Gravel Hill 2 (from the series TerraForms)




Broken Road Hill 1 (from the series TerraForms)




Black Gravel Hill 3 (from the series TerraForms)




White Stone Hill 3 (from the series TerraForms)




Gravel Hill 1(from the series TerraForms)




Broken Road Hill 2 (from the series TerraForms)




Black Stone Hill 2 (from the series TerraForms)



Yellow Billboard, Arizona (from the series Empty Signs)




Lordsburg Canvas, New Mexico (from the series Empty Signs)




Blue Modular, New Mexico (from the series Empty Signs)




TerraForms, 2015

The first hill I fell in love with was a man-made hill; as a child in the vast flatlands of Chicagoland, it was our only “mountain”. It provided hours of sledding and sliding in the winter and running, rolling and pretending in the summer. Growing up in the midwest, with it’s monotonous landscapes, and vast flat fields, I longed for “real landscapes”: landscapes with drama and challenges. Like the ones I saw in old western flicks and TV dramas (such as Monument Valley, southern Utah and Arizona, the Eastern Sierras, Death Valley, etc.), the majestic mountain scenes depicted in paintings hanging over neighbors’ sofas (Colorado), and Ansel Adams’ photographs in calendars.

As soon as I was able to, I moved to west to California, and spent most of my adult life here.
It satisfied my longing for more elevated and dramatic landscapes, which I never tired of seeing and photographing. Later, I became interested in the complex relationships between humans and the greater environment, and questions of what constituted Nature. Still captivated by the simple mound, as a stand-in for my idealized imaginary landscape, I began to seek out these forms. The hills and mounds I found were manmade, just as my first hill was. The remains of roadbuilding, construction, or the product of mines and quarries, they came in a wide variety of shapes, sizes and materials. Often they were isolated in a flat desolate landscape; they were the spaces between the known and productive terrain, and, as such nobody came to contemplate or notice their silent beauty.

Seen without vegetation, architecture or figures, these landscapes conceal their identity of time, location, climate and scale. A human presence is implied, and often added to by the dispersed lines in the sky that never stood behind the hill of my childhood. Skies are transient, while stone is almost forever. These simple landscapes are enthralling, yet foreboding to me. I invite the viewer to consider these sky/scapes as enduring spaces of our presence, our influence and what will remain.

Empty Signs, 2015

While traveling long stretches on rural highways, I’ve found myself delighting in the sight of billboards without a message. Advertisements that have become obsolete, painted over, faded away or peeled off their surfaces through natural entropy. As a long time graphic designer, I appreciate the seemingly empty space more than I would ever enjoy what to me is generally terrible typography. More than that, though, I see these rectilinear surfaces as abstract or colorfield paintings, framed by the desert landscape itself. Or, in some way the artificial structures act as a kind of inverted frame to delineate the nearly unseen dry and unused landscapes. These “Empty Signs” also speak to our ever changing culture, its communications technologies and consumer desires as reflected in our landscape.


MFA Fine Art | Art Center College of Design, Pasadena, California
BFA Graphic Design | University of Illinois, Champaign, IllinoisExhibitions


Scientificous Manifest Gallery, Cincinnati, OH
Landscapes Center for Fine Art Photography, Main Gallery, Fort Collins, CO

Neither Here Nor There Manifest Gallery, Cincinnati, OH
The Built Environment PhotoPlace Gallery, Middlebury, VT
Greyscale Black Box Gallery, Portland, OR
Far Away Places Darkroom Gallery, Essex Junction, VT
Forgotten A Smith Gallery, Johnson City, TX

Black and White: Mastering the Art of Photography Black Box Gallery, Portland, OR
Unseen WUJO Gallery, Los Angeles, CA
Rare Earth Darkroom Gallery, Essex Junction, VT
Environmental Concern and Photography PhotoPlace Gallery Annex, Middlebury, VT
Box Squared Center for Fine Art Photography, Main Gallery, Fort Collins, CO
Stories, Memories, Histories Center for Fine Art Photography Gallery, Fort Collins, CO
Color Story Darkroom Gallery, Essex Junction, VT
Mainland Keirnan Gallery, Lexington, VA
Lines Walked and Crossed and Otherwise PhotoPlace Gallery Annex Middlebury, VT

Simply Center for Fine Art Photography, Fort Collins, CO
Illusion Center for Fine Art Photography, Fort Collins, CO
Macro/Micro: Photographic Extremes Darkroom Gallery, Essex Junction, VT
Gardens A Smith Gallery, Johnson City, TX

America A Smith Gallery, Johnson City, TX
Simplicity A Smith Gallery, Johnson City, TX

Abstract Visions Flash Gallery, Lakewood, CO
Direct Objects: Still Life as Subject PhotoPlace Gallery, Middlebury, VT
Spherical A Smith Gallery, Johnson City, TX

