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Publications & Articles



2016 Imagery from Landin's series "Silenzio" appears on the cover of Grace, a title by Natashia Deón - published June 14.



"With her debut novel …Natashia Deón has announced herself beautifully and distinctively. Her emotional range spans several octaves. She writes with her nerves, generating terrific suspense …

— Jennifer Senior. The New York Times.




2013 Landin's imagery appears on the cover of Magnificence, a title by Lydia Millet - finalist for the Pulitzer Prize - published November 11.




"Warm, moving, funny; Miller's lush prose has you in her thrall from the start." — Jenny Hendrix. Boston Globe.




2013 Nancy Landin (right) shares some conversation with authors Gina Frangello and Rob Roberge. Imagery from Landin's "Nuovo" series is featured on the April 9th debut of Roberge's The Cost of Living.

nancy with authorscost of living"Roberge's writing is both drop-dead gorgeous and mind-bendingly smart. The Cost of Living is an intimate, original, important novel that I'll be recommending for years to come."

— Cheryl Strayed, best-selling author of "Wild" (Oprah's Book Club selection)


Landin's imagery appeared on two foreign language titles: Jusque dans nos bras by author Alice Zeniter published March 3, 2010 and En La Guarida Del Zorro by Charlotte Link published March 10, 2015.

jusque sans no brasen la guarida del zorro

Landin's imagery is featured on the October 23rd debut of American Ghost by author Janis Owens.

American Ghost
is a complex and compulsively readable novel about love and identity — Publisher Scribner/Simon and Schuster, October 9, 2012.


2011Landin's imagery featured on the September 1, 2011 Random House UK imprint of Anil's Ghost by Michael Ondaatje, author of The English Patient

Anil's Ghost transports us to Sri Lanka, a country steeped in centuries of tradition, now forced into the late twentieth century by the ravages of the civil war. Into this maelstrom steps Anil Tissera, a young woman born in Sri Lanka sent by an international human rights group as a forensic anthropologist to investigate the campaigns of organised slaughter engulfing the island. What follows is a story about love, about family, about identity, about the unknown enemy, about the quest to unlock the hidden past - a story driven by a riveting mystery." The Random House Group


2009Color MagazineCOLOR Magazine—Special Issue
Portfolio Contest Winners—Merit Award


2008Amend title carries Landin image
Amend Book Cover

“Allison Amend is a gifted storyteller whose view of contempory life is wonderfully acute, original, and surprising”.

—Allison Lurie, author of Women and Ghosts and The Last Resort

Things That Pass For Love … October 2008


2005—B&W ANNUAL 2005—Single Image Contest Award


Merit Award  Mistero 1

Merit Award  Mistero 24

2003—B&W Magazine—February, Issue 23—Cover and Spotlight article

Although photography is, as critic Rosalind Krauss puts it, the “quintessentially realist medium,” there has always been a place for photographic works that speak not of the verifiably real, but of dreams and visions, what Surrealist Andre Breton called the “purely internal.” Chicago photographer Nancy Landin, with her subtle, haunting, marvelously textured images, stands proudly in this tradition, of inner experience made indelibly visible. Read the entire article


1998—NEWCITY, March 12, “Shows To See Now” Artemisia Gallery

    Twenty-three black-and-white images explore the limits of New Age spirituality and the significance of symbolic objects —eggs, stars, conch shells—to the artist’s children.

New Age spirituality, a major tendency in contemporary photography, is brought to one of its limits in Nancy Landin’s twenty-three black-and-white images of her young Eurasian son and daughter posing with symbolic objects, such as cups, conch shells, eggs, candles, sticks and especially five-pointed stars. Landin’s photos are not portraits, but records of significant gestures, such as offerings, libations, salutes and prayerful meditations, from a nonexistent religion. Her children do not assert individuality against the generic meanings that Landin has programmed into her vignettes, but seem willingly to acquiesce in the role of archetypes. In the show’s best image, the only one that breaks with tranquility, Landin’s daughter, wearing a slightly parted white blouse, holds her hand over her breast below a broken starfish resting on her chest.


1994—Chicago Reader, “On Exhibit: 20 small stories about Nancy Landin”
by Fred Camper

    Nancy Landin calls her current series of photographs “Small Stories,” because many of them suggest “magical” tales to her. Her subjects are mysterious and suggestive: some leaves on a wall, a broken window, an indistinct nude in gentle light. The colors are soft, supple, sensual, with none of the glossy assertiveness of much conventional color photography—a result of the unusual process she uses to print them. Read the entire article

1993—NEWCITY, August 12—“Hearts and Bones” Artemisia Gallery

“Hearts and Bones” silver gelatin portraits of young girls and women. In “Hearts and Bones,” her moving photographic series of funerary statues of women, Nancy Landin “sees the world of women through a lens of unresolved sorrow.” Taken close up, in clear but not sharp black-and-white, Landin’s subjects float in an uncertain zone between flesh and stone. The faces on the statues are reposeful yet deeply expressive of grief. They eternalize mourning. In one remarkable shot, Landin breaks the peace of sadness with a wild Gothic gesture, capturing herself in a graveyard, dressed in black, seizing the back of a stone angel suspended from a cross. Landin’s face wears the same expression of tranquil agony that appears on funerary statues, but she makes sure that she cannot be confused with a piece of sculpture. Does this refusal to identify signal romantic hope or stoical despair? (Michael Weinstein)