About
Amy Elkins (b. 1979 Venice, CA) is a photographer and curator currently based in the Greater Los Angeles area. She received her BFA in Photography from the School of Visual Arts in New York City. Her photographs explore notions of vulnerability, identity and transitory states. Elkins’ earlier work, Wallflower, looked into the nuances of gender identity and the male psyche. In her more recent work, Elkins investigates additional aspects of male identity through projects Elegant Violence, looking to young Ivy League rugby athletes moments after their game and Black is the Day, Black is the Night, which explores masculinity, vulnerability and identity through correspondence with men serving life and death row sentences in some of the most maximum security prisons in the US.
Elkins has been exhibited and published both nationally and internationally, including at Kunsthalle Wien in Vienna, Austria; the Carnegie Art Museum in California; the Minneapolis Institute of Arts in Minnesota; North Carolina Museum of Art; Light Work Gallery in Syracuse and Yancey Richardson Gallery in New York among others. Elkins has been awarded with The Lightwork Artist-in-Residence in Syracuse, NY in 2011 and most recently the Villa Waldberta International Artist-in-Residence in Munich, Germany in 2012.
Her work has recently been published in The Telegraph's Stella Magazine, Real Simple's May/Mother's Day Issue, Lens Magazine, the VICE: fiction issue; Conveyor: Smoke & Mirrors issue; BLINK: issue #15; Contact Sheet: Artist in Residence Annual; Contact Sheet: Looking & Looking: Jen Davis and Amy Elkins;The Portrait. Photography as a Stage From Robert Mapplethorpe to Nan Goldin which coincided with an exhibition at Kunsthalle Wien curated by Peter Weiermair; and The Sports Show: Athletics as Image and Spectacle which coincided with an exhibition at Minneapolis Institute of Arts curated by David Little. Other features include: American Photo, EyeMazing, Harpers, Newsweek, NY Arts, NY Times Magazine, OUT, PDN, POP photo and Vision Magazine. Her writing has been featured in Photographs Not Taken, a book of essays edited by Will Steacy which has had coinciding events and readings across the country including at ICP and PS1Museum and has been reviewed by Wall Street Journal, The New Yorker and Times Light Box among others. In June of 2008 Amy Elkins and Cara Phillips co-founded wipnyc.org, a platform for showcasing both established and emerging women in photography.
Elkins is represented by Yancey Richardson Gallery in New York
Works
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Select images out of a work in progress started while on the Villa Waldberta International Artist Residency Prize in Germany in the Fall of 2012. Shot in Copenhagen, Denmark, moments after intensive training.
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
Wallflower is an exploration into the nuances of gender identity and the male psyche. These works were created out of intrigue regarding masculine identity when stripped of personal context or when facing heightened states of vulnerability. In a reversal of the traditional male gaze, the images confront some of the cultural grounds underlying gender, opting to focus on the beauty, sensitivity and vulnerabilities found in a sex that has long been held to masculine expectations and stereotypes
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
These works are an extension of my ongoing exploration into masculine identity. In this particular project I am fascinated with rugby, a brutal contact sport rich in tradition, dating back to the 1800’s. I’m interested in the balance between athleticism, modes of violence or aggression and varying degrees of vulnerability within a sport where brutal body contact is fundamental to the game. I am also interested in the history of the game and how it has long been described as both traditional and barbaric, elegant and violent.
A small selection from a much larger body of portrait/text pieces created out of the last words of those on Texas Death Row moments before dying. The project accounts for every execution that has taken place in Texas since the death penalty was reinstated in 1976 and is updated as those numbers grow.
A small selection from a much larger body of portrait/text pieces created out of the last words of those on Texas Death Row moments before dying. The project accounts for every execution that has taken place in Texas since the death penalty was reinstated in 1976 and is updated as those numbers grow.
A small selection from a much larger body of portrait/text pieces created out of the last words of those on Texas Death Row moments before dying. The project accounts for every execution that has taken place in Texas since the death penalty was reinstated in 1976 and is updated as those numbers grow.
A small selection from a much larger body of portrait/text pieces created out of the last words of those on Texas Death Row moments before dying. The project accounts for every execution that has taken place in Texas since the death penalty was reinstated in 1976 and is updated as those numbers grow.