanks to all the cast and crew for the ride.
Retrieved October 20, Retrieved August 10, Retrieved January 29, Retrieved February 20, Retrieved February 26, Retrieved April 16, Retrieved April 22, Retrieved May 3, Retrieved May 23, Rotten Tomatoes.
Retrieved October 2,
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