Crow’s Field was the name Kaur and her childhood friends gave an unclaimed strip of farmland where she grew up in rural New England. During games this nameless acreage between the forest and the road became a magical no-man‘s-land, transforming into a metaphorical space where the imaginary and the real collide.

Purposely engaging with versions of the photographic genres of still life, landscape, and portraiture allow the artist to access memories of Crow’s Field. This remembered place is impossible to document since it no longer exists except in memory, so Kaur photographs it by making fragmented atmospheric images that recall her idea of the uncanny utopia. Her pictures de-center the classic narrative structure through subtle dislocations of time and space, leaving out clues that would complete the narrative as a whole and inviting the viewer to participate in finishing the story.

Invaded throughout by everyday natural elements that are almost too strange to believe, Kaur creates an otherworldy stream-of-consciousness meditation on memory in photographs- a freshly caught octopus becomes a pagan still life; a girl and her dog morph into a chimera at rest; a sunflower transforms into a baroque abstraction. Upon closer examination, a touch of menace often underlies the most familiar and genteel exteriors. Kaur seizes on the corroding sense of uneasiness that gnaws at her most cherished attachments. It’s not that she can’t go home again; it’s that home was never exactly what she thought it was.

Portraits are the byproduct of conflict. They offer an outline of the negotiation between competing agendas, not only between that of the artist and the sitter, but also between one’s internal idealized image, and the one that is culturally ascribed to us. Despite its seeming stability, the portrait is located at the uncomfortable midpoint between self and other, the accumulation of myriad forces that are impossible to represent. It is this ambiguity, these absent conditions, that lend portraiture its seduction.

The photographs of wresters in Cruiserweight function as heroic portraits. These young athletes are both vulnerable and proud, standing strong in their revealing clothes. I photograph the wrestlers right after their matches, their bodies elated from a win or downtrodden from a loss, but always physically spent. I want to photograph the dialectic that emerges between their young adolescent bodies and the personae of the feared competitor, between vulnerability and the desire to project an appearance of strength. The tight singlets create a general impression of androgyny; the girls look like boys, and the boys, with their bodily hair shaved, look a lot like the girls. The action photos are particularly interesting: they are all of female wresters, but the headgear hides their long hair, tricking most viewers into assuming they are male. My wrestlers attempt to project their most perfect selves through the lens: they yearn to show a physical ideal that will psyche out their opponents, revealing a sensuous, unsettling strength to my camera’s lens.  

I take photographs of strangers. They are people unknown to me, whose lives I briefly investigate through the act of photography. The strangers select themselves by responding to notices I post online, announcing that I need subjects for portraits. The fact that these individuals are from outside my sphere of existence is essential. Giving me permission to enter their lives satisfies a deep-seated curiosity I have nurtured for years. Watching people at cafes or chatting at parties, I am fascinated by people that I can never know anything about. My role as photographer gives me the key to accessing these anonymous existences.

These staged portraits are concrete fictions: they are my fantasies about the lives of people who willingly invite me into their homes. Some of the people who want their picture taken are aspiring models; some are children of mothers who want a nice picture to give grandma. Others are simply lonely and enjoy the attention. Young girls can be awkward; old men can be graceful, yet all have a unique, strange beauty when I see them through the lens.

During the portrait session, our agendas inevitably collide; I have a specific idea about the way I want the subjects to appear, and I control this through my choice of photographic tools: camera format, composition, and lighting. I try to enable their fantasies by using lighting and the medium format camera. Part of my function as photographer is to facilitate the sitter’s desire. The resulting pictures reveal the trace of this social negotiation, between my idea of how they should appear, and the way they see themselves.

In 2007 and 2008 I undertook a photographic exploration of time and light, traveling to Kitt Peak in Arizona to photograph outer space. With the help of planetary scientists, I captured pictures of distant galaxies on a digital sensor attached to a Meade solar telescope. After shooting, I returned to the traditional darkroom for a series of what I term “experiments”.

