I grew up in the suburbs of Chicago in the 1950s and 60s. Early on I became aware that in the western United States exist epic landscapes of fierce mountains and unforgiving deserts; places seemingly full of danger and promise. Amidst those images arose the notion that confronting such daunting places could chisel an unformed character, like mine, into that of an intrepid frontiersman. (A horse and a dog may have been in the picture, as well). That well-worn bit of American mythology was apparently encoded into my grade school history classes and favorite TV Westerns. 

In fact, the daunting western landscape has historically been credited with elevating the character of those new Americans who possessed the grit to open frontiers, the fortitude to build cities and towns, and the entrepreneurial spirit to make them thrive. Meanwhile poets and politicians created language that encoded sanitized notions of a special American character into a national narrative. (The human traits that allowed the murderous treatment of native Americans, the slaughter of 40 million bison, etc, were not accounted for.) Helpfully or not, those notions still underlie public discourse that addresses dire issues from climate change to gun control.

In recent years, I’ve gravitated towards three landscape subjects; the fortification of the southern border and consequent creation of “occupied territories;” the close merging of industry and nature in the landscape; and the assertion that the extraordinary landscapes found in our national parks and monuments are “hallowed American ground.” The idea that American virtues and identity are drawn from, and connected, to the landscape, inform these bodies of work.

In my architectural work I have directed my attention to building styles that reflect the culture, technology, and practicalities of people in a particular time and place; Art Deco, vernacular architecture, Modern, etc. are rich in clues to the history and aspirations of their builders. I’ve also been interested in the use of architecture as a tool of colonialism and how colonial buildings are embraced as heritage buildings or demolished, repurposed or simply neglected- after the colonizers have withdrawn.

If interested in purchasing or publishing any of the pictures herein, or in collaborating on a project, please contact me at the email address below.

I’ve moved to the American West where, at long last, the landscape has begun its work on my character. I live in Tucson, Arizona with Mary and Nigel the cat.



Timothy Scott Long

b: 1951

Master of Fine Arts, University of Illinois at Chicago, 1983
Bachelor of Arts, Columbia College Chicago, 1980


Graham Foundation for Advanced Studies in the Fine Arts Grant: 2008
Illinois Arts Council Fellowship Award: 2003 [A subsidiary of the NEA]

Public Collections

Princeton University, Visual Resource Collection: 289 photographs: 2015
Art Institute of Chicago, Burnham Library: 2009
Museum of Contemporary Photography/MPP: 2000 to 2015
Mary and Leigh Block Museum: 2006
Tweed Museum of Art: 1984
Gordon House Museum, Silverton, Oregon, 2007
Chicago 2000, Photography Collection, 2000
Chicago Architecture Foundation, Photography Collection, 1998


Los Otras Pedreras. Fundacio CatalunyaCaixa. 2012
The Robie House. Frank Lloyd Wright Preservation Trust. 2010
Architectural Digest, 4 page brochure, Conde Nast Publications, 2006
Handbook of Art, 2nd Edition, Graham Hopwood, Science Press, 2006
Preservation: Saving America’s Hidden Treasures, Ray Jones, Lyon Press, 2005
Monograph, Frank Lloyd Wright, Federico Motta Editore, Italy, 2005
The Buildings, The Park, The Tradition, Helmot Whol, Calouste Gulbenkian, 2005
Building a Legacy Frank Lloyd Wright Preservation Trust/Pomegranate Press, 2001


Las Otras Pedreras, Gaudi Museum, Barcelona, Spain. 2012-13
Museum of Contemporary Photography, The Edge of Intent, Spring 2009
City Gallery, Chicago, Daniel Burnham's Enduring Vision for the Philippines, Fall 2009
Architecture Gallery, Hunter Museum of American Art, 2006-2008
History of Chicago Architecture, Group Show, Chicago Architecture Foundation, 2006
Museum of Contemporary Photography, Group Show, 2001

  • Tim Long