MILES B. JORDAN is an artist-scholar whose photographic practice engages themes of cultural and environmental transformation through digital, analog, and infrared mediums. He earned his MFA in Photography from the University of Alaska and is currently pursuing a PhD in Anthropology at Louisiana State University.
Jordan’s work has been exhibited across nearly half the United States. His solo shows include 504–907 at Macomb Community College and the University of Alaska Fairbanks (both 2024), and The Yellow Chair Series at the Alaska Centennial Center for the Arts (2023). National group exhibitions featuring his work include Surreal Salon 17 at the Baton Rouge Gallery (2025), the 13th Annual Louisiana Contemporary at the Ogden Museum of Southern Art (2024), the 49th International Art Show at the Brownsville Museum of Fine Art (2024), and the 62nd Stockton Art League National Juried Art Exhibition at the Haggin Museum (2024). His photographs have received multiple awards, including recognition at the Brownsville Museum of Fine Art.
In addition to his studio work, Jordan has presented at major academic gatherings such as the Society for Photographic Education, the Society for Visual Anthropology’s Visual Research Conference, the American Anthropological Association Conference, the Delta Symposium, and the LSU Mardi Gras Conference.
More of his work may be found on his website and Instagram Account.
Artist Statement
504–907 is a visual exploration of two distinct yet interconnected regions: Southern Louisiana and Interior Alaska. Framed through the diptych form, the project draws from personal history and is shaped by formative events such as Hurricane Katrina and the Deepwater Horizon disaster. It reflects on the daily rhythms and cultural nuances that define these disparate landscapes.
Using a blend of street and documentary photography, I capture the texture of everyday life in New Orleans and Fairbanks. The diptych format serves as a narrative device, pairing images that highlight both contrast and continuity—people, architecture, graffiti, and the intimate details of urban existence. These paired compositions echo the layered and sometimes uneasy relationship between memory and place.
At its core, 504–907 expresses a longing for connection and the preservation of cultural identity in the face of ongoing change. It evokes a collective sense of nostalgia and belonging, honoring local traditions even as they face erosion. The work extends the Southern fine art lineage of William Eggleston and William Christenberry, while also drawing inspiration from Tina Freeman’s Lamentations.
