Doskow’s current body of work is an examination of how the sites and structures of world’s fairs-
-conceived and built for a temporary, specific purpose—interact in today’s unforeseen environment. The results of Doskow’s investigation thus far are wide-reaching; after photographing 15 sites in US and Europe, her lens has fallen upon the Eiffel Tower in Paris (World’s Fair of 1889), the Atomium in Brussels (1958), and other structures both strange and wonderful.
In response to both the scale and majesty of the fairs, what currently exists on the fair site, and the cultural and historical significance of that event, the pictures are often evocative of a ghostly presence, an evocative aura of the deathly nature of a site that had no immediate purpose past an event long gone.
Photographed with an old-fashioned large format camera but scanned and perfected digitally, the creation of these pictures mirrors the subject matter, the newest technology in tandem with old engineering. The pictures are lush, poetic, romantic, and wholly in keeping with the utopian fantasies of the first world’s fairs.