For her series Reckoning, Judith Taylor employs a handmade pinhole camera placed on the ground to intercept views of the skies over eastern Pennsylvania and western Ireland. Despite the unexpected warmth the gold-toned printing-out paper lends to her skies, the "blind" composition required by the pinhole process establishes an objective detachment that critiques the expressive intentions stated by Alfred Steiglitz for his Equivalents (1923-38). The slightly soft-focus image is framed by Taylor's precision silhouette of the 4 x 5-inch film holder.

Patrick T. Murphy and Richard Torchia
Co-curators of The Sea and the Sky
Beaver College Art Gallery, Suburban Philadelphia, and The Royal Hibernian Academy, Dublin, Ireland