Joel Sternfeld is an artist-photographer whose work is concerned with utopic and dystopic possibilities of the American experience.

Ever since the publication of his landmark study, American Prospects in 1987 his work has maintained conceptual and political aspects, while also being steeped in history, art history, landscape theory and attention to seasonal passage. It is a melancholic, spectacular, funny and profound portrait of America. The curator Kevin Moore has claimed that the work embodies the “synthetic culmination of so many photographic styles of the 1970s, incorporating the humor and social perspicacity of street photography with the detached restraint of New Topographics photographs and the pronounced formalism of works by so many late-decade colorists” (Kevin Moore, Starburst: Color Photography in America 1970-1980).

On This Site (1996) examines violence in America while simultaneously raising significant epistemological questions about photographs as objects of knowledge.

Sweet Earth: Experimental Utopias in America (2006) “can be seen as a generous respite from the traumatic history in On This Site... It is a survey of American human socialization, alternative ways of living, of hopeful being” (Elin O’Hara Slavik, 2018).

All his subsequent work has sought to expand the narrative possibilities of still photography primarily through an authored text. All of his books and bodies of work converse with each other and may be read as a collective whole.

His work represents a melding of time and place that serves to elucidate, honor, and warn. The images hold a certain urgency, as their histories survive solely through their photographic representation— they are an archive for the future.

Sternfeld is the recipient of two Guggenheim Fellowships and spent a year in Italy on a Rome Prize. He teaches at Sarah Lawrence College, where he holds the Noble Foundation Chair in Art and Cultural History.

Born 1944, New York, NY
Lives and works in New York, NY

1965, BA, Dartmouth College


2013, Montgomery Fellowship 

2004, Citigroup Photography Prize, in association with Photographers’ Gallery, London, England

1990–1991, Prix de Rome

1987–1988, Shifting Foundation Fellowship

1985, Grand Prize, Higashikawa International Photo Festival

1983, American Council for the Arts Emerging Artist Award

1982, John Simon Guggenheim Memorial Foundation Award

1980, National Endowment for the Arts Photographers Fellowship

1980, New York State Council for the Arts Creative Artist Public Service Fellowship

1978, John Simon Guggenheim Memorial Foundation Fellowship



Joel Sternfeld: Stranger Passing / To Joseph Palmer, Buchmann Galerie, Berlin, Germany


Joel Sternfeld: Colour Photographs 1977-1988, Beetles + Huxley, London, England


2013 Carnegie International, Carnegie Museum of Art, Pittsburgh, PA*


Joel Sternfeld: Campagna Romana, Buchmann Galerie, Berlin, Germany

Joel Sternfeld: First Pictures, Luhring Augustine, New York, NY


Joel Sternfeld: Color Photographs since 1970, Museum Folkwang, Essen, Germany

Travelled to The Albertina Museum, Vienna, Austria

Foam, Amsterdam, The Netherlands

C/O Berlin, Berlin, Germany


Joel Sternfeld: On This Site, Buchmann Galerie, Berlin, Germany


Oxbow Archive, Luhring Augustine, New York, NY

The Geography of No Place: American Utopias, Buchmann Galerie, Berlin, Germany


Joel Sternfeld: American Prospects “The Seasons,” Russell Bowman Art Advisory, Chicago, IL


Joel Sternfeld: PhotoEspaña 2006, Círculo de Bellas Artes, Madrid, Spain

Sweet Earth: Experimental Utopias in America, Haines Gallery, San Francisco, CA


Sweet Earth: Experimental Utopias in America, Luhring Augustine, New York, NY


American Prospects and Before, Luhring Augustine, New York, NY


Joel Sternfeld, The Photographers’ Gallery, London, United Kingdom


Treading on Kings: Protesting the G8 in Genoa, WhiteBox Art Center, New York, NY*


American Prospects and Stranger Passing, Haines Gallery, San Francisco, CA

Stranger Passing, San Francisco Museum of Modern Art, San Francisco, CA

Walking the High Line, Pace Wildenstein Gallery, New York, NY


Hart Island, Stadthaus Ulm, Ulm, Germany

Cleveland Museum of Art, Cleveland, OH


American Prospects, Maison Européenne de La Photographie, Paris, France


New Portraits , Pace Wildenstein MacGill, New York, NY

On This Site, Pace Wildenstein MacGill, Los Angeles, CA

On This Site, The Art Institute of Chicago, Chicago, IL


Campagna Romana: The Roman Countryside, Museum of Fine Arts, Boston, Massachusetts


Campagna Romana: The Roman Countryside, Pace/MacGill Gallery, New York, NY


Contemporary Photographs, Pace/MacGill Gallery, New York, NY


American Prospects: The Photographs of Joel Sternfeld, Museum of Fine Arts Houston, Houston, TX; Baltimore Museum of Art, Baltimore, MD; Detroit Institute of Arts, Detroit, MI; Museum of Contemporary Art, La Jolla, CA; The National Gallery of Canada, Ottawa, Canada


Joel Sternfeld, Afterimage Gallery, Dallas, TX

Fotografien 1978-1984, CCD. Galerie—West Germany

New Color Photography, The Halsted Gallery, Birmingham, MI

Joel Sternfeld, Dartmouth College, Hanover, NH

Joel Sternfeld, Higashikawa International Photo Festival, Higashikawa, Japan

Joel Sternfeld, Michael Carey Gallery, Austin, TX


American Prospects, Daniel Wolf, Inc., New York, NY

American Prospects, Friends of Photography, Carmel, CAVisual Studies Workshop, Rochester, NY

Three Americans (Jim Goldberg, Robert Adams, Joel Sternfeld), Museum of Modern Art, New York, NY


Joel Sternfeld, Blue Sky, Oregon Center for the Photographic Arts, Portland, OR

Joel Sternfeld, Brent Sikkema Gallery, Boston, MA

Joel Sternfeld, University of California Riverside/California Museum of Photography, Riverside, CA

