Selected press

Redman, Bridgette M. Imaginary Landscapes. The Argonaut. 18 Aug 2022.

Feinstein, Jon. New Exhibition Uses a Science Fiction Failure as a Lens to an Optimistic Future. June, 2017.

Coleman, Caryn. Blackness. The Void. Empty Distances.
Essay written for Empty Distances at Mark Moore Gallery in Los Angeles.

Upchurch, Michael. Art review 'The Digital Eye': photographic art in the electronic age.
Seattle Times. August 13, 2011.

Anderson, Claressinka. “At Home With Dystopia: Salon No. 7 at Marine Art Salon.”
The Huffington Post. November 10, 2010.
The Huffington Post

Dambrot, Shana Nys. whitehot | Marine Art Salon No. 7: Works 222-247.
Whitehot Magazine. January 2011.

The big, boffo color photographs in Higgins’s show are fictions based very loosely on facts. More than half of them are fiery explosions (they look like missile liftoffs without the missiles) or roiling clouds of smoke incongruously suspended in blue skies. The others are landscape fragments: a rushing river, a grassy hill, a heavily forested mountain. The illusion of reality dissipates quickly, leaving us with what might be computer-game effects and diorama backdrops. It’s not totally awesome, dude, but the blastoffs are real guilty pleasures—a week’s worth of action-movie moments compressed into one gorgeous kaboom! Through Aug. 15.

Curcio, Seth. Sean Higgins: Difficulties with Interplanetary Travel. July 4, 2009.

Spaziani, Rose. Review of Difficulties with Interplanetary Travel
The Copenhagen Voice. 26 June 2009.

Beil, Kim. Blurred Visions: Three Photographers.
art ltd. January, 2009. p52

Maine, Stephen. Sean Higgins at sixspace.
Art in America, October 2007

Beil, Kim. Sean Higgins at sixspace.
Artweek. May 2007

Pagel, David. Summer sampler has a dark side.
Los Angeles Times. 8 July 2005.