For the last fifteen years, Gregory Halpern has been photographing in
Omaha, Nebraska, steadily compiling a lyrical, if equivocal, response
to the American Heartland. In loosely-collaged spreads that reproduce
his construction-paper sketchbooks, Halpern takes pleasure in
cognitive dissonance and unexpected harmonies, playing on a sense of
simultaneous repulsion and attraction to the place. Omaha Sketchbook
is ultimately a meditation on America, on the men and boys who
inhabit it, and on the mechanics of aggression, inadequacy, and power.