Joel Sternfeld, Looking Glass Gallery, Royal Oak, MI

Joel Sternfeld, Grapestake Gallery, San Francisco, CA


The New Color, Everson Museum of Art, Syracuse, NY

Larry Fink and Joel Sternfeld: Photographs, San Francisco Museum of Modern Art, San Francisco, CA


Daniel Wolf, Inc., New York, NY


Recent Color Photographs by Joel Sternfeld and Recent Work by Lois Johnson, Peale House Galleries, Pennsylvania Academy of the Fine Arts, Philadelphia, PA



From the K’MoPA Collection: Basically, Forever. 2018, Tokyo Photographic Art Museum, Tokyo, Japan; Taiwan National Museum of Fine Art, Taichung, Taiwan


The Arcades: Contemporary Art and Walter Benjamin, Jewish Museum, New York, NY*


Collected, Pier 24 Photography, San Francisco, CA*

Watershed: Contemporary Landscape Photography, Jepson Center, Telfair Museums, Savannah, GA*


The Edge of the Earth: Climate Change in Photography and Video, Ryerson Image Centre, Ryerson University, Toronto, Canada*

Land/Leute aus der Fotosammlung der Albertina, The Albertina Museum, Vienna, Austria

Landscapes after Ruskin: Redefining the Sublime, Curated by Joel Sternfeld, Hall Art Foundation, Reading, VT

Magical Surfaces: The Uncanny in Contemporary Photography, Parasol Unit, London, England*

Seht, da ist der Mensch / Behold the Man, Baumwollspinnerei Leipzig, Leipzig, Germany*


Total Records: Vinyl & Photography, Rencontres d’Arles, Arles, France; C|O Berlin, Berlin, Germany;, Fundación Foto Colectania, Barcelona, Spain


The Open Road, Aperture Foundation, New York, NY; Detroit Institute of Arts, Detroit, MI; Crystal Bridges Museum of American Art, Bentonville, AR; Amarillo Museum of Art, Amarillo, TX; Museum of Fine Arts, St. Petersburg, St. Petersburg, FL; Blanton Museum of Art, University of Texas at Austin, Austin, TX*


No Place Like Home: Selections From the Sue and John Wieland Collection of Contemporary Art, Brigham Young University Museum of Art, Provo, UT

River Crossings: Contemporary Art Comes Home, Thomas Cole National Historic Site, Catskill, NY*


American Scene Photography: Martin Z. Margulies Collection, NSU Art Museum Fort Lauderdale, Fort Lauderdale, FL*

Blue Sky: The Oregon Center for the Photographic Arts at 40, Portland Art Museum, Portland, OR*

Luxus der Einfachheit: Lebensformen Jenseits der Norm, Münchner Stadtmuseum, Munich, Germany

FO.KU.S Foto Kunst Stadtforum, Innsbruck, Austria*


Frontier Visions: The American West in Myth and Image, Bowdoin College Museum of Art, Brunswick, ME

in/humano, Museo de Arte Contemporáneo de Monterrey, Centro Monterrey, Mexico*

Only the Good Ones: The Snapshot Aesthetic Revisited , Galerie Rudolfinum, Prague, Czech Republic*

Paper Roses: Garden-Inspired Works on Paper, Toledo Museum of Art, Toledo, OH*

Perfectly Strange, Worcester Art Museum, Worcester, MA

Road Trip: Photography of the American West from the Los Angeles County Museum of Art, Musée des Beaux-Arts de Bordeaux, Bordeaux, France*


Color! American Photography Transformed, Amon Carter Museum of American Art, Fort Worth, TX*

Color Rush: 75 years of Color Photography in America, Milwaukee Art Museum, Milwaukee, WI

Dark Blue: The Water as Protagonist, Patrick and Beatrice Haggerty Museum of Art, Marquette University, Milwaukee, WI

Everyday America: Photographs from the Berman Collection, Steven Kasher Gallery, New York, NY

FotoA–Z, NRW-Forum Kultur und Wirtschaft, Düsseldorf, Germany*

Jew York, Zach Feuer Gallery, New York, NY; UNTITLED, New York, NY

Zaha Hadid—Joel Sternfeld: Landscape? Buchmann Galerie, Agra, Switzerland


Freedom Of/For/To, Patrick and Beatrice Haggerty Museum of Art, Marquette University, Milwaukee, WI

Landscapes: Scene / Re-seen, Westport Arts Center, Westport, CT

Made in Arizona, Photographs from the Collection, Center for Creative Photography, University of Arizona, Tucson, AZ

The Prix Picete Power, Saatchi Gallery, London, England


The Dwelling Life of Man, Fundació Foto Colectania, Barcelona, Spain; Kunsthal KAdE, Amersfoort, The Netherlands*


ANGRY: Young and Radical, Nederlands Fotomuseum, Rotterdam, The Netherlands

Another Story, Moderna Museet, Stockholm, Sweden

The Collection on View, Winnipeg Art Gallery, Winnipeg, Canada

Iconic Arizona, Doris and John Norton Gallery for the Center for Creative Photography, Phoenix Art Museum, Phoenix, AZ

Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography 1945–1980, UCR/California Museum of Photography, Riverside, CA*


Edge of Town, Equinox Gallery, Vancouver, Canada

Everyday Ideologies, Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, Germany*

Great Photographs of the 20th Century: Staged and Startled, Hasted Kraeutler, New York, NY

Labour, Fotomuseum Winterthur, Winterthur, Switzerland*

On the Road: A Legacy of Walker Evans, Robert Lehman Arts Center, Brooks School, North Andover, MA*

Starburst: Color Photography in America 1970–1980, Cincinnati Art Museum, Cincinnati, OH*

Twenty Five, Luhring Augustine, New York, NY

Wonderers, Richard L. Nelson Gallery and Fine Arts Collection, UC Davis,Davis, CA*


