PRESS

Hoedel, Cindy. “Kansas native’s photos examine Germany’s fascination with America’s Old West.” The Kansas City Star [Kansas City, MO] 6 August 2016: Print. 

 Skene, Lea. "Panelists talk tame reality of Wild West." The Mercury [Manhattan, KS] 12 July 2016: 1. Print. 

"Old Volland Store has many activities scheduled." The Smoke Signal [Wamego, KS], 29 June 2016: 1. Print.

"Wabaunsee County close-up: Myth, reality the American West. Photographer, a native Kansas, uses lens to explore Western Lore." The Topeka Capital-Journal [Topeka, KS] 28 May 2016.   

Glasstire: Texas Visual Art, Top 5, March 10, 2016

Nashville Arts, Once Upon A Time In The West, Rebecca Pierce, January 2015

Between Cane and Dust, Country Roads, Quinn Welsch and Jeremiah Ariaz, October, 2015

New Orleans Art Review: A Journal of Analysis, The Ogden’s ‘Louisiana Contemporary’, Terrington Calas, August / September / October 2014

Oxford American, Eyes on the South: PhotoNOLA, Jeff Rich, 12/14

Flaunt, Place, Casinos, 2014

The Sewanee Mountain Messenger, Photography Exhibit in Sewanee's Carlos Galley, 9/19/14

Hirsch, Robert; Light and Lens: From Film to Pixels; 2nd Edition, Oxford, UK, Focal Press, Elsevier; 2012

Nashville Scene, Quite On The Western Front, Jeremiah Ariaz: Tucumcari, Sara Estes, Nashville, TN, 2/25/13

Modern Weekly Magazine (China), Ones to Watch, 2011

finitefoto, Issue fourteen, “Environment”, 2011

Hirsch, Robert; Exploring Color Photography: From Film to Pixels; Oxford, UK, Focal Press, Elsevier; 2011

Insight, volume four “Environment”, featured photographer, 2010

Southern Open, Acadiana Center for the Arts, exhibition catalog, 2009

Hirsch, Robert; Light and Lens: Photography in the Digital Age; Oxford, UK, Focal Press, Elsevier; 2008

Kansas City Star, Dolphin Gallery Opens, exhibition review by Elisabeth Kirsch, 10/22/08

Pitch Weekly, Bottoms Up, exhibition review by Dana Self, 10/02/08

Gambit Weekly, New Frontiers, exhibition review by Eric Bookhardt, 4/19/08

Quotes

One of the memorizing qualities of photography is its ability to capture and hold a specific place in a specific time. Jeremiah Ariaz's series of color photographs - named after the vanishing town they document, Tucumcari, N.M. - weaves this deep-rooted tradition into a vibrant, contemporary aesthetic. A Town severely crippled by the recession, Tucumcari remains a visual Candyland. Ariaz interprets its color, shapes and formal relationships with a sense of pure poetry, but his poignant series represents more than just a city in flux -- it speaks to a broader aspect of the human condition. On one level, we can all identity with that sinking feeling of being caught between a vanishing future past and an uncertain future. - Sara Estes, Nashville Scene, 2013   


Especially memorable among them were Ariaz's photographs. These are images that – by means of pondered color, shape, and space – manage to convey the fragility of urban culture, and by extension, fragility of all human ambition. In Main Street, Night View, Ariaz wields these formal elements to excruciating effect. You grasp the lyricism of his design – the color deadened by shadow, the jutting silhouettes at the skyline, the rhyming arches – but his sense of human loss falls upon you too. You know that this ghost town was, at one time, a place of hope.

More affecting, still, is his Tucumcari Inn, a shot of the entry of a somnolent motel. The composition is suffused with symbolist moodiness. And there are two figures here, seated inside, their faces numbed with resignation. In spite of this, or because of it, Ariaz tempts in the high – lyricism again; the whole is a plane of rich color, magenta and deep olive green. Thus, he submits the paradox: the bleak reality, the optimizing veil. – Terrington Calas, New Orleans Art Review: A Journal of Analysis, 2014. 


The photographs … suggest that people and places are symbiotic systems that shape each other fundamentally. Focusing on one town in the Southwest, Ariaz glimpses the constant interlacing of the area's real and ideal landscape in the daily lives of its people. Lisa Hosterler, curator of photographs at the Milwaukee Art Museum


What Kansas shares with Louisiana is a profound sense of place as a crossroads etched with the pathos of conflicting as well as complementary interests, the blood and tears of history spilled in obscure byways, a terrain etched with meanings that transcend most theories of contemporary art and politics. - Eric Bookhardt, Gambit Weekly, 2008