To many, the South is a monolithic place that can only be understood through pity and at arm’s length.
The region has long been a destination for makers — and takers — of all kinds. In books, films and photographs, it is sought as a fixed point, a place one expects to know fully, perhaps even before visiting.
George Etheredge, 28, grew up in Asheville, N.C., which is squarely situated both in the South and in Appalachia, another region that is often “othered” by outsiders intent on finding poverty and dysfunction. But Mr. Etheredge knew the real poverty was one of imagination. He set out to make pictures of the home he knew in his heart.
“I’m less interested in the surface value of the place and more interested in the subtleties and contradictions that imbue the place with meaning,” he said. “I’m not necessarily trying to do anything new, I just want to feel the place and want that emotion and connection to carry through with the work that I make.”
As a quiet, unassuming kid, Mr. Etheredge was interested in photography in high school, but didn’t take pictures then. Skateboarding was an early creative outlet. “I would spend days wandering the streets looking for ways to reinterpret and utilize my small town as a skateboarder,” he recalled. “The search for meaning in the otherwise mundane most definitely translated into my practice as a photographer.”
While in college at the University of North Carolina Asheville, Mr. Etheredge studied photography, especially work made in the South and in Appalachia. “It helped me learn how insightful photography and printing can be,” he said, “which in turn made me more intentional with my overall practice.”
I first became aware of Mr. Etheredge’s work through the “Looking at Appalachia” project, to which he has since become a regular contributor. The project — which I direct — supposes that if the visual definition of a place has been constructed through stereotypical photographs, those same stereotypes can be deconstructed through photographs, too.
“We know Appalachia exists because we need it to define what we are not,” Ronald Eller, the historian, wrote in “Uneven Ground, Appalachia Since 1945,” published by the University Press of Kentucky. “It is the ‘other America’ because the very idea of Appalachia convinces us of the righteousness of our own lives.” Much like Appalachia, the South has long been used to define what others are not.
Mr. Etheredge has been working as a freelance photographer since moving to New York in May of 2016, and is a frequent contributor to The New York Times and other national and international publications.
To be clear, he does not consider himself a southern photographer. “My work in the South is very important to me and has no doubt had an influence on who I am and what I find worthy of picking up my camera for,” he said. “I don’t consider myself a southern photographer, but instead a photographer who happened to grow up in the South.”
This distinction is important to him, since he is quick to point out how easily the complexities of a place can be collapsed for easy consumption.
“The perception of the South as a pure place — an exotic cultural eddy cut off from the rest of the nation because of its historically agrarian way of life, which in turn nurtured folk cultures — made the region a central site for documentary fieldworkers eager to encounter and record ways of life that seemed more authentic than cities,” wrote Scott L. Matthews in his introduction to “Capturing the South: Imagining America’s Most Documented Region.”