Beyond the Picturesque, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent, Belgium*

Focus on Photography: Works from 1950 to Today, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire

Images Recalled, 3rd Fotofestival Mannheim Ludwigshafen Heidelberg, Mannheim, Germany*

Into the Sunset, Museum of Modern Art, New York, NY*

Monuments with a Horizon Line II, Buchmann Galerie, Berlin, Germany

No Such Place—Territories of the Invisible, Castillo de Santa Bárbara, Alicante, Spain*

Reality Revisited: Photography from the Moderna Museet Collection, Moderna Museet, Stockholm, Sweden*


Street and Studio, Tate Modern, London, England; Museum Folkwang, Essen, Germany*


Artist’s Choice: Vik Muniz, Rebus, Museum of Modern Art, New York, NY

New York Fast Forward: Neil Denari Builds on the High Line, Museum of the City of New York, New York, NY

Of People and Places, University Gallery, University of Massachusetts, Amherst, MA*

Reality Check: Truth and Illusion in Contemporary Photography, Metropolitan Museum of Art, New York, NY

When Color Was New: Vintage Photographs from around the 1970s, Julie Saul Gallery, New York, NY*


Aperture Gallery, New York, NY

Easy Rider: Road Trips through America, Yancey Richardson Gallery, New York, NY

Far from Home: Photography, Travel and Inspiration, Art Institute of Chicago, Chicago, IL

Loaded Landscapes, Museum of Contemporary Photography, Chicago, IL

Utopian Mirage: Social Metaphors in Contemporary Photography and Film, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY*

Weather Report: Art and Climate Change, Boulder Museum of Contemporary Art, Boulder, CO*

When Color Was New, Art Institute of Chicago, Chicago


Contemporary Photography and the Definition of Place (lecture with Mitch Epstein, Vicki Goldberg, and Sally Mann ), Architecture League of New York, New York, NY

Real Pictures: Photographs from the Collection of Claudia Beck and Andrew Gruft, Vancouver Art Gallery, Vancouver, Canada*


American Pictures, Whitney Museum of American Art, New York, NY


The Art of Powdermaker Hall , Queens College, CUNY, Queens, NY Big Photos, Russell Bowman Art Advisory, Chicago, IL

Citigroup Photography Prize 2004, Photographers’ Gallery, London, England; Museum Kunstpalast, Düsseldorf, Germany*

Everything’s Gone Green Photography and the Garden, National Museum of Photography, Film and Television, Bradford, England*

In America, Sutton Lane, London, England

Inside Out: Portrait Photographs from the Permanent Collection, Whitney Museum of American Art, New York, NY

Pool Party, Yossi Milo Gallery, New York, NY

Seventies Color Photography, Kennedy Boesky Photographs, New York, NY


Der fotografierte Mensch in Bildern der Fotografischen Sammlung im Museum Folkwang, Museum Folkwang, Essen, Germany*

Passengers, Lisboa Photo, Lisbon, Portugal*

Pictures From Within: American Photographs, 1958-2002, Whitney Museum of American Art, New York, NY

Strangers:The First ICP Triennial of Photography and Video, International Center of Photography, New York, NY *


American Standard: (Para) Normality and Everyday Life, Barbara Gladstone Gallery, New York, NY

The Culture of Violence, University Gallery at the University of Massachusetts Amherst, Amherts, MA; Bowdoin College Museum of Art, Brunswick, ME; Samuel P Harn Museum of Art, University of Florida, Gainesville, FL*

Naked (sic) in the Landscape, Pace/MacGill Gallery, New York, NY

Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001, Whitney Museum of American Art, New York, NY*


Made in California: Art, Image, and Identity 1900-2000, Los Angeles County Museum of Art, Los Angeles CA*


Trade: Commodities, Communication, and Consciousness, Fotomuseum Winterthur, Winterthur, Switzerland; Nederlands Foto Instituut, Rotterdam, Netherlands*


Alec Soth and Joel Sternfeld: Portraits, pARTS Gallery, Minneapolis, MN


Crossing the Frontier: Photographs of the Developing West, 1849 to the Present, San Francisco Museum of Modern Art, San Francisco, CA; Yale University Art Gallery, New Haven, CT; Phoenix Art Museum, Phoenix, AZ; Tokyo Metropolitan Museum of Photography, Tokyo, Japan*


Murder, Bergamot Station Arts Center, Santa Monica, CA; Thread Waxing Space, New York, NY; Centre Gallery, Miami-Dade Community College/Wolfson Campus, Miami, FL*


Vi Fotobienal, Concello de Vigo, Vigo, Spain*


Über die großen Städte/ About the Big Cities, Neue Gesellschaft für Bildende Kunst, Berlin, Germany*

Photographs from the Real World, Lillehammer Art Museum, Lillehammer, Norway*


More than One Photography, Museum of Modern Art, New York, NY


Pleasures and Terrors of Domestic Comfort, Museum of Modern Art, New York, NY*


The Indomitable Spirit, International Center of Photography, New York, NY*

Artificial Nature, Deste Foundation for Contemporary Art, Athens, Greece*


On the Art of Fixing a Shadow: 150 Years of Photography , National Gallery of Art, Washington, DC; Art Institute of Chicago, Chicago, IL; Los Angeles County Museum of Art, Los Angeles, CA*


American Stories: Photographs by Leon Borensztein, Sage, Sohier, and Joel Sternfeld, Art Institute of Chicago, Chicago, IL

The Art of Photography, 1839–1989, Museum of Fine Arts Houston, Houston, TX; Royal Academy of Arts, London, England; Australian National Gallery, Canberra, Australia


American Dreams, Reina Sofia Art Center, Madrid, Spain*

Twelve Photographers Look at Us, Philadelphia Museum of Art, Philadelphia, PA


American Nature and Culture, Phillips Academy, Exeter, NH

50.Jahre moderne Farbfotografie, 1936-1986/ 50 Years: Modern Color Photography 1936-1986, Photokina, Cologne, Germany*