The darkroom process begins by making a physical negative from the digitally captured astro-images, by embodying light as material form. I follow the principles of traditional color darkroom printing, a subtractive color system, using cyan, magenta, and yellow filters to remove various colors of light from the negative. Half of the picture is in the negative, and the other half is in the positive. The two halves can never be united in one picture.

I draw on both negative and positive with various chemicals. I make contact prints that render the negative’s colors in reverse, and expose the light from the enlarger to various filters and gels. There is a bizarre dislocation that occurs where I wonder, what makes these photographs different from those in “Sky & Telescope” magazine? The answer lies in the way they have been manipulated, the way the pixels become grain that becomes physical dots of color on paper. I’m going back to basics, back to the sheer joy of playing with color and line on paper, of drawing with light. This project re-engages with one of the simplest and most basic purposes of photography: to show us what we would otherwise remain unseen. I’m using science & technology to show my particular romantic view of the medium of photography, where the failure and power of the medium cohere in material form.

Siri Kaur (b. Boston, MA,1976) is an artist and photographer who examines identities that occupy dualities, diversity, and contradiction, with a rigorous eye for the photographic quality of magic. She received her MFA from The California Institute of the Arts, and an MA and a BA from Smith College. Kaur’s work has been the subject of solo exhibitions at Blythe Projects, Cohen Gallery, and Kopeikin Gallery, Los Angeles; at 99¢ Plus, New York; at the Vermont Center for Photography, and at the Los Angeles County Museum of Art. Group shows include those at Crystal Bridges Museum of American Art, the San Antonio Museum of Art, the Aperture Foundation, the Portland Museum of Art, the Camera Club of New York, the Torrance Museum of Art, and the Museum of Photographic Arts, among others.

Kaur’s work has been reviewed in ARTFORUM, The Los Angeles Times, The New Yorker, The Wall Street Journal, and The Washington Post. She was a Professor of Fine Arts at Otis College of Art and Design from 2007-2018. In 2014 Leroy Press published Kaur’s first monograph, This Kind of Face,that documented the world of celebrity impersonators. She lives and works in Los Angeles.

Contact Siri Kaur at


, an exhibition of new work by LA-based artist and photographer Siri Kaur continues the artist’s investigations into issues of personal representation and identity as she turns her camera’s lens to the world of esoteric and occult spiritual practices by photographing witches in Southern California.

On view:

Oct.31 —Nov.30, 2019

Eric Buterbaugh Gallery
8271 Beverly Blvd,
Los Angeles, CA 90048

Siri Kaur, Camille, Lucumí Aborisha Initiate and Reiki Master Teacher, 2019

Opening October 31, 2019, the exhibition will position renderings of neon signs from the windows of LA psychics’ storefronts alongside color portraits of occult practitioners and photographs of magical objects. The title SHE TELLS ALL references one of these signs discovered by Kaur on her journey through LA’s occult community. The sign calls to mind both the skeptic, who doubts the power of the clairvoyant, and the power of divine feminine energy that Kaur claims as her own. The consequence is a timely and revealing look at contemporary mystics, material culture, and the nature of identity itself.

