John Wood

Selected Works Thumbnail View
Untitled, Landscape Series, 1970 Xerox and graphite mounted to board 14 1/2 x 12 inches Untitled, Landscape Series, 1970 Xerox and graphite mounted to board 14 1/2 x 12 inches 

Untitled, Landscape Series, 1970

Xerox and graphite mounted to board

14 1/2 x 12 inches 

Square Rock, Maine, 1981 Gelatin silver print and ink drawing mounted to paper 20 x 15 inchesSquare Rock, Maine, 1981 Gelatin silver print and ink drawing mounted to paper 20 x 15 inches

Square Rock, Maine, 1981

Gelatin silver print and ink drawing mounted to paper

20 x 15 inches

Bald Eagle Pelt, 1985 Gelatin silver print mounted to board, printed c. 1985 15 x 19 inchesBald Eagle Pelt, 1985 Gelatin silver print mounted to board, printed c. 1985 15 x 19 inches

Bald Eagle Pelt, 1985

Gelatin silver print mounted to board, printed c. 1985

15 x 19 inches

Gun in Landscape: Daisies, 1965 Collage mounted to board 5 x 5 3/4 inchesGun in Landscape: Daisies, 1965 Collage mounted to board 5 x 5 3/4 inches

Gun in Landscape: Daisies, 1965

Collage mounted to board

5 x 5 3/4 inches

Beach Drawing, 1983 Gelatin silver print 7 5/8 x 11 1/2 inchesBeach Drawing, 1983 Gelatin silver print 7 5/8 x 11 1/2 inches

Beach Drawing, 1983

Gelatin silver print

7 5/8 x 11 1/2 inches

Untitled #1, from Fall Creek Rock Drawing Portfolio, 1987 Gelatin silver print 11 1/2 x 14 3/8 inchesUntitled #1, from Fall Creek Rock Drawing Portfolio, 1987 Gelatin silver print 11 1/2 x 14 3/8 inches

Untitled #1, from Fall Creek Rock Drawing Portfolio, 1987

Gelatin silver print

11 1/2 x 14 3/8 inches

Baltimore Steps, 1994 Mixed media 13 x 16 1/2 inchesBaltimore Steps, 1994 Mixed media 13 x 16 1/2 inches

Baltimore Steps, 1994

Mixed media

13 x 16 1/2 inches

Actual Line and Arranged Pinon Branches, 1967 Gelatin silver print with taut string mounted to board 9 1/4 x 11 inchesActual Line and Arranged Pinon Branches, 1967 Gelatin silver print with taut string mounted to board 9 1/4 x 11 inches

Actual Line and Arranged Pinon Branches, 1967

Gelatin silver print with taut string mounted to board

9 1/4 x 11 inches

Eagle Pelt Collage, 1988 Gelatin silver print, Polaroid SX70, stitching 17 3/4 x 14 inchesEagle Pelt Collage, 1988 Gelatin silver print, Polaroid SX70, stitching 17 3/4 x 14 inches

Eagle Pelt Collage, 1988

Gelatin silver print, Polaroid SX70, stitching

17 3/4 x 14 inches

TV Landscape Series - Nuclear Explosion, 1985 Gelatin silver print, collage 15 1/2 x 18 3/8 inchesTV Landscape Series - Nuclear Explosion, 1985 Gelatin silver print, collage 15 1/2 x 18 3/8 inches

TV Landscape Series - Nuclear Explosion, 1985

Gelatin silver print, collage

15 1/2 x 18 3/8 inches

John Cheney Wood is one of the pre-eminent artists and educators of our time. He consistently challenged traditional photography often incorporating other mediums to his work. A master of process, he had the ability to work decisively across a variety of artistic forms with ease, from straight photography, collage, cliché verre, solarization, mixed media, offset lithography to drawing. Wood moved freely between conceptual and visual exploration, refusing to adhere to a single style. Although he often raised questions about political, social and environmental issues, he avoided promoting personal solutions or adding narratives to the images. The artist instead preferred to focus on the viewer’s interpretation and the possibility for multiple meanings.


Born in California in 1922, John Wood’s early childhood was marked by the effects of the Depression. In 1941 he volunteered for the Army Air Corps, where he served as a B-17 pilot. He subsequently trained as a visual designer and photographer at the Institute of Design in Chicago alongside Harry Callahan and Art Sinsabaugh. Wood spent 35 years teaching at the School of Art and Design at Alfred University in New York. His teaching, his art making, and his life were intricately entwined, each reinforcing the other. At the time of his death he lived in Baltimore, Maryland, with the artist Laurie Snyder. Bruce Silverstein has organized two major exhibitions of his work in 2009 and 2012.


Wood has been exhibited widely, including a 2009 retrospective at the International Center of Photography and the Grey Art Gallery in New York. Other exhibitions were held at the Corcoran Gallery of Art, Washington D.C.; Metropolitan Museum of Art, New York; Art Institute of Chicago; Philadelphia Art Museum, National Gallery of Canada, Ottawa; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; San Francisco Museum of Modern Art; and the George Eastman House, Rochester among others.


His work can be found in most major collections, notably the Center for Creative Photography, Tucson; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Baltimore Museum of Art; Art Institute of Chicago; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Smithsonian Institution, Washington D.C.; and at the Visual Studies Workshop, Rochester.


John Wood: On the Edge of Clear Meaning (2008), a comprehensive monograph on Wood’s work brings the power of his ideas into a cohesive whole