American Images: Photography1945–1980, Barbican Art Gallery, London, England*

City Light, International Center for Photography, New York, NY

Cleveland Center for Contemporary Art, Cleveland, OH

Color Photographs, Bowdoin College Museum of Art, Brunswick, ME

Color Photography, State University of New York, Plattsburg, Pratt Institute, Plattsburg, NY Landscapes, Gallery 253, Atlanta, GA

New Color/ New Work: Eighteen Photographic Essays, Museum of Contemporary Photography, Columbia College, Chicago, IL

Swimmers, Pace/MacGill Gallery, New York, NY

Two’s Company, Light Gallery, New York, NY


Couleur et la Photographie “Straight, ”Paris Art Center, Paris, France


Color in the Street, UCR/California Museum of Photography, Riverside, CA*

Contemporary Photography, Albright-Knox Art Gallery, Buffalo, NY

Huit Photographes Americains, Art 45, Ins., Montreal, Canada

High Light: The Mountain in Photography, International Center of Photography, New York, NY

Mount St. Helens, Friends of Photography, Carmel, CA

New Work by Eight Photographers, Daniel Wolf, Inc, New York, NY

Photography and the Industrial Image, New York University, New York, NY

Photography in America: 1910-1983, The Tampa Museum, Tampa, FL

Subjective Vision, High Museum of Art, Atlanta, GA*

Time Out: Sports and Leisure in America Today, The Tampa Museum, Tampa, FL


New England Perambulations, Addison Gallery of American Art, Phillips Academy, Andover, MA*


Color Landscape Photographs, Creative Photography Gallery, Massachusetts Institute of Technology, Cambridge, MA

Color Photography: New Images, Mandeville Art Gallery, The University of California at San Diego, LaJolla, CA


Color as Form, George Eastman House International Museum of Photography and Film, Rochester, NY

Creative Artists Public Service Photography Exhibition, New York, NY


Fotografie Im Alltag Americas, Kunstgewerbemuseum der Stadt Zurich, Zurich, Switzerland


Color, Creative Photography Laboratory, Massachusetts Institute of Technology, Cambridge, MA

New Color Visions, Photokina, Cologne, Germany

One of a Kind: Recent Polaroid Color Photography, Polaroid Corporation, Cambridge, MA; Museum of Fine Arts, Houston, TX*


The Second Generation of Color Photographers, Festival d’Arles, Arles, France


Photographs of the American Landscape, Print Club, Philadelphia, PA



The Arcades: Contemporary Art and Walter Benjamin, exh. cat. New Haven: Yale University Press, 2017.

Baggage Claims. Orlando: Orlando Museum of Art, 2017.

Gardens of the High Line: Elevating the Nature of Modern Landscapes. Portland, OR: Timber Press, 2017.

PhotoRx: Pharmacy in Photography since 1850. Bologna: Damiani, 2017.

Seht, da ist der Mensch, exh. cat. Vienna: Verlag für modern Kunst, 2017.

Seizing the Light: A Social and Aesthetic History of Photography. New York: Routledge, 2017.


Crowley, Jennifer. “A Portrait of America: Joel Sternfeld’s ‘Stranger Passing’ as Ethnographic Research.” In Hermeneutik des Gesichts: Das Bildnis im Blick aktueller Rorschung, 329-345. Berlin: Walter De Gruyter, 2016.

Dickel, Hans. Natur in der zeitgenössischen Kunst: Konstellationen jenseits von Landschaft und Materialästhetik, 119-122. Munich: Verlag Silke Schreiber, 2016.

The Edge of the Earth: Climate Change in Photography and Video, exh. cat, 126-29. London: Black Dog, 2016.

Homeward: Selections from the Wieland Collection. Atlanta: Wieland Collection, 2016.

Landscape as Longing: Queens, New York. Gottingen: Steidl, 2016.

Magical Surfaces: The Uncanny in Contemporary Photography, exh. cat., 74-87. London: Parasol Unit Foundation for Contemporary Art, 2016.

Picturing America’s National Parks. New York: Aperture Foundation, 2016.

Watershed: Contemporary Landscape Photography, exh. cat. Savannah: Telfair Museums, 2016.


Albers, Kate Palmer. “After the Fact: Joel Sternfeld’s On This Site,” Uncertain Histories: Accumulation, Inaccessibility, and Doubt in Contemporary Photography, 107-29, Oakland: University of California Press, 2015.

Carroll, Henry. Read This If You Want to Take Great Photographs of People, 50-51. London: Laurence King, 2015.

The High Line: Foreseen, Unforeseen, 123-24, 139, 170. New York: Phaidon, 2015.

Méaux, Danièle. Géo-Photographies: Une approche renouvelée des territoires, 114-20. Trézélan, France: Filigranes Éditions, 2015.

Méaux, Danièle. “Joel Sternfeld, Walking the High Line: Du fret ferroviaire à la promenade urbaine,” Art, architecture, paysage: À l’époque post-industrielle, 189-197, Saint-Étienne, France: Publications de l’Université de Saint-Étienne, 2015.

Monterosso, Jean-Luc. Une Collection: Maison Européenne de la Photographie Paris, 212-13, 412. Arles: Actes Sud, 2015.

Museum Folkwang: Masterpieces of the Collection, 267. Munich: Sieveking Verlag, 2015.

Photography at MoMA: 1960-Now, 39, 238, 249. New York: Museum of Modern Art, 2015.

Rosenfeld, Jason. River Crossings: Contemporary Art Comes Home, exh. cat. New York: The Artists Book Foundation, 2015.

The Thames & Hudson Dictionary of Photography. London: Thames & Hudson, 2015.


American Scene Photography: Martin Z. Margulies Collection, exh. cat., 23. Fort Lauderdale: NSU Art Museum Fort Lauderdale, 2014.

