Lucinda Devlin's photographs are included in major US and international museums such as the Guggenheim Museum, NY, the Houston Museum of Art, Houston, TX, the San Francisco Museum of Modern Art, the Whitney Museum of Art, NY, the Bibliothèque Nationale, Paris, France and the National Museum of Photography, Film and Television, Bradford, UK.
Included at San Francisco MOMA in the exhibition entitled Exposed: Voyeurism, Surveillance and the Camera Since 1870, curated by Sandra Phillips. The exhibition opened at the Tate Modern in London, May 2010, and continued to SFMOMA in October 2010. It then traveled on to the Walker Art Center in 2011.
Venice Biennale: Harald Szeemann presented a solo exhibition of the complete "The Omega Suites" at the Venice Biennale in 2001.
25th Biennale São Paulo: Julian Zugazagoitia presented "Pleasure Ground" at the 25th Biennale São Paolo,Brazil, in the American pavilion in 2002.
Solo Exhibition of "Pleasure Ground" at the Bibliothèque nationale, Paris, France, 2002.
MFA , Photography, Eastern Michigan University, Ypsilanti, MI, 1974.
Graduate Studies, Photography, School of the Art Institute, Chicago, IL, 1972.
BS, English/Art, Eastern Michigan University, 1971.
Lucinda Devlin was born in 1947 and belongs to the generation of American photographers who pioneered fine art color photography. Her photographs are both noted for their attention to formal composition, capturing a delicate balance of available light and intense color values, and for their focus on carefully selected, though disparate, themes of subject matter.
Devlin always uses a square format with a wide angle lens, allowing her to step in close to her subject. The technique creates a sense of intimacy and spatial depth. The viewer is invited to enter the space of the photograph and discover how it would feel to be in these divergent, often constrained and uncomfortable, environments. Devlin occupies a distinct position in current photographic practice. Although she is one of the early exponents of a contemporary photographic approach which emphasizes objective point of view, she also introduces layers of questioning and ambiguity into her images. While her photographs reveal the ubiquitous artificiality of contemporary life, she also offsets theatrical contrivance with close attention to the real world. Ultimately Devlin belongs in the American narrative tradition and the object of her inquiry is the real condition of the human subject.