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In his 1980 series Park City, Lewis Baltz tracked the development of a Utah ski resort community under construction. With a discerning eye for formal relationships, Baltz filled hundreds of consecutive frames with shapeless mounds of newly tilled soil, empty resurfaced lots, and partially built interiors. Time is frozen in these transitional landscapes, which are in the process of acquiring new purpose and meaning. Baltz’s repetitive views of stripped-down land document the moment the earth is converted from an arrangement of natural elements into saleable lots of residential property.