Beth Herzhaft

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Untitled Area Photograph (John Wayne), 2010 C Print 20 X 30 © © Beth Herzhaft
Untitled Area Photograph (Beverly Hills), 2009 C Print 20 X 30 © © Beth Herzhaft
Untitled Area Photograph (Pasadena), 2009 C Print 20 X 30 © © Beth Herzhaft
Untitled Area Photograph (Century City), 2011 C Print 20 X 30 © © Beth Herzhaft
Untitled Area Photograph (Glendale), 2011 C Print 20 X 30 © © Beth Herzhaft
Untitled Area Photograph (Chinatown), 2011 C Print 20 X 30 © © Beth Herzhaft
Quick Facts
Lives in
Los Angeles
Works in
all over, really....
landscape, modern, photography, conceptual


Beth Herzhaft graduated cum laude from The University of Hard Knocks and received her MFA in Photography from Nowhere In Particular. Her first commercial job (photographing gangster rapper Schooly-D) resulted from her finding her way into the art department at Capitol Records, back when you could get away with that sort of thing.

¶ She has been a freelance photographer since the 1990's, working with numerous publications, advertising agencies and
record companies.  The rest of the time she is shooting fine art.  She maintains a studio in Los Angeles, CA.

¶ She has had the good fortune to work with many amazing people over the years: Solomon Burke, Herbie Hancock, Sonos, Nels Cline, St. Vincent,
Ledisi, Colin Hay (and going *really* far back: Mazzy Star, Sonic Youth, Radiohead, Pharoah Sanders, Primal Scream, Wallflowers etc)  A five page
feature on her photography is featured in the current issue of Creative Quarterly magazine.
¶ Beth is influenced by everything from Richard Feynman to Wim Wenders to Mavis Staple.  She deeply loves what she does, both in fine art and commercially.

Beth Herzhaft Photography

artist statement:

Area Photography

I am currently working on a series of contemporary photographic landscapes.

The subject matter I gravitate toward is unspectacular, and the images are a mischievous reaction  to “epic” photography:  In  area  photography  there  is  no  “decisive  moment”: what  is  captured  is  a  comma  rather  than  an  exclamation  point.  

Through the juxtaposition of spatial elements and choice of subject, a "discovered" narrative emerges, highlighting incompleteness as a condition of everyday life.  The absence of people in the images turns the viewer’s gaze to the space itself and to the myriad details which define these environments.

There is both a sense of idealism and anxiety (albeit a humorous one), and it is my hope that both the beautiful and the absurd can coexist in this work.