Blue Sky: The Oregon Center for the Photographic Arts at 40, exh. cat. Portland, OR: Portland Art Museum, 2014.

Brown, Andrew. Art and Ecology Now, 68–69. London: Thames and Hudson, 2014.

Campany, David. The Open Road: Photography and the American Road Trip, exh. cat., 217–37. New York: Aperture Foundation, 2014.

Durden, Mark. Photography Today, 166–67, 200–203.New York: Phaidon Press, 2014.

Ewing, Edward A. Landmark: The Fields of Landscape Photography, 54, 104. New York: Thames and Hudson, 2014.

Halle, David, and Elisabeth Tiso. New York’s New Edge: Contemporary Art, the High Line, and Urban Megaprojects on the Far West Side, 104. Chicago: University of Chicago Press, 2014.

in/humano, exh. cat., 126–29. Monterrey: Museo de Arte Contemporáneo de Monterrey, 2014. La Farge, Annik. On the High Line, 10, 65–67, 162, 214. New York: Thames and Hudson, 2014.

Lamouliatte-Schmitt, Héléna. “The Oxbow selon Thomas Cole et Joel Sternfeld, ou la mise en perspective du regard.” In Perception, Perspective, Perspicacité, ed. Françoise Buisson, Christell Lacassain-Lagoin, and Florence Marie, 395–416. Paris: L’Harmattan, 2014.

Luxus der Einfachheit: Lebensformen Jenseits der Norm, exh. cat., 59–62. Berlin: Kehrer Verlag Heidelberg Berlin, 2014.

Nanoru, Michal. Only the Good Ones: The Snapshot Aesthetic Revisited, exh. cat. Prague: Galerie Rudolfinum, 2014.

Paper Roses: Garden-Inspired Works on Paper, exh. cat. Toledo: Toledo Museum of Art, 2014.

The Photography Book, 485. New York: Phaidon Press, 2014.

Road Trip: Photography of the American West, exh. cat., 64. Los Angeles: Los Angeles County Museum of Art; Bordeaux: Galerie des Beaux-Arts de Bordeaux, 2014.


Brunet, François. L’Amerique Des Images, 321. Paris: Éditions Hazan, 2013.

Bussard, Katherine, and Lisa Hostetler, Color Rush: American Color Photography from Stieglitz to Sherman, 210–15. New York: Aperture Foundation, 2013.

The Essential Guide, 298. Chicago: Art Institute of Chicago, 2013.

Honnef, Kause. “Die Präsenz der Vergangenheit.” In FotoA–Z, exh. cat.. Düsseldorf: NRW-Forum Kultur und Wirtschaft, 2013.

Kukielski, Tina. “Joel Sternfeld.” In 2013 Carnegie International, exh. cat.,163–64. Pittsburgh: Carnegie Museum of Art, 2013.

Memou, Antigoni. “Joel Sternfeld’s Anti- photojournalistic Images of Genoa.” In Photography and Social Movements, 145–162. Manchester, England: Manchester University Press, 2013.

Pénichon, Sylvie. “From Potatoes to Pixels: A Short Technical History of Color Photography.” In Color!: American Photography Transformed, exh. cat., 150, 163, 165, 200-201. Austin: University of Texas Press, 2013.


Barbor, Stephen and Michael Benson, eds. Power, 68-69, 124. Kempen: teNeues Publishing Group, 2012.

Garcia, Erin C. Photography and Play, Plate 43. Los Angeles: J. Paul Getty Museum, 2012.

Golden, Reuel. New York, “November 17.” Cologne: Taschen, 2012.

La Farge, Annik. On the High Line. 10, 17, 65, 66–67, 162, 208. New York: Thames and Hudson, 2012.

La Fotograpfia Della Collezione Trevisan, 220. Milan: SilvanaEditoriale, 2012.

“Saving the High Line.” In Design like You Give a Damn2: Building Change from the Ground Up, ed.

Architecture for Humanity, 181–82. New York: Abrams, 2012.

Williams, Val. When Photography Really Works, 160–61, 211. London: Barron’s, 2012.

The Dwelling Life of Man, exh, cat, 28. Amsfoort: Kunsthal KAdE, 2012.


Barber, Stephen, and Michael Benson, eds. Growth, 90–91. Berlin: teNeues Publishing Group, 2011.

Barrett, Terry. Criticizing Photographs: An Introduction to Understanding Images, 193. New York: McGraw Hill, 2011

Conversations: Photography from the Bank of America Collection, 55. Dublin: Irish Museum of Modern Art, 2011.

Engberg, Siri, ed. From Here to There: Alec Soth’s America, 40, 79, 82, 111, 140, 141, 145. Minneapolis: Walker Art Center, 2011.

Kennedy, Marla Hamburg, ed. New York: A Photographer’s City, 284–89. New York: Rizzoli International Publications, 2011.

La morada del hombre: Colección Martin Z. Margulies, 71, 180–81. Barcelona: Fundación Barrié, 2011.

Shamis, Bob. New York in Color, 76. New York: Abrams, 2011.

Stone, Jim, and Barbara London, eds. A Short Course in Digital Photography, 2nd ed., 22. Upper Saddle River, NJ: Prentice Hall, 2011.

Westerbeck, Colin. Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography, 1944– 1984, exh. cat., plate 24. Riverside: Regents of the University of California, Riverside California Museum of Photography, 2011.


Borys, Stephen. Winnipeg Art Gallery: Guide to the Collections, 161. Winnipeg: Winnipeg Art Gallery, 2010.

Dyer, Geoff. Working The Room: Essays and Reviews: 1999–2010, 49–52, image 3.

Edinburgh: Canongate Books, 2010.

Everyday Ideologies, Zeitläufe. Lebenswege. exh. cat, 18-26. Magdeburg: Kunstmuseum Kloster Unser Lieben Frauen, 2010.

