From the Series, Chemical Alterations by Doug Fogelson

A dark green wall has 4 framed works hung on it. They're too far away to see details, but the main colors are blue, pink, and white.

From the Chemical Alterations Series by Doug Fogelson, 2018

Archival inkjet print. Courtesy the artist © Doug Fogelson Installation photography by Charlie Edwards, courtesy of the University of Michigan Museum of Art

About the Art

Doug Fogelson
Gichimookomaanakiing, 1970 gaa-ondaadizi

Namaji-ayi’iing ako debani-ayi’iing
Naagaajiwang No. 22, 2019
Naagaajiwang No. 10, 2018
Naagaajiwang No. 11, 2018
Naagaajiwang No. 19, 2018
Aanjichigetamaagewinan Mazinaakizaanan
Mazinaakiziganan Waasamomazinaakizigaadewan
Gimiigwechiwenimaanaan Gaazheninjiged

Doug Fogelson aapiji naagadawendaan ezhi-bemaadizijig maji-inishkamowaad giiwitaawigamig apii anokaadang moozhag. Ogii-mazinaakizaanan ezhinikaadenoon Aanjichigetamaagewinan anoonji bagwaji-akiin gaye bagwaji-nibikaanan dash izhi-wayekwaajiwanong Gichigami, memindage Mishigaming, Omaamiiwakiing, Ininiwakiing, Miskwaasing, gaye Minisooding. Fogelson aapiji aanjitoonan anokaadang ge gindaabiiginang bekichiganing, dash giizhenindang oshki-inaagwag ge bangii banaajichigaadeg daso mazinaakizigan. Izhi-banaajichigaadewan bangii mii igo izhi-nisidawendaagwag gaazheninjiged aapiji zegizid gomaapii gakina giiwitaawigamigong daa-banaajichigaadeg iidog giishpin bwaa-nisidawaabandamang banaajitooyang apii aabajitooyang bekichiganan.

Doug Fogelson
United States, born 1970

Headwaters No. 22, 2019
Headwaters No. 10, 2018
Headwaters No. 11, 2018
Headwaters No. 19, 2018
From the Chemical Alterations series
Archival inkjet prints
Courtesy of the artist

Doug Fogelson’s practice considers humanity’s toxic impact on the natural world. The subjects of the photographs in his Chemical Alterations series are expansive landscapes and intimate details of wilderness preserves and aquatic areas in the western half of the Great Lakes watershed, including Michigan, Indiana, Illinois, Wisconsin, and Minnesota. Fogelson dramatically alters his negatives by bathing them in harmful household chemicals and cleaners, creating stunning crystallized patterns by destroying parts of the image. The distorted landscapes embody the artist’s fears of environmental destruction and challenge us to confront the damage caused by our use of these toxins in our everyday lives.

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