A World of Maps Anchorage Museum of History and Art, Anchorage, AK

National Print Show ARC Gallery/Educational Foundation, Chicago, IL


WIPI 30th Anniversary Exhibition: Black and White and Color: First Place Grand Prize | Jurors: Stephen Perloff, founder and editor of The Photo Review and Susan Spiritus, founder and director of Susan Spiritus Gallery, Newport Beach, CA
Work included in Shots Magazine, Issue #119, 2012 | Minneapolis, MN

Women in Photography 2013 Competition: Out of Focus: Objects, Juror Choice Gallery, Special Recognition | Juried by Allegra Wilde, Founder of Eyeist, Online Photography Reviews

Women in Photography 2012 Competition: Honorable Mention | Jurors: Susan Spiritus
and Hanna Sloan, Los Angeles, CA

Work selected for Abstraction, FStop Magazine, Issue #45, 2011
Spherical: Creativity Award | A Smith Gallery, 2011


Member, Houston Center for Photography, Houston, Texas
Member, Center for Fine Art Photography, Fort Collins, Colorado
Charter Member, Women in Photography International (WIPI), Los Angeles, California
Member, Society for Photographic Education (SPE)
Member, American Society of Media Photographers (ASMP)

UPDATE - JULY 2015 - MARCH 2016

In early 2016, Taylor’s “TerraForms” portfolio was selected by curator Maggie Blanchard for The Center for Fine Art Photography’s Portfolio Showcase 9. Her work will be exhibited in The Center’s Gould Gallery from July 15-September 15, 2016. In addition, her twelve-image portfolio will be published in the Center’s Annual Portfolio ShowCase Book. Five large scale photographs from this portfolio were also exhibited at Santa Fe’s Center for Contemporary Arts’ Munoz Waxman Main Gallery entitled “The Land Mark Show”. Juried by Grace Kook-Anderson, the show was exhibited from October through December 2015. From May 6 through June 10, 2016, two of Taylor’s works will be exhibited in “Landscapes 2016” at The Center for Fine Art Photography in Fort Collins, Colorado..

Recent Group exhibitions also include (2016): “Abandoned Landscape” at the Southeast Center for Photography in Greenville, South Carolina, “Memory Palace” and “Secret Garden” at Manifest Gallery in Cincinnati, Ohio,
and (2015) “Viewpoint: Landscape and Architecture” at the Black Box Gallery in Portland, Oregon, “In Celebration of Trees” at PhotoPlace Gallery in Middlebury, Vermont, “Square” at the Southeast Center for Photography in Greenville, SC, and “Black and White” at PhotoPlace Gallery in Middlebury, Vermont.

In the upcoming two years, Taylor is planning to continue her exploration of landscapes marked and abandoned by human endeavor—though she will go back further in human history to revisit places of stone and built remains located in the Near East and Northern Africa.

UPDATE, Photographer response - NO NEW UPDATES: MAY 2015 - APRIL 2017

Women In Photography International CHARTER Member (2008)

Kathleen Taylor

©Copyright for all images remains the property of exhibited photographer, and promotional use for Women In Photography International. All inquiries regarding use of and purchasing image use rights must be directed to the photographer.

File GALLERY & BIO created 5/04/15
j - 5/04
Update, completed 5/05/2015
Email updated 5/2017
UPDATE, photographer response - NO NEW UPDATES: MAY 2015 - APRIL 2017

UPDATE FINAL: May 2017 website content 1999-2017 file transfer to the Beinecke.
All organization files, computer, external hard drive, printed materials, photographs,
DVDs, books, competitions files and onsite installation art work

Aloma . Alpert . Alt . Asimow . Balcazar . Bartolomeo . Bartone . Bauknight . Berger . Bigbee . Biggerstaff . Blair . Burns . Carr . Clendaniel . Connelly . Corday . Dean . Dooley . Ebert . Ferro . Flamer . Gates . Gerideau-Squires . Goldberg . Gottlieb . Greenblat . Henry . Hofkin . Jacobi . Jacobs . Jentz . L'Heureux . Jimenez . Keller . Kim-Miller . Kitchen . Lee . Madison . Maltese . McLemore . Meiser . Meltzer . Miller . Money . Neroni . Ohman . Olin . Pettit . Pinkerton . Poinski . Press . Pulga . Richards . Rink . Roter . Schneider . Siegfried . Silverman . Simonite . D.Stevens . J.Stevens . Stewart . Taylor . Temmer . Terry . Trenda . Tuggle . Vanderford . Waage  -  Exhibitor List Page



Women In Photography International Archive is held at the Beinecke Rare Book and Manuscript Library at Yale University, Peter Palmquist Western Americana permanent Collection since 2003. The inclusion of WIPI hard copy and digital files from mid-2003 to present will be added to the collection. The 2014-2015 WIPI CHARTER GALLERY is set up for inclusion into the upcoming newly renovated Beinecke Library. The CHARTER MEMBER gallery of dedicated women photographers is a spotlight to introduce and showcase historical documentation and current member work.

Beinecke File thru 2003 - Series IV - Women in Photography International Records Literary and image rights, including copyright, belong to the photographers and authors or their legal heirs and assigns.

index sitemap advanced
search engine by freefind