Golden, Reuel. New York: Portrait of a City, 479. Cologne: Taschen, 2010.

Labour, exh. cat., 21. Winterthur: Fotomuseum Winterthur, 2010.

Marien, Mary Warner. Photography: A Cultural History, 3rd ed., 478. Upper Saddle River, NJ: Prentice Hall, 2010.

Moore, Kevin. Starburst: Color Photography in America 1970–1980, exh. cat.,128–33, 238–43. Ostfildern: Hatje Cantz Verlag; Cincinnati: Cincinnati Art Museum, 2010.

On the Road: A Legacy of Walker Evans, exh. cat. North Andover, MA: Robert Lehman Arts Center, Brooks School, 2010.

Photography Collection Museum Folkwang, 249. Göttingen: Steidl Publishers, 2010.

Reality Revisited: Photography from the Moderna Museet Collection, plate 182. Steidl Publishers, 2010.

Tellgren, Anna, ed. Reality Revisited: Photography from the Moderna Museet Collection, exh. cat., image

182. Stockholm: Steidl Publishers, 2010.

Wonderers, exh. cat., 32-37. Davis, CA: The Richard L. Nelson Gallery, UC Davis, 2010.


1985–2010: Luhring Augustine. New York: Luhring Augustine, 2010.

Bishop, Janet, Corey Keller, and Sarah Roberts, eds. San Francisco Museum of Modern Art: 75 Years of Looking Forward. San Francisco: San Francisco Museum of Modern Art, 2009.

Gefter, Philip. Photography after Frank, 11, 17, 45–46, 87, 195, 188, 206–207. New York: Aperture Foundation, 2009.

Goetzmann, William H., and William N. Goetzmann. The West of the Imagination, 509. Norman, OK: University of Oklahoma Press, 2009.

Images Recalled: 3rd Fotofestival Mannheim Ludwigshafen Heidelberg, exh. cat.,18, 165, 184–86. Heidelberg: Kehrer Verlag, 2009.

Into the Sunset: Photography’s Image of the American West, exh. cat., cover, 5, 13, 55, 61, 77, 80, 104. New York: Museum of Modern Art, 2009.

Jacobs, Steven and Frank Maes. Beyond the Picturesque, exh. cat., 156-161. Gent, Belgium: S.M.A.K., 2009.

No Such Place—Territories of the Invisible, exh. cat., 25, 27, 39, 56–57, 91, 100. Alicante, Spain: Castillo de Santa Bárbara, 2009.

Of People and Places, exh. cat., 71-79. Amherst, MA: University Gallery, University of Massachusetts Amherst, 2009.


Barth, Nadine, ed. Vanishing Landscapes (Verschwindende Landschaften), 158–67. Cologne: DuMont Buchverlag, 2008.

Eskildsen, Ute. Street and Studio: An Urban History of Photography, exh. cat., 114. London: Tate Publishing, 2008.

Eskildsen, Ute, and Alberto Martín, eds. On the Human Being: International Photography 1950–2000 , 111.

Madrid: Turner, 2008.Sternfeld, Joel. “Robert Frank in Göttingen.” Robert Frank. Göttingen: Steidl, 2008.

When Color Was New: Vintage Photographs from around the 1970s. exh. cat. New York: Julie Saul Gallery, 2008.


Angier, Roswell. Train Your Gaze (A Practical and Theoretical Introduction to Portrait Photography). Lausanne: Ava Publishing SA, 2007.

Badger, Gerry. The Genius of Photography: How Photography Has Changed Our Lives, 208. London: Quadrille, 2007.

Florido, Pepe. La Pradera de Plata, 37. Seville: Caja San Fernando, 2007.

How to Make a Book with Steidl, 3. Göttingen: Steidl, 2007.

MoMA: Highlights Since 1980, 63. New York: Museum of Modern Art, 2007.

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20th Century Photographs from the Museum of Modern Art, 98. New York: Museum of Modern Art, 1982.

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Schuman, Aaron. “I Walk the Line.” Introduction by Joel Sternfeld. ArtReview 54, October 2004: 74.

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“America the Improbable.” New York Times, 7 January 2003.

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Cooper, Emmanuel. “Everyday Paradoxes.” Tribune, 17 January 2003.

Ezard. John. “Citigroup Prize: Study of South African Commuters Shortlisted.” Guardian, 4 November 2003.

Hallet, Florence. “Joel Sternfeld.” What’s on in London? 8 January 2003.

“Joel Sternfeld.” Free Eye Magazine, February 2003.

“Joel Sternfeld: The Photograph’s Gallery.” Art Newspaper, January 2003.

Moakley, Paul. “Life on the Road: Joel Sternfeld on Robert Adams.” PDN, June 2003: 144.

Oddy, Jason. “Making the Past Present.” Modern Painters, Summer 2003: 26–28.

“Set in the Citi.” Panorama, October 2003.


Anderson, Hephzibah. “Opening This Week Joel Sternfeld.” LIFE, 29 November–5 December 2002.

Cavouras, Krissa Corbett. “View Master.” American Photo On Campus, September 2002: 18-21.

Connors, Philip. “A Magic-Carpet View of the City.” Wall Street Journal, 22 August 2002.

Guner, Fisun. “That’s All Folks.” METRO, 5 December 2002.

Hattam, Jennifer. “Restoration Art.” Sierra, May/June 2003: 48-49.

“Joel Sternfeld/The John Hinde Butlin’s Photographs, London.” Guardian, 29 November 2002.

Kaiser, Mario. “Die Insel der Toten.” Mare, no. 33 (August/September 2002): 91-97.

The Photographers’ Gallery Magazine, 8,19. April-May 2002.

Robinson, Walter. “Book Report.”, 26 June 2002.

Sternfeld, Joel. “Beautiful Dreamers: Utopia in America.” Doubletake, no. 28 (Spring 2002): 50–55.