Mr. Etheredge’s pictures are quiet, much like their maker, but don’t mistake that for an absence of connection. It is precisely that connection that caught my attention, and that leaves me wanting more. Mr. Etheredge’s insight and contemplative nature lend a tangible feel to his work. They invite us to spend time with them, to linger.
Mr. Etheredge doesn’t fetishize the place. He isn’t selling anything.
Roger May is a photographer and writer based in Charleston, W.Va. He directs the crowdsourced Looking at Appalachia project. He is on Instagram and Twitter at @walkyourcamera. Follow @nytimesphoto on Twitter. You can also find us on Facebook and Instagram.
今晚平码买什么生肖【尽】【管】【那】【些】【军】【官】【们】【颇】【有】【微】【词】，【但】【是】【也】【知】【道】【自】【己】【的】【胳】【膊】【终】【究】【是】【拗】【不】【过】【大】【腿】【的】，【所】【以】【他】【们】【并】【没】【有】【在】【多】【说】【什】【么】，【毕】【竟】【现】【在】【的】【拉】【蒙】【少】【将】【情】【绪】【很】【不】【稳】【定】，【到】【时】【候】【万】【一】【死】【在】【自】【己】【人】【手】【里】，【他】【们】【哭】【都】【没】【有】【地】【方】【去】。 【所】【以】【在】【这】【种】【情】【况】【下】，【那】【些】【尼】【弗】【迦】【德】【军】【官】【尽】【管】【是】【在】【不】【情】【愿】，【也】【只】【能】【选】【择】【披】【挂】【上】【阵】，【排】【在】【了】【最】【前】【方】。 “【怎】【么】，【你】【还】【是】
“【应】【该】【是】【你】【才】【对】，【毕】【竟】【我】【这】【一】【生】，【都】【在】【等】【待】【你】【的】【到】【来】。” 【丁】【夏】【抬】【头】【看】【着】【眼】【前】【的】【这】【个】【男】【人】，【她】【比】【任】【何】【人】【都】【觉】【得】【幸】【福】， 【而】【肖】【崇】【也】【笑】【着】【看】【看】【她】，【低】【下】【头】【来】，【轻】【吻】【丁】【夏】【的】【额】【头】。 【在】【家】【待】【了】【三】【个】【多】【月】，【丁】【夏】【就】【实】【在】【是】【待】【不】【住】【了】，【当】【两】【个】【孩】【子】【终】【于】【不】【用】【时】【时】【刻】【刻】【吵】【闹】【着】【喂】【奶】【之】【后】，【丁】【夏】【就】【赶】【紧】【给】【余】【杉】【杉】【打】【电】【话】【问】【她】【有】【什】【么】
【皆】【是】【深】【情】【锁】， 【以】【网】【渡】【渔】【生】。 【若】【介】【腥】【意】【重】， 【何】【苦】【藏】【纯】【心】。 【译】：【心】【里】【总】【是】【没】【有】【确】【定】，【便】【会】【迷】【惑】。 《【养】【伤】》 【洗】【好】【的】【衣】【裳】， 【总】【是】【忘】【记】【了】【晾】。 【削】【好】【的】【铅】【笔】， 【却】【也】【画】【不】【出】【自】【己】【模】【样】。 【过】【一】【段】【时】【间】， 【受】【一】【段】【野】【伤】。 【他】【是】【在】【丛】【林】， 【被】【猎】【豹】【抓】【伤】【了】【眼】【睛】。 【嘴】【里】【嚼】【着】【苦】【蒿】， 今晚平码买什么生肖【子】【夜】【时】【分】，【血】【光】【透】【过】【密】【室】【墙】【壁】【上】【的】【的】【窗】，【投】【射】【到】【九】【曜】【身】【上】。【一】【缕】【火】【光】【俨】【然】【包】【裹】【出】【住】【他】，【一】【双】【警】【觉】【锐】【利】【的】【眸】【子】【赫】【然】【掀】【开】。 【火】【光】【消】【失】【之】【际】，【结】【界】【随】【之】【消】【散】，【只】【是】【短】【短】【一】【瞬】【间】，【他】【化】【回】【里】【人】【形】，【俨】【然】【居】【高】【临】【下】【立】【在】【白】【凤】【身】【边】。 【彼】【时】【白】【凤】【正】【趴】【在】【岩】【石】【上】【熟】【睡】，【睫】【毛】【在】【眼】【窝】【里】【晕】【出】【了】【阴】【影】，【月】【光】【照】【射】【下】，【她】【的】【一】【张】【脸】【显】【得】【越】
【老】【爷】【子】【被】【自】【家】【孙】【子】【的】【话】【刺】【激】【的】【差】【点】【没】【心】【脏】【病】【了】，【好】【在】【他】【心】【理】【够】【强】【大】，【最】【后】【还】【是】【坚】【持】【住】【了】。 【墨】【伊】【不】【是】【木】【头】，【被】【人】【这】【么】【表】【白】【真】【的】【很】【感】【动】。 【可】【是】【某】【位】【老】【爷】【子】【就】【有】【点】【惨】【兮】【兮】【了】，【本】【来】【是】【想】【拿】【乔】【一】【下】【下】，【现】【在】【可】【好】，【乔】【没】【拿】【上】【反】【而】【被】【人】【将】【了】【一】【军】，【你】【说】【这】【台】【阶】【接】【下】【来】【怎】【么】【下】？ 【此】【时】【此】【刻】，【最】【不】【担】【心】，【最】【高】【兴】【的】【可】【能】【要】【属】
【余】【秋】【问】：“【刚】【才】【那】【伙】【人】【是】【什】【么】【人】【啊】？” 【林】【风】：“【不】【知】【道】，【我】【又】【不】【是】【百】【晓】【生】。” 【余】【秋】【说】：“【可】【是】【你】【好】【像】【和】【絮】【叨】【客】【很】【熟】【啊】。” 【林】【风】【问】：“【和】【他】【熟】【并】【不】【代】【表】【认】【识】【他】【们】【啊】，【还】【有】【你】【怎】【么】【知】【道】？” 【余】【秋】【分】【析】：“【我】【们】【同】【学】【都】【在】【说】，【我】【们】【倾】【楼】【好】【像】【在】【【絮】【叨】【说】【江】【湖】】【中】【全】【是】【赞】【美】【的】【话】，【而】【且】【絮】【叨】【客】【对】【我】【们】【倾】【楼】【好】【像】【很】
【对】【于】【天】【气】【的】【变】【化】，【一】【开】【始】【并】【没】【有】【引】【起】【太】【多】【的】【重】【视】。 【除】【了】【偶】【有】【几】【个】【发】【现】【那】【朵】【飘】【在】【天】【空】【中】【的】【乌】【云】【的】【弟】【子】【们】【会】【私】【下】【里】【议】【论】【一】【下】【外】，【一】【朵】【小】【小】【的】【乌】【云】，【并】【没】【能】【掀】【起】【太】【大】【的】【话】【题】。 【毕】【竟】，【这】【里】【可】【是】【月】【寒】【宫】【所】【在】【的】【小】【世】【界】，【是】【她】【们】【传】【承】【了】【亿】【万】【年】【的】【宗】【门】【所】【在】【地】。 【这】【小】【世】【界】【的】【安】【全】【程】【度】，【说】【一】【声】【是】【三】【界】【六】【道】【最】【安】【全】【的】【地】【方】【也】