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Library Journal Review

Gossage photographs nature, but in it finds no beauty. He shoots a pond strewn with detritus, both natural and man-made. He photographs a deserted carnival through leafless trees, a river with a half-sunken tire and a floating plank. One picture includes a vacant overgrown field, the corner of a drive- in movie screen, a lone pole, and an ``Auto Service'' sign, each element alien and unrelated. Gossage is con cerned more with meaning than with appearance, and the places he photo graphs are enigmatic, mysterious, and evocative. He communicates a sense of nature as out-of-joint, at odds with it self and with man. Sines's essay does not relate directly to the photographs, but does reinforce a sense of rural pov erty and decay. While Gossage seems to be demonstrating nature spoiled or at least sullied by man, he is not didactic. His ultimate meanings are veiled. For comprehensive collections. Marjorie Miller, Fashion Inst. of Technology Lib., New York (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

The subjects of the 49 black-and-white photos in this book are not only ponds; there are also shots of homes, trees, birds, weeds, puddles and streams. Gossage creates evocative compositions of tires and branches partially submerged in a swamp, graceful patterns of birds or leaves spiralling against the sky, a shadow sneaking across a street, a clump of weeds nestled beside a concrete stump, cars driving blindly past a patchwork design of sidewalk, asphalt, shadow and grass. Sines's introductory essay serves only to disorient the reader rather than enhance the photographs; a piece about her own house, her family, her ``Pa,'' it is unrelated to the pictures in mood as well as content. Gossage's work has been exhibited in museums and he has published a previous collection of photos, Gardens. Foreign rights: Aperture. December (c) Copyright PWxyz, LLC. All rights reserved