Tarshis, Jerome. “Joel Sternfeld at SFMOMA.” Art in America, no. 3 (March 2002): 139.

Traub, James. “A Lesson in Unintended Consequences.” New York Times Magazine, 6 October 2002: 71.


Bonetti, David. “Sternfeld’s Photos Make Up Eclectic American Portrait.” San Francisco Chronicle, 6 July 2001.

Coupland, Ken. “Critic’s Choice: Joel Sternfeld.” The Monthly, July 2001.

Gopnik, Adam. “A Walk on the High Line.” The New Yorker, 21 May 2001: 44-49.

Hummer, Tracey C. “High Hopes for the High Line.” Art in America, October 2001: 192.

Lazere, Arthur. “Stranger Passing: Collected Portraits by Joel Sternfeld.”, 7 July 2001.

Najafi, Sina. “On the High Line.” Cabinet, no. 3 (Summer 2001): 44-47.

“On This Site: Landscape in Memoriam.” Australian PhotoJournalist 7, no. 1 (2001): 25-30.

“Parks Transformed.” DoubleTake, Special Edition 2001: 8-11.

“San Francisco Treats: Stranger Passing: Selected Portraits by Joel Sternfeld.” Flaunt, July 2001.

Smith, Roberta. “Art in Review.” New York Times, 28 December 2001

Ttruax, Alice. “At the Museums: Americans.” New Yorker, 9 July 2001: 90.

Whitehead, Colson. “The Image.” New York Times Magazine, 23 September 2001: 21.

Woodward, Richard B. “Portraits Picked Out of The Crowd.” New York Times, 19 August 2001: 29, 31.


Woodward, Richard B. “In an Indoor Age, the Streets Remain His Studio,” New York Times, 12 December, 1999.


Grundberg, Andy.“Photography: Review: Hart Island by Melissa Hunt and Joel Sternfeld.” New York

Times, 06 December 1998, p.60.

Hoffmann, Detlef. “Re-Visionen.” Fotogeschichte vol. 18, issue 67 (1998), p. 73-77.

Jobey, Liz. “Photographer Joel Sternfeld: Close Encounters.” The Guardian, 17 October, 2008.

Plath, Nils. “Hart Island: eine Reise zu einer verbotenen Grabstatte [Hart Island: a journey to a forbidden cemetery.” Kunst Bulletin 11 (November 1998): 16-21.


Altwegg, Jürg. “Als Wäre Nie Etwas Geschehen.” Frankfurter Allgemeine Magazin, no. 44 (31 October 1997): 24-30.

Artner, Alan. “Crime Scenes: Joel Sternfeld’s Photographs Quietly Recall Acts of Violence.” Chicago Tribune, 24 January, 1997.

DoubleTake 3, no. 1 (Winter 1997): cover, 4.

Engley, Hollis L. “Ghosts of Violence.” Detroit News, 28 February 1997.

Loke, Margarett. “Scenes to Make You Say ‘Oh Boy!’” New York Times, 25 July 1997.


Flaherty, Dolores and Roger Flaherty. “Achieving a Sense of Where You Are.” Chicago Sun-Times, 12 June 1994: 15.

Goldberg, Vicki. “A Baedeker to America in the Age of Anxiety.” New York Times, 13 February 1994: 34, 36.

Homes, A. M. “Haunting Grounds: Joel Sternfeld’s Crime Sights.” Artforum, March 1994: 78–83.

Hurley, Jack. “Ambiguity Keeps Viewer Seeking Hidden Meanings.” Commercial Appeal, 15 May 1994.

Strand, Monica. “Windows on America, Gates to its Gardens.” Sun-Sentinel, 10 April 1994.

Wilson, Mark. “Looking at Everyday Places with Wit, Color, and Detail.” Boston Globe, 3 April 1994.


“From Home to Rome, New Photography Collections.” USA Today, 11 December 1992.

Thall, Larry. “Sterfeld Captures Contemporary America’s Ambiguity.” Chicago Tribune, 17 July 1992: 80-81.


Goldberg, Vicki. “In the Ruins of Rome.” American Photo, January/February 1991: 50-51.

Hagen, Charles . “The Campagna Romana Viewed by Joel Sternfeld.” New York Times, 20 September 1991: C22.

“Joel Sternfeld: The Faces of America.” American Photo, May/June 1991.

“Joel Sternfeld.” The Village Voice, 15 October 1991.

Kimmelman, Michael. “Joys and Terrors on the Home Front.” New York Times, 27 September 1991: B6.

“Photography.” New Yorker, 14 October 1991.

Plagens, Peter. “A House is not a Home.” Newsweek, 21 October 1991: 62-63.


Jones, Peter C. “Hot Photographers.” Connoisseur, November 1990: 150-155, 185.


Aperture,no. 114: Self and Shadow (Spring 1989): 40-42. Art News 88, no. 4 (April 1989): 145.

Foerstner, Abigail. “2 Exhibits Portray the Relationship of Artist and Subject.” Chicago Tribune, 30 June 1989: 81-82, 84.

Jeffrey, Ian. “Time and its Contents.” The Royal Academy Magazine, Autumn 1989: 19-22.

Lacayo, Richard. “Drawn by Nature’s Pencil.” Time Magazine 133, no. 9 (27 February 1989): 67.

Newsweek Magazine 114, no. 8 (21 August 1989): 52.

“Street Scenery.” Smart Magazine, no. 6 (November/December 1989): 24-25.


Degener, Patricia. “America: As Is.” St. Louis Post-Dispatch, 14 January 1988.

Dorsey, John. “Discovery is Part of the Pleasure of Joel Sternfeld’s Photographs at BMA.” Today, 29 June 1988.

“Joel Sternfeld Photographs at the Baltimore Museum of Art.” Antiques and The Arts Weekly, 17 June 1988: 9.

