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Photo Exhibitions

All About Photo has selected the best photo exhibitions on show right now, special events and must-see photography exhibits. To focus your search, you can make your own selection of events by states, cities and venues.
And Other Illusions: Pao Houa Her
Baxter Street | New York, NY
From February 07, 2024 to March 20, 2024
Baxter St at the Camera Club of New York is pleased to announce And Other Illusions, an exhibition of works by Pao Houa Her, winner of the 2023 Aperture & Baxter St Next Step Award. This selection of photographic works explores themes of home and belonging within Hmong American diaspora, and presents a diverse set of works that will be exhibited together for the first time. The exhibition will be on view February 7-March 20, 2024 in the Gallery Space at 126 Baxter St. And Other Illusions is the result of the Next Step Award, a partnership between Aperture and Baxter St at the Camera Club of New York, in collaboration with the 7|G Foundation. A solo exhibition organized by Baxter St is accompanied by a monograph entitled My Grandfather Turned into a Tiger, produced by Aperture.
Gail Albert Halaban Neighbors in the Building
Jackson Fine Art | Atlanta, GA
From January 17, 2024 to March 22, 2024
Jackson Fine Art is pleased to open the new year in the expanded gallery space with exhibitions of work from Gail Albert Halaban and Mary Ellen Bartley, two photographers whose architechtural compositions and thoughtful geometry belie the intimate worlds contained within. Gail Albert Halaban’s Out My Window series, for which the artist collaborarates with neighboring participants in cities across the world, developed as a means for the artist to facilitate communication among the inhabitants of urban neighborhoods — including her own. Working with both the residents of the space from which she shoots and the neighbors “out the window,” the group together composes a scene that resembles the lived experience on both sides of the street. The series began in New York and has since been expanded to include Paris, Istanbul, Buenos Aires, and a number of cities in Italy. Out My Window has long straddled the distinction between fiction and fact in its exploration of the narratives that arise from multiple combined perspectives; with the new work in Neighbors in the Building, Halaban’s third solo exhibition with Jackson Fine Art, the artist deepens this storytelling impulse by exhibiting photographs accompanied by recorded stories that her subjects make up about their neighbors. In this way, Halaban embraces the universal impulse to project fantasies on our neighbors, celebrating the community-building potential of investigating these projections. Image: French Roofs, Greenwich Village, 2022 © Gail Albert Halaban
Diane Tuft: Entropy
Leila Heller Gallery | New York, NY
From January 17, 2024 to March 22, 2024
Leila Heller Gallery New York proudly presents the solo show of New York-based artist Diane Tuft, “Entropy” opening January 17th. Since 1998, mixed-media artist Diane Tuft has embarked on global journeys to capture the transformative impact of environmental forces on Earth’s landscape. Her photographs document both the expansive beauty of our planet and the dire situation that it continues to face if we do not provide a sustainable environment for its future. Tuft’s “Entropy” series captures the sublime and awe-inspiring beauty of nature as it is radically transformed under the unrelenting pressures of climate change. Focusing on water as her subject, Tuft contrasts global sea-level rise with water depletion in Utah’s Great Salt Lake. In her new book “Entropy”, Tuft says “throughout my years of documenting the effects of climate change on our Earth, I have come to appreciate the immense influence that water holds over its destiny. Water, in all its manifestations, offers an exquisite palette to paint my images. Each depiction illustrates the harmonious interplay of shapes and colors, birthing entirely novel compositions that transform with the shifting light. Each photograph intricately weaves its own tale of climate change. The word entropy aptly characterizes climate change’s effect on the molecular structure of water. As ice melts, molecules gain energy, spread farther apart, and lose its crystalline structure and arrive at the next state, liquid. As water further transforms into its gaseous state, this disarray magnifies. In fact, the second law of thermodynamics states that entropy always increases with time. Water is its own thermodynamic system, affecting all that it touches. Given the unpredictability of climate change, we are seeing the unpredictability of its effects on water unfold in real time. Water, whether in the form of ice, liquid, or gas, serves as a crucial barometer for measuring the impact of climate change on the planet. We see the effects everywhere as symptoms of the planet’s future: rising sea levels, increasing hurricanes, tornados, tsunamis, flooding, soil erosion, fires, droughts, and record- breaking heatwaves. Our world is undeniably in flux, and water lies at the heart of this transformation.”
Waiting to be Seen: Illuminating the Photographs of Ray Francis
Bruce Silverstein Gallery | New York, NY
From February 01, 2024 to March 22, 2024
Bruce Silverstein Gallery is pleased to announce Waiting to be Seen: Illuminating the Photographs of Ray Francis, the first-ever exhibition of works by James Ray Francis. A photographer and educator who served as an editor of The Black Photographer’s Annual, Francis, alongside Louis Draper, was responsible for the early formation of The Kamoinge Workshop. Featuring a selection of over thirty never-before-seen early vintage prints taken between 1950-90, this exhibition considers the role of the camera and photography in creating a new black visual culture during a period characterized by activism and the struggle for equality. Questioning the monolithic canon of Western Art History, Ray Francis situates himself as having a rightful place within this lineage of greats, highlighting the complex, multidimensional qualities of the black artistic experience, one not limited to Western perceptions of “black art.” Inspired by Johannes Vermeer, his work evokes the style of Dutch golden-age genre painting with a subtle interplay of light and shadow and balanced, careful compositions; Francis creates a sense of intimacy and narrative ambiguity in his photographs. Francis taught photography classes at Pratt Institute, Brooklyn, The Bedstuy Neighborhood Youth Corps, and was a Director of the Harlem School District, where he inspired a generation of young artists; his contributions to The Kamoinge Workshop and early interest in the reinterpretation of old masters can be seen as a precedent for the work of contemporary photographers like Yasumasa Morimura, Nina Katchadourian, and Carrie Mae Weems.
