A photographic pioneer dedicated to experimentation, Barbara Crane has worked in a range of media and formats, from Polaroids and image sequencing to digital imagery and portraiture. Her subjects include woodland scenes and animal carcasses she has come upon during walks, figures on the beach, abstracted human forms, and faces seen through neon signs. In the 1970s she created large, eight-by-eight-foot mural-like grids of photographs, often featuring a central commercial product surrounded by repeated images. In the ’80s she shot “Private Views”, a series of color close-ups of human gestures—people dancing, kissing, drinking, and holding hands during Chicago’s summer festivals. “Though I build on past experience, I attempt to eradicate previous habits of seeing and thinking,” she has said. “I keep searching for what is visually new to me while always hoping that a fusion of form and content will take place.” Crane considers Edward Weston a major influence on her work.