Life Magazine 11, no. 10: 150 Years of Photography (Fall 1988): 12-13.

Purchase, Steve. “Sternfeld’s Photos Intriguing, Delightful.” The Evening Sun, 11 August 1988.


Berryhill, Michael. “‘Prospects’: Promise and Pain in the USA.” USA Today, 7 April 1987.

Chadwick, Susan. “Sternfeld ‘Prospects’ Rich Vein of America’s Nature.” The Houston Post, 5 April 1987: 4F.

Chahroudi, Martha. “Twelve Photographers Look at Us.” Philadelphia Museum of Art Bulletin 83, nos. 354–355 (1987): 29.

Connoisseur, July 1987, 18.

Freudenheim, Susan. “Suburban Hamlets.” Artforum, May 1987: 137.

“In Search of America.” New York Times Magazine, 15 March 1987: 32- 35.

Lacayo, Richard. “Lovelorn Tracts, Minced Wilderness: Jousting with the Landscape in Joel Sternfeld’s America.” TIME, 20 April 1987: 84.

Levin, Eric. “American Prospects.” People Magazine 27, no. 22 (1 June 1987): 12.

Levin, Eric. “Twelve Photographers Look at Us.” People Magazine, 18 May 1987: 28-29

Livingston, Kathryn. “We the People.” American Photographer, July 1987: 30-32.

Roth, Evelyn. “American Dreams.” American Photographer 19, no.3(September 1987): 48-53.

Sozanski, Edward J. “An Unsentimental Focus on America.” Philadelphia Inquirer, 26, April 1987.


Grundberg, Andy. “Photographers Who See Beyond Fact.” New York Times, 7 September 1986: 43-44.

Muller, Peter O. “Are Cities Obsolete?” The Sciences, March/April 1986: 46-47.


Art, Das Kunstmagazin, July 1985: 50-59.

Wise, Kelly. “Realism  Invades the Landscape.” Boston Globe, 12 April 1985.


Brenson, Michael. “A Critic’s Walk Through the New Modern Museum.” New York Times, 18 May 1984: C22.

Grundberg, Andy. “Photography View; A New Era of Image-Making.” New York Times, 30 December 1984.

McDarrah, Fred. “An Opinionated Survey of the Week’s Events: Photo.” The Village Voice, 6 November 1984.

“Critic’s Choice,” New York Times, , 6 October 1984.

Starenko, Michael. “Words and Pictures,” Afterimage, October 1984.

Thornton, Gene. “Critics’ Choices,” New York Times, 14 October 1984.

Wachs, Mary. “Ironic Harmonies.” Aperture, no. 96 (Fall 1984): 16-28.


Asahi Camera, January 1983: 13-18.

Life Magazine, January 1983: 41-42.


Art in America 70, no. 1 (January 1982): 27, 31.

Karmel, Pepe. “Joel Sternfeld at Daniel Wolf.” Art in America, Feburary 1982: 143.

“Joel Sternfeld.” Artforum, January 1982: 77-78.


Davis, Douglas. “A Call to Colors.” Newsweek Magazine, 23 November 1981: 115-116.

Groenfeldt, Tom. “Soothing Portrait of America.” The Record, 20 October 1981.

Grundberg, Andy. “The Incredible Commonplace.” New York Times, 25 October 1981: 29.

Hedgpeth, Ted. “Cultivation and Alienation.” Artweek 12, no. 38 (14 November 1981): 11.

The New Republic, 16 December 1981: 30. New York Times, 30 August 1981: 29.


Grundberg, Andy. “Inhabited Terrain: Joel Sternfeld’s American Landscapes.” Modern Photography 44, no. 3 (March 1980): 82-89.

“Recent Landscapes: Photographs by Joel Sternfeld.” Camera Arts, Premier Issue (November-ecember 1980): 46-55.


Modern Photography 43, no. 3 (April 1979): 10.


Modern Photography 42, no.12 (December 1978): 24.


Camera 56, no. 7 (July 1977): 31.

Porter, Allan. “Photographis Interruptus.” Camera, vol. 56, no.11 (November 1977): cover, 16–24.

Modern Photography 41, no.7 (July 1977): 75.


Modern Photography 40, no. 2 (February 1976): 78.


Modern Photography 39, no. 8 (August 1975): 74.


Akron Museum of Art, Akron, OH

Art Institute of Chicago, Chicago, IL

Broad Art Foundation, Santa Monica, CA

California Museum of Photography, University of California, Riverside, CA

Dallas Museum of Art, Dallas, TX

European American Bank, New York, NY

Forbes Collection, New York, NY

Fotomuseum Winterthur, Zurich, Switzerland

Goldman Sachs, New York, NY

Groninger Museum, Groningen, The Netherlands

Hallmark Collections, Kansas City, MO

Herbert F. Johnson Museum, Cornell University, Ithaca, NY

High Museum of Art, Atlanta, GA

Houston Museum of Fine Arts t, Houston, TX

Indianapolis Museum of Art, Indianapolis, IN

ING Belgium Art Collection, Brussels, Belgium

J. Paul Getty Museum, Los Angeles, CA

Kemper Museum of Contemporary Art, Kansas City, MO

Maison Européene de la Photographie, Paris, France

Massachusetts Institute of Technology, Cambridge, MA

Metropolitan Museum of Art, New York, NY

Middlebury College, Middlebury, VT

Minneapolis Institute of Arts, Minneapolis, MN

Museum Folkwang, Essen, Germany

Museum of Contemporary Art, San Diego, CA

Museum of Modern Art, New York, NY

Oakland Museum of California, Oakland, CA

San Francisco Museum of Modern Art, San Francisco, CA

Seattle Art Museum, Seattle, WA

Security Pacific Bank Collection, Los Angeles, CA

Victoria and Albert Museum, London, England

Whitney Museum of American Art, New York, NY

Worcester Museum of Art, Worcester, MA

Yale University Art Gallery, New York