Macduff Everton

Macduff Everton gives a sense of place, whether portraits of individuals or portraits of a landscape. His B&W documentation in Yucatan of individuals and their families over twenty years resulted in the seminal publication The Modern Maya – A Culture in Transition (Univ. of New Mexico Press, Albuquerque, 1991). Currently Macduff is working on an update to The Modern Maya, which chronicles their changing lives over a 40 year span.

He is a contributing editor at National Geographic Traveler and Islands Magazine. His many editorial clients include Condé Nast Traveler, Gourmet, Life, National Geographic Traveler, LA Times Magazine, NY Times Magazine, Outside, Smithsonian, and Town & Country. An early champion of his work, Andy Grundberg wrote, “Macduff Everton updates travel photography in the same way that Ansel Adams updated 19th century photography of the West. He captures strange and eloquent moments in which time, and the world, seem to stand still.”

His work is in the collections of many public and private institutions, including the Bibliotheque Nationale, Paris; Brooklyn Museum, New York; British Museum, London; International Center of Photography, New York; Los Angeles County Museum of Art, Los Angeles, CA; Musee de L’Elysee, Lausanne, Switzerland; Museo de Arte Moderno, Mexico City, Mexico; Museum of Modern Art, New York; and New York Public Library, New York.

Everton exhibits his photos nationally and internationally. He is represented by Janet Borden Gallery, 560 Broadway, NYC (212 431-0166), and the Kathleen Ewing Gallery, 3615 Ordway Street, NW, Washington, D.C. (202 328-0955). He collaborated on an archaeological book — The Code of Kings The Language of Seven Sacred Temples & Tombs — on Mesoamerican sites of the Maya with archaeologists/epigraphers Linda Schele, Peter Matthews and Justin Kerr, published by Scribner. Macduff enjoys working with his wife, Mary Heebner, an abstract painter and writer. Their two very different visions of a place often inform each other’s work. They collaborated on The Western Horizon, Abrams, 2000.

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