Kaur’s impetus to document and explore physical manifestations of the performative nature of identity originated as she was growing up in an American Sikh ashram in Boston during the 1970’s New Age movement. Through her group’s all-white turban-clad dress code, she experienced firsthand the physical performance of identity. As a transplant to LA, Kaur immediately felt the connection between her unusual Northeastern New Age upbringing and LA’s unique and magnetic counterculture. From legendary figures such as artist, performer, poet, and occult practitioner Cameron to the freedom of 1960’s hippies, Los Angeles has long been a mecca for those seeking freedom in both the spiritual and art realms.
As an artist, Kaur is interested in the unique power of portraiture to elicit this performative nature of identity. In this new body of work, SHE TELLS ALL, Kaur engages questions of identity performance by exploring an ever-present and wildly diverse American identity: the modern American witch. Witches are contemporary practitioners of the ancient tradition of paganism, which includes multiple and diverse religious and spiritual beliefs centered on nature worship and humans’ innate connection to magic. However, the aesthetic experience of the American witch is not neutral; it’s camp. The theatrical personae of many of the witches Kaur encounters denotes their status as citizens of this surreal city, where even mysticism is influenced by Hollywood. Kaur photographs these individuals in the context of their material world, where she finds commonplace identity markers such as crystal balls, burning incense and yes, neon signs denoting the mystic. There’s a playfulness there and a real performance of the hyper-stylized self. Yet Kaur’s photographs use these identity markers as a starting point to create a visual record of something more intriguing and ephemeral.

The women in Kaur’s imagery identify with a variety of practices, traditions, and beliefs; her subjects self-identify as witches, but also as psychics, clairvoyants, light workers, mediums, spirit guides, healers, as Mexican witches known as brujas, as initiates in the Afro-Cuban practice of Santeria, and as Druids, among others. Most of the people depicted in Kaur’s images claim several of these labels simultaneously, creating fluid and individual identities, for example in Kaur’s photograph Camille, Lucumí Aborisha Initiate and Reiki Master Teacher we see a beautiful young woman lying in the brilliant LA sunlight surrounded by tokens of the fortune-teller: cards, crystals, and astrological symbols. Camille, who lives in LA but is originally from Detroit, follows the Lucumí tradition, a variation of the Afro-Cuban practice of Santeria, both of which originated in Western Africa. Camille is simultaneously aware of the physical performance of her identity, achieved by dressing herself in stunning white robes alongside props, and yet she is also deeply spiritual and sincere in her spiritual beliefs. The identities of all of the witches Kaur depicts are innately performative and fraught with contradiction, and this is what compels Kaur.  Her portraits reveal more than just performance and costumery, as the presence of real human identities emerge rich with complication and wild with an intangible otherness that engages a range of viewer, the enchanted and the skeptical alike.

The  concept of witchcraft, a wide-ranging system of beliefs that engage and explore our connections with nature, with the unseen, and with magic, is a tool we can use to find meaning in dark times such as in America today, when many of us have given up hope. There are questions in this world without answers, and answers without questions, yet we still yearn to know all. In SHE TELLS ALL the power of the divine feminine shines from Kaur’s images, where diverse and resplendent women stake their claim to be seen and to hold forth their light to illuminate a path for our future.

On the occasion of the opening night preview on October 30, several of Kaur’s subjects will be present to tell all through live sessions and psychic readings.

The opening reception and preview on October 30, 2019 will be hosted by luxury fashion site 11 Honoré.

Siri Kaur
b. 1976, Boston, Massachusetts
Lives and works in Los Angeles, CA


2007 –– MFA in Photography, California Institute of the Arts, Valencia, CA

2001 –– MA in Italian Studies, Smith College, Northampton, MA/ Universita’ di Firenze, Florence, Italy

1998 –– BA Comparative Literature, Minor in Italian, Smith College, Northampton, MA

Solo Exibitions

2019 –– SHE TELLS ALL, Eric Buterbaugh Gallery, Los Angeles, CA

2019 –– Upper Layers, El Clasificado, Los Angeles, CA and Venice, Italy

2018 –– Crow’s Field, Vermont Center for Photography, Brattleboro, VT

2018 –– Urban Lights: 10th Anniversary Portraits, Art Catalogs LACMA, Los Angeles County

2018 –– Museum of Art, Los Angeles, CA

2017 –– Crow’s Field, Kopeikin Gallery, Los Angeles, CA

2014 –– This Kind of Face, Stephen Cohen Gallery, Los Angeles, CA

2014 –– This Kind of Face, 99¢ Plus, New York, NY

2014 –– Rob and Heather and Chris and Otto and Koral…, Vermont Center for Photography, Brattleboro, VT

