Doug Rickard (photographer)

For his series A New American Picture, Rickard "wanted to look at the state of the country in these areas where opportunity is non-existent and where everything is broken down",[11] where "the American dream was shattered or impossible to achieve".[14] It is said that this work comments on United States politics, poverty, racial equality and the socioeconomic climate, class; the use of technology in art, privacy, surveillance, and the large quantity of images on the web.[15][16] Rickard said A New American Picture was about America and not about Google Street View.

He began work on A New American Picture in 2008, whilst working a day job in software sales at Cisco Systems.[6] Rickard was at his computer nightly for over three years, taking 10,000 to 15,000 photographs, choosing about 80 for the series.[7] He used a digital camera on a tripod to photograph[16][17] a dedicated screen that mirrored a second screen that he used to navigate.[4] He digitally manipulated the images to remove Google's watermark and crop extraneous information,[15] resulting in a wide image from the wide screen computer monitor.

He cited as influences the photobooks American Photographs (1938) by Walker Evans, The Americans (1958) by Robert Frank, Uncommon Places (1982) by Stephen Shore and American Night (2003) by Paul Graham.[17]

The work was first exhibited as part of Anonymes: Unnamed American in Photography and Film, curated by David Campany and Diane Dufour at Le Bal, Paris, in 2010.[18] To mark that occasion Rickard produced the first edition of the book, with the publisher White Press.[18] Its first American museum show was at New York's Museum of Modern Art in 2011.[6]

Parr and Badger include the book in the third volume of their photobook history.[19]

N.A. is a body of work photographed from YouTube videos, which he began working with in 2008 to 2009.[20] The series portrays scenes of violence and crime in urban settings, often filmed on mobile devices. The title of the work is meant to be National Anthem, but is a deliberate reference and double meaning for 'N/A' (Not Applicable) as appears on forms, to signify that he considers many of the people depicted in the series are marginalized. "I came to the understanding pretty quickly that social media and the internet put into place a real predatory dynamic, where basically it motivated people to take video of other people to put up on YouTube to get shares, likes or comments."[20]

• A New American Picture.
  • Cologne: White / Schaden, 2010. Edition of 200 copies. With text by Rickard and Helge Schlaghecke. Includes 69 photographs.
  • Larger format, expanded edition. New York: Aperture; Berlin: Koenig, 2012. ISBN 978-1-59711-219-2. With an introductory essay by David Campany, "In the Frame", and a transcript of a conversation between Rickard and Erin O'Toole. Includes 79 photographs.
• Tom. Los Angeles: Little Big Man, 2013. Edition of 300 copies.
• All Eyes on me. One Picture Book 86. Portland, OR: Nazraeli, 2014. ISBN 9781590054154. Edition of 500 copies.
• Patriot Act. London: Wild Life, 2014. OCLC 911411734.
• N.A.
  • Cologne: White, 2013. Edition of 200 copies.
  • Dortmund: Kettler; New York: Distributed Art Publishers, 2014. English-language version, ISBN 978-1938922626; German-language version, ISBN 978-3-86206-345-1. With a text by Zaha Redman and a poem by Ann Garlid.

• Aperture Remix. New York: Aperture, 2012. A series of books made in homage to another Aperture publication, each in an edition of 5 copies. Rickard's was a response to Uncommon Places by Stephen Shore. The other publications were by Rinko Kawauchi, Vik Muniz, Alec Soth, Taiyo Onorato & Nico Krebs, Martin Parr, Viviane Sassen, Penelope Umbrico and James Welling. Produced in conjunction with the exhibition Aperture Remix.
• A New American Picture. Nazraeli Press Six by Six, set 4 v. 5. Portland, OR: Nazraeli, 2012. ISBN 9781590053607. Edition of 100 copies. The other volumes are by Robert and Kerstin Adams, Edward Burtynsky, Kenro Izu, Catherine Opie and Issei Suda.
• Staking Claim: a California Invitational. San Francisco: Modernbook, 2013. OCLC 867793604. With a foreword by Deborah Klochko and essays by Chantel Paul ("Garden State") and Colin Westerbeck ("All together now! Themes and Shared Concerns in Staking Claim: a California Invitational"). Photographs by Rickard as well as Matthew Brandt, Susan Burnstine, Eric William Carroll, John Chiara, Chris Engman, Robbert Flick, Todd Hido, Siri Kaur, Mona Kuhn, Matt Lipps, David Maisel, Klea McKenna, Mark Ruwedel, Paul Schiek and Christina Seely. Catalogue of an exhibition held at the Museum of Photographic Arts, San Diego, CA.
• The World Atlas of Street Photography. New Haven and London: Yale University: 2014, ISBN 978-0-300-20716-3. Edited by Jackie Higgins. With a foreword by Max Kozloff.

• 2012: Yossi Milo Gallery, New York, 2012[22]

• 2010: Anonymes: L'Amérique sans nom: Photographie et Cinéma (Anonymous: Unnamed America in Photography and Film), Le Bal, Paris, 2010[23] A thematic exhibition with works by Rickard as well as Jeff Wall, Walker Evans, Chauncey Hare, Lewis Baltz, Standish Lawder, Sharon Lockhart, Anthony Hernandez, Arianna Arcara & Luca Santese, and Bruce Gilden. Curated by Diane Dufour and David Campany.[13]
• 2011/2012: New Photography 2011, Museum of Modern Art, New York, 2011/12. Photographs by Rickard and Moyra Davey, George Georgiou, Deana Lawson, Viviane Sassen and Zhang Dali.[24][25]
• 2012: Publicly Private: Enrico Natali and Doug Rickard, Santa Barbara Museum of Art, Santa Barbara, CA, 2012. Enrico Natali's New York Subway 1960 and Rickard's A New American Picture. Curated by Karen Sinsheimer.
• 2012: Aperture Remix, Aperture Gallery, New York, 2012[26] Curated by Lesley A. Martin with work by Rickard as well as Rinko Kawauchi, Vik Muniz, Alec Soth, Taiyo Onorato & Nico Krebs, Martin Parr, Viviane Sassen, Penelope Umbrico and James Welling.[27] Toured to David Owsley Museum of Art Ball State University, Muncie, IN, 2014; Museum of Photographic Arts, San Diego, CA, 2014[28]
• 2013: Tim Hetherington and Doug Rickard, Stills Gallery, Sydney, 2013. Rickard's A New American Picture was shown alongside Tim Hetherington's Afghanistan.[29][30]
• 2013/14: Staking Claim: a California Invitational, Museum of Photographic Arts, San Diego, CA, 2013/14.