Justine Kurland, Thank you, 2010, pigment print, 17 x 13 1/2 inches

Written by Madeleine Lerner

Photo Edited by Kelly Woodyard

The American open road is both a concept and a place that has been heavily explored through photography, literature, art, and music. It is a tradition grounded in the country’s history of exploration, individuality, and potential— for a select, able population. In contemporary times, the road trip is associated with an escape, an opportunity for the Kerouac-inspired wanderlust to experience freedom and break from societal expectations.

Justine Kurland, Moffat Tunnel (Family Portrait), 2008, pigment print, 13 x 10 3/4 inches

For Justine Kurland, the appeal of nomadism and the road trip came from a childhood of car travel, with destinations determined by craft fairs where her family sold goods. Kurland’s new photography series titled “This Train, 2005-2011” was born out of her toddler’s love of trains and the time spent raising them on the road. Kurland juxtaposes images of their roaming home with images of trains, telling a story of a family not bound by societal norms and the potentials of a journey. Ultimately, it is a poetic tale of the comparative nature of direction and adriftness, the warmth of an unconventional family with the cool of an unembellished, uniform train, and the boundless beauty of a natural world not overwhelmed by development.

Justine Kurland, Keddie Wye, 2007, pigment print, 13 x 10 3/4 inches

Without looking at the titles, the trains she photographs simultaneously have a predetermined destination while also not providing any directional context at all. To the viewer, they are in movement but also still, their destination remaining unimportant. Indeed, Kurland’s six-year journey never indicates any destination at all. The few images of empty tracks offer the potential of multiple directions. Their stillness is accompanied by a humming, unconscious anxiety stirred by awaiting the roaring vehicle in an otherwise tranquil landscape.

Justine Kurland, Lupin Blossoms on the Caliente Pass, 2009, pigment print, 11 x 8 3/4 inches

Part of the natural beauty of these images lies in the variety of landscapes that Kurland captured. From arid deserts to snowy valleys to rolling green hills, we are offered a seat on her journey, admiring the rich diversity of the American natural terrain. Regardless of the context, Kurland’s attention to light and framing makes any scene profoundly beautiful. Her ability to capture the particular serenity that marks each photo is truly striking and unfolds a cinematic quality to the story of their journey.

Justine Kurland, Go Dog Go, 2010, pigment print, 20 7/16 x 16 5/16 inches

The trains are seemingly the only reminder that the rest of the world exists at all. Kurland’s images feature only herself or her child, surrounded by a quiet and serene natural world. We witness her child’s exploration of childhood and the landscapes they encounter— from climbing boulders to playing with toys in a tent. All the while, the kid grows up— their dramatic growth is a reminder of the length of this project. It is a remarkably intimate glimpse into their lives. On top of it all, this series is a love letter to motherhood, and the adventures a nurtured childhood provides.