2011 –– Know Me for the First Time, Blythe Projects, Los Angeles, CA (catalog)

2011 –– Field Trip, 3001 Gallery, Roski School of Art, University of Southern California, Los Angeles, CA

2011 –– More Than or Equal to Half of the Whole,(with Kate Johnson), Garboushian Gallery, Beverly Hills, CA

2008 –– In Arcadia, Gallery 825, Los Angeles, CA

2007 –– Cruiserweight, D300 Gallery, California Institute of The Arts, Valencia, CA

2006 ––The Collectors, L-Shape Gallery, California Institute of The Arts, Valencia, CA 

Selected Group Exibitions

2020 –– Men of Steel, Women of Wonder, Addison Gallery of American Art, Andover, MA

2019 –– Men of Steel, Women of Wonder,San Antonio Museum of Art, San Antonio, TX

2019 –– A Secret, River Gallery, Los Angeles, CA and Berlin, Germany

2019 –– Every Woman Biennial, Bendix Building, Los Angeles

2019 –– Men of Steel, Women of Wonder, Crystal Bridges Museum of American Art, Bentonville, AR

2019 –– Keeping up with the Gagosians, El Clasificado, Los Angeles, CA

2018 –– Super Radiance, The Nook Gallery, Los Angeles, CA

2018 –– Anti-Nostalgia, The Carrack Modern, Durham, NC

2018 –– Covers, The Bloke, Pasadena, CA (curated by Justin Cole)

2017 –– Back to School, Los Angeles Center of Photography, Los Angeles, CA

2017 –– Greetings From, The Art Barge, Amagansett, NY

2016 –– INFOCUS: Second Triennial of Self-Published Photobooks, Phoenix Art Museum, Phoenix, AZ

2016 –– Postage Required, Vermont Center for Photography, Brattleboro, VT

2016 –– The Last Four Years, Stephen Cohen Gallery, Los Angeles, CA

2016 –– To Whom it May Concern, 99¢ Plus, New York, NY

2015 –– Directors’ Cut: Selections from Maine Art Museums, Portland Museum of Art, Portland, ME

2015 –– Neo-Pre-Post-Contra-Para-Anti-Hyper-Pro-Trans-Ultra-Photography, Spectre Arts, Durham, NC

2014 –– INFOCUS: Self-Published Photobooks, Phoenix Art Museum, Phoenix, AZ

2014 –– Of the Afternoon, Darnley Gallery, London, UK

2014 –– Summer Open, Aperture Foundation, New York, NY (curated by Chris Boot, executive director, Aperture Foundation)

2014 –– 99¢ Plus!, 99¢ Plus, New York, NY

2014 –– 24/7 (still life), Stephen Cohen Gallery, Los Angeles, CA

2014 –– A Forest: Cathy Ackers, Annie Buckley, Anita Bunn, Siri Kaur, 2A Gallery, Los Angeles, CA (curated by Calvin Phelps)

2014 –– From Her, El Pueblo Historical Monument, Los Angeles, CA

2013 –– Forêt Intérieure/Interior Forest, 18th Street Arts Center, Santa Monica, CA

2013 –– Influenced by the Sun, Stephen Cohen Gallery, Los Angeles, CA (curated by Peter Bartlett)

2013 –– Staking Claim: The California Triennial of Photography, Museum of Photographic Arts, San Diego, CA

2013 –– Falling From Great Heights: Siri Kaur, John Knuth, Heather Rasmussen, Stephen Cohen Gallery, Los Angeles, CA

2013 –– Out of Thin Air, LAX, Los Angeles, CA

2012 –– Siri Kaur, Soo Kim, and Christina Ondrus, Woodbury University Gallery, Hollywood, CA (curated by Leonardo Bravo)

