Mark McKnight’s work expands the traditions of his photographic predecessors: shooting in the landscape of Southern California, New Mexico and Arizona with a formalist eye towards the textures and patterns of rock, sky, water and grasses. The bodies in his photographs are representative of friends and acquaintances, a mostly queer community largely absent from the photographic histories he engages. Through careful printing, arrangement and installation, McKnight draws formal and figurative parallels that speak to the ways in which a geography both inscribes upon and is inscribed by our histories, traumas, intimacies, and subjectivities. The photographs describe queer intimacy with and within a landscape queerly registered and reconsidered: in terms of the mythopoetic, the sexual and the psychological.View CV
Mark McKnight at MOCA Tucson
Mark McKnight: Hunger for the Absolute
Zach Ritter reviews Mark McKnight's solo show at Klaus von Nichtssagend Gallery, in the Brooklyn Rail, March 2021 issue.
Captured and Released: Mark McKnight
Mousse Magazine publishes a fully illustrated feature with text by Andrew Berardini in the Spring 2021 issue.
Mark McKnight on Frederick Sommer, a Conversation with Audrey Sands
McKnight and Sands discuss the legacy of acclaimed twentieth-century photographer Frederick Sommer and McKnight’s long-standing interest in Sommer’s life and work.
Liberating the Taxonomic
Steven Warwick reviewed Hunger for the Absolute, Mark McKnights solo show at Klaus von Nichtssagend Gallery and Park View / Paul Soto in the March 2020 issue of Bomb Magazine
Mark McKnight in conversation with Garth Greenwell at Aperture
Mark McKnight’s Exuberant Tribute to Queer Tenderness
Novelist and poet Garth Greenwell writes on Mark McKnights photographs in the December 2019 Issue of Aperture.
LACMA acquires Mark McKnight's Photographs
Los Angeles County Museum of Art (LACMA) has acquired of Bodyfold, 2019 and Destructive Distillation (Tar Cosmos), 2019.
Mark McKnight and the Bodies that Modernist Photography Didn't See
A photo essay with writing by Chris Wiley was published in The New Yorker online on June 15, 2020.