As Julian Myers writes, “Crosher’s method works through the difficulty of taking pictures of Los Angeles, and what she understands as its resistance to being pictured." This obsession with capturing the imaginary of LA began with photographing planes coming in to land from each motel along the forgotten strip of Century Boulevard by LAX, captured in the series, Out The Window (LAX) (2001-05). Her interest in, “a place that moves in shifts and perpetual motion, with no real center, no point of concentration,” now informs the series LA-Like (2004-), a body of work inspired by the sun-drenched noir of Raymond Chandler and F.Scott Fitzgerald, anoydyne boosterism of Helen Hunt Jackson and the other early salesmen of the Los Angeles proto-myth. Shooting into the sun, both blackening the prints and negatives in post-production, at other times using the sun’s reflections to “burn”, she is interested in merging the poetics of burning with the medium itself. Mapping the city by the sun’s reflections in its pools, exploring the more apocalyptic realities of Los Angeles fires, car culture and other disasters in the series LA Black-Like, as well as paying homage through portraiture to the fallen ingénues and wanna-be actresses caught up in the myth are all elements of this body of work.

Other projects include The Reconsidered Archive of Michelle du Bois, clusters of tourist, performative and posed images shot in post-WWII Pacific Rim cities during the 70s and 80s of and by Michelle du Bois and reconfigured by Crosher. Also the transformative series 1 Yr Later, diptychs of girls from all over the US photographed in identical scenarios in their last year of high school and again exactly a year later

Playing with fictional documentary, the fantasy of expectation and the false promise of travel, an obsession with transience, and the reconsidered archive, her work has been shown internationally in Vancouver, Rotterdam, Los Angeles, and New York City. She completed her MFA at the California Institute of the Arts in the Photography and Integrated Media Programs in 2001. After editing NTNTNT (2004), a collaborative project investigating the short-lived history of net.art, she recently completed work as the U.S. Editorial Assistant for Afterall, A Journal of Art Context & Inquiry and is now working in an advisory capacity for The Filip Review out of Vancouver, Canada. The daughter of a diplomat and airline stewardess, she is for the moment settled in Los Angeles.