2011 –– Pissed Elegance, Stephen Cohen Gallery, Los Angeles, CA

2011 –– Cosmic Prom, Vortex Immersion Dome, Los Angeles, CA

2011 –– Chain Letter, Shoshana Wayne Gallery, Los Angeles, CA (curated by Christian Cummings & Doug Harvey)

2011 –– Too True, POST Gallery, Los Angeles, CA

2011 –– Nuove Opere, U-Skill Gallery, Rome, Italy

2011 –– THE SERIES, The Standard Hotel, Los Angeles, CA

2011 –– Fuck Pretty, Robert Berman Gallery, Santa Monica, CA (curated by Angela Featherstone)

2011 –– Contemporary Art Ruhr, Ruhr Zollverein, Ruhr, Germany (catalog)

2011 –– Redefining Hollywood, The Factory, Los Angeles, CA

2011 –– Play Time, See Line Gallery, Los Angeles, CA

2011 –– Sing Me to Sleep, Angles Gallery, Los Angeles, CA (curated by Soo Kim)

2011 –– Curious Silence, Brand Library Gallery, Glendale, CA (catalog)

2011 –– Portland Museum of Art 2011 Biennial, Portland Museum of Art, Portland, ME (catalog)

2010 –– Por)trait Revealed, RayKo Photo Center, San Francisco, CA

2010 –– See-Thru, Gallery 825 and The Icon, Los Angeles, CA (curated by Professor Shinsuke Shimojo, California Institute of Technology [catalog])

2010 –– Altimetry, LAX and Los Angeles Municipal Art Gallery, Los Angeles, CA (curated by Mark Steven Greenfield, director of Los Angeles Municipal Art Gallery)

2010 –– Contemporary Art RUHR Projects, Ruhr, Germany

2010 –– Outside the Project, RAID Projects, Los Angeles, CA

2009 –– Curious Silence, SOIL Gallery, Seattle, WA

2009 –– Perspective, Center for Fine Art Photography, Fort Collins, CO

2009 –– More with Less, Gallery 825, Los Angeles, CA (curated by Kristina Newhouse, chief curator, Torrance Art Museum, Torrance, CA)

2008 –– In the Bedroom, Meter Gallery, New York, NY

2008 –– Members Only, Dishman Art Museum, Beaumont, TX

2008 –– Everyone’s a Curator, Telic Gallery, Los Angeles, CA

2008 –– Conventions and Attitudes, Trade & Row, Los Angeles, CA

2008 –– Projection, Salon Oblique, Santa Monica, CA

2007 –– All In, Torrance Museum of Art, Torrance, CA

2007 –– My Buddy, UCLA Wight Biennial, UCLA Wight Gallery, Los Angeles, CA (curated by Russell Ferguson)

2007 –– You are Beautiful,Hayworth Gallery, Los Angeles, CA

2007 –– For Ever, 915 Mateo, Los Angeles, CA (curated by Eungie Joo, curator, New Museum, New York, NY)

2007 –– Making Meaning, Gallery 825, Los Angeles, CA (curated by Howard Fox, curator, Los Angeles County Museum of Art)

2006 –– Mid-Residency Show, California Institute of the Arts, Valencia, CA

2006 –– Open Show, Gallery 825, Los Angeles, CA (curated by Ann Philbin, chief curator, UCLA Hammer Museum, Los Angeles, CA)

2006 –– I Would Be You, Newspace Gallery, Portland, OR

2006 –– Photography Now, 401 Projects, New York, NY

2006 –– Photography Now, Center for Photography at Woodstock, Woodstock, NY

2006 –– Greater Los Angeles MFA Show (GLAMFA), CalState Long Beach Gallery, Long Beach, CA

2006 –– 2006, NOW, Soho Photo Gallery, New York, NY

2005 –– Nothing to See Here, Art 2102, Los Angeles, CA (curated by Walead Beshty)

2005 –– New Photography, Riverside Art Museum, Riverside, CA

2005 –– In Focus: Photography Techniques and Trends, Target Gallery, Alexandria, VA

2005 –– Photography Now, Newspace Center for Photography, Portland, OR

2005 –– National Women’s Show, Washington Gallery of Photography, Bethesda, MD (curated by Sarah Kennel, curator, National Gallery of Art, Washington, D.C.)


Los Angeles County Museum of Art

Portland Museum of Art, Portland, ME

University of Maine Art Museum, Orono, ME

Awards + Grants

2012 –– COLA Grant Artist Portraits, 12 portraits for COLA grants catalog

2011 –– Center for Cultural Innovation/ Durfee Grant

2006 –– Portland Museum of Art Biennial Purchase Prize

2006 –– California Institute of the Arts Merit Scholarship


2009 –– Bakery Photographic Collective, Portland, ME


2019 –– “Art & Life with Siri Kaur”, Voyage LA Magazine, January 2

2019 –– Serena McKay, “Crystal Bridges exhibit aims to lasso truth of heroes’ roots,” Arkansas Democrat Gazette, Little Rock, AK, February 9

2019 –– Peter Saenger, “Supermen and Wonder Women: Artists reimagine comic-book heroes with admiration and irreverence”, The Wall Street Journal, New York, NY, January 19-20

2019 –– Caleb Talley, “Men of Steel, Women of Wonder,” About You Magazine, January 24

2018 –– Rebecca Morse, “Institutionally Antiestablishment,” in 27 L.A. Photographers, Rebecca Morse, ed., (Los Angeles County Museum of Art Press, 2018): 6-12, 30-31

2018 –– Gwynedd Stuart, “LACMA Celebrates 10 Years of Urban Light with a Beautiful Photo Series,” Los Angeles Magazine, February 9 

2018 –– Taylor Curry, “Siri Kaur,” Ain’t Bad Magazine, January 28 

2017 –– Genie Davis, “Siri Kaur and Rebecca Bird at Kopeikin Gallery,” Art and Cake, April 16

2017 –– Josh Hagler, “Other Faiths, Part 1 + 2” Venison Quarterly, Spring

2017 –– Holly Hughes, “Memories of Crow’s Field,” Photo District News, March 13

2017 –– Aline Smithson, “Siri Kaur: Crow’s Field, “Lenscratch, March 11 

2015 –– Kristen Osborne-Bartucca, “Siri Kaur,” Artillery Magazine, January/ February, p. 70

2015 –– Shana Nys Dambrot, “Top Ten Critic’s Picks of 2014,” art ltd., January/ February 2015, p. 51

2015 –– Catherine Opie, “Vanity: a special section curated by Catherine Opie,” Musee Magazine, Issue 11, April, p. 290-291

2015 –– Matthew Stromberg, “Photo LA,” Hyperallergic, January 19

2015 –– Ken Weingart, “Interview with Photographer Siri Kaur,”, February 19

2014 –– Christine Santa Ana and Phil Anderson, Of the Afternoon, Issue 6, September 30

2014 –– Christina Procter, “Zealous Eyes,” Trend art +design +architecture Magazine, Issue 1, June, p.18

2014 –– Thea Traff, “Seeing Double,” The New Yorker, November 26

2013 –– Bill Bush, “Falling From Great Heights,” Huffington Post, March 26

2013 –– Paul Caridad, “Film Photography of Galaxies through a Telescope,” Visual News, May 14

2013 –– Amanda Gorence, “Ethereal Photos of Distant Galaxies,” Feature Shoot, May 14 

2013 –– Nicholas Grider, “Crow’s Field,” Public Display Magazine, March

2013 –– Catlin Moore, “Emergent Presence: Siri Kaur” in Eight LA Artists You Should Know, Fabrik Magazine, Issue 20, April, 44-45

2013 –– A. Moret, “Siri Kaur,” Installation Magazine, “California” Issue 8, July

2013 –– Holly Myers, “Photographs that Say ‘yes/and’,” The Los Angeles Times, Los Angeles, CA, April 26, D16

2013 –– Violeta Olteanu, “Culoarea spatiului. Cele mai indepartate galaxii surprinse pe film” (“Color Space: Faraway Galaxies Captured on Film,” Yuppy Magazine, May 23 

2013 –– Bianca Rocco, “Siri Kaur Captures the Galaxies: Telescope Photography,” Quixote, August 14

2013 –– Matt Stromberg, “Outer Spaces, Los Angeles: Falling from Great Heights,” Art Practical, April 14

2013 –– Maya Sugarman, “The Color of Space,” Audiovision,, May 9

2013 –– Phil Tarley,  “Cohen Gallery Exhibition: Falling from Great Heights,” Fabrik Magazine, Issue 20, April, 68-73

2013 –– Westerbeck, Colin, “All Together Now! Themes and Shared Concerns in Staking Claim: A California Invitational,” in Staking Claim: A California Invitational, Chantel Paul, ed., (Museum of Photographic Arts Press, San Diego, 2011): 4-7.

2012 –– Leonardo Bravo, “Big City Forum: Interview with Soo Kim, Siri Kaur, and Christina Ondrus,” KCET’s Artbound, October 22 

2012 –– For Your Art, “Big City Forum: The Hub,” October 11

2012 –– Marnie Hanel, “Hella Cool,” Marie Claire 19, issue no. 6, June, 131.

2012 –– Natalie Hegert, “Does Photography Matter?,” Artslant, Los Angeles Art Special Edition 2012, January 14

2012 –– A. Moret, “Looking Forward into the Past,” Installation Magazine, In Blank We Trust Issue, May, 28-33.

2012 –– Daniel Rolnik, “Photo LA,” Argot & Ochre, January 13 

2011 –– News, “Portland Art Museum Awards Biennial Prizes,” April 8

2011 –– Edgar Allen Beem, “The Art Forecast: No Shortage of Discoveries in Portland Museum of Art Biennial,” The Forecaster, Portland, ME, April 4

2011 –– Shana Nys Dambrot, “Fuck Pretty at Robert Berman Gallery,” art ltd., September/October, 35

2011 –– Shana Nys Dambrot, “Critic’s Picks Los Angeles: Siri Kaur,” art ltd., November/December, 48-49.

2011 –– Travis Diehl, “Critic’s Picks,”, February 7

2011 –– For Your Art, “Know Me For the First Time,” October 27

2011 –– Peter Frank, “Haiku Review,” The Huffington Post, Aug. 12

2011 –– Daniel Kany, “Every Decade or so, PMA’s Biennial is Extra Special,” Portland Press Herald/ Maine Sunday Telegraph, April 17, D5

2011 –– Bob Keyes, “It’s That Time Again,” Portland Press Herald/ Maine Sunday Telegraph, April 3, D1-D2

2011 –– Annie Larmon and Nicholas Schroder, “Touring the PMA’s Biennial,” The Portland Phoenix, April 13

2011 –– Anne Martens, “Contemporary Art RUHR,” Artillery Magazine, Volume 5 Issue 4, March/April,  42-43

2011 –– Thomas Meaney, Menace and Wonder, in “Know Me for the First Time,” (Los Angeles, CA, Icon Books): 5-8.

2011 –– Leah Ollman, “Art Review: Siri Kaur at Blythe Projects,” The Los Angeles Times, Nov. 10, D21 

2011 –– Sara Petraccelli, “Siri Kaur,” U-Skill Rivista, May 12

2011 –– Portland Press Herald, “Purchase Prizes Awarded at Launching of Art Biennial,” April 7, B2

2011 –– Ray Routhier, “Five Artists Receive Purchase Prizes at Portland Museum of Art

2011 –– Biennial Opening,” Portland Press Herald, Portland, ME, April 10, D2

2011 –– Katie Shapiro, “A Poetic Counter-World Photographed by Siri Kaur,” Feature Shoot, November 29

2011 –– Sebastian Smee, “Biennial Hits,” The Boston Globe, Boston, MA, May 8, B3

2011 –– Aline Smithson, “Siri Kaur,” Lenscratch, Thursday, October 20

2010 –– Greg Cookland, “Portland Museum of Art,” New England Journal of Aesthetic Research, October 7

2010 –– Bob Keyes, "Museum of Art Picks 47 Artists for Biennial Show," Portland Press Herald, Portland, ME, October 4, D3

2009 –– Cary Berglund, Interview, NBC Channel 4 News, Los Angeles, CA, April 10

2009 –– Zoe Crosher, Interrupting the Imaginary Inside the Ship of My Imagination,” Art Lies Quarterly, no.61, Spring, 24-27

2009 –– Laurel Ptak, “Siri Kaur,” Iheartphotograph, January 20

2009 –– Laurel Ptak,, March 10

2009 –– Aline Smithson,, January 21

2009 –– Page Weary, “Gallery 825,” Artillery Magazine, Los Angeles

2008 –– Peter Mays, “Sustaining Emerging Artist’s Communities,” THE Magazine, Los Angeles, CA, October

2007 –– Harris Fogel, “Thoughts On Photography,” Houston Center for Photography Quarterly, Winter

2007 –– John Rabe & Queena Kim, Interview, Offramp, 89.3 KPCC, Los Angeles, CA, January 6

2006 –– Jay DeFoore, “Emerging Photographers,” American Photo, June

2005 –– Curtis Clarkson, CMYK Magazine #31, New York, NY, 41 

2005 –– Curtis Clarkson, CMYK Magazine #30, New York, NY, 48

2005 –– Joerg Colberg, “Siri Kaur: Contemporary Photographers,” Conscientious, October 7, 2005 Jessica Dawson, “Through A Lens Starkly,” The Washington Post, Washington, D.C., June 16, C5

2005 –– John Motley, “New Photography,” The Portland Mercury, Portland, OR

2005 –– Holly Hughes, “Photo Annual,” Photo District News, May, 157

Publications as author 

2014 –– “This Kind of Face,” (Los Angeles, CA, Leroy Press, 2014).

2013 ––“Tanja Hollander: A Photographer’s Attempt to Photograph 687 Facebook Friends,”

2013 –– Feature Shoot, June 20

2013 –– “Heather Rasmussen: Photographer Recreates Disasters and Accidents Involving Shipping Containers,” Feature Shoot, June 24

2011 –– “Know Me for the First Time,” (Los Angeles, CA, Icon Books)

2013 –– “Siri Kaur,” in 2011 Portland Museum of Art Biennial, Mark Bessire, ed., (Portland Museum of Art Press, Portland, ME): 64-65

2010 –– “Do You Want to Make a Picture Book?,” Words Without Pictures, Alex Klein, ed. (New York, NY, Aperture): 172-174

2001 –– “Il Sogno del Paradiso Terrestre: Il Poema Pastorale e il Giardino nel Rinascimento

2001 –– Italiano (Dream of an Earthly Paradise: Pastoral Poetry and the Garden in the Italian Renaissance),” (Northampton, MA, Smith College Press) 

Academic Appointments

2004 ––2018 Associate Professor, Fine Arts and Foundation Programs, Otis College of Art and Design, Los Angeles, CA

2010 ––2014 Assistant Professor, Fine Arts and Foundation Programs, Otis College of Art and Design, Los Angeles, CA

2007 ––2010 Visiting Lecturer, Fine Art and Foundation Programs, Otis College of Art and Design, Los Angeles, CA

2005 ––2007 Teaching Assistant, Foundation Photography, California Institute of the Arts, Valencia, CA