Wolfgang Tillmans: To look without fear
San Francisco Museum of Modern Art - SFMOMA | San Francisco, CA
From November 11, 2023 to March 23, 2024
Wolfgang Tillmans: To look without fear is the most comprehensive exhibition of the influential artist’s work to date, charting the development of his practice from the 1980s through the present, across every genre of photography imaginable. From early experiments with a photocopier to ecstatic nightlife images, intimate portraits, incisive documentation of social movements, and innovative cameraless abstractions, Tillmans’s broad subject matter reveals his steadfast commitment to engage unflinchingly with the world. Tillmans plays an integral role in designing and installing his exhibitions. This survey features both framed and unframed photographs arranged in constellations that extend from floor to ceiling, magazine pages taped to the wall, video work, and his Truth Study Center table installations. This approach embraces the concept of visual democracy, where, as Tillmans puts it, “If one thing matters, everything matters.” Image: Icestorm, 2001 © Wolfgang Tillmans
In the Vault: Ada Trillo
Bridgette Mayer Gallery | Philadelphia, PA
From January 30, 2024 to March 23, 2024
Bridgette Mayer Gallery’s Vault installation will feature new photographs by Philadelphia artist Ada Trillo. Trillo is a first-generation, Queer Mexican American artist who combines documentary and fine art elements in her photography. A native of the US-Mexican border raised in the Juarez-El Paso binational metroplex, her work is informed by a deep interest in national and metaphorical borders and modernization processes. She has focused on walls of inclusion and exclusion, such as forced prostitution, climate, and violence-related international migration, and US internal exclusions resulting from long-standing barriers of race and class. Trillo's goal is to bring attention to the impact of these borders on exploited and marginalized people and amplify their voices. Trillo's work is in Institutions and private collections, including, The Library of Congress, The Philadelphia Museum of Art, and The Museum of Fine Arts, Houston. Some of their awards include The Pew Center for Arts & Heritage Fellowship (2022), The Eddie Adams Workshop Canon Award (2022), The Female In Focus 2020, and The Leeway Foundation Transformation Award. Trillo's work has appeared in publications such as The Guardian, Vogue, Smithsonian Magazine, and Mother Jones, among other publications. She was also awarded The Me & Eve Grant with the Center of Photographic Arts in Santa Fe and received First Place in editorial with the Tokyo International Foto Awards. Trillo has exhibited nationally and internationally in New York City, Philadelphia, Luxembourg, England, Italy, Germany, and Japan. They hold degrees from the Istituto Marangoni in Milan and Drexel University in Philadelphia.
Deep Dive
PDNB | Dallas, TX
From February 17, 2024 to March 23, 2024
PDNB Gallery is taking a DEEP DIVE into their collection to produce a group exhibition opening in February 2024. The gallery holds hundreds of photographs in portfolio boxes, flat files and in framed storage. Many of these remarkable photographs do not see the light of day for years. This show gives the gallery a chance to reveal treasures from its collection of works by artists we currently represent and important photographs that have been acquired throughout the life of the gallery. There is no theme to this group exhibition. It simply is a great opportunity to highlight extraordinary works that have not found a spot in PDNB Gallery’s recent themed or solo exhibitions. The photographs date from early 20th Century to contemporary and range from classic black and white darkroom photographs to contemporary color archival pigment photographs. Treasures include a very large photograph (47 x 62 inch) of a watermelon by Australian artist, Robyn Stacey, The First Cut. This still life image of a bountiful watermelon revealing its rich, red flesh is symbolic of abundance, fertility and the celebration of life in art history. Alfred Steiglitz, renowned American photographer, gallerist and husband of Georgia O’Keeffe, is represented in this exhibition with an extraordinary photogravure from his important Camera Work magazine publication. This image, The Ferry Boat, was printed in the October 1911 issue. In 2008, PDNB Gallery profiled a group of Czech artists in the exhibition, Contemporary Czech Photography. One featured artist, Vojtêch V. Sláma, is included in this show. His alluring image of the smoking room was influenced by the great Czech modernist, Joseph Sudek. Another rediscovered treasure is by Jack Delano, former Farm Security Administration photographer that PDNB exhibited in the late 1990’s. This charming photograph of a girl holding an American Flag in a school room in Puerto Rico, is reflective of the island’s American Territory status when taken in 1940. Image: Jack Delano, Untitled (Little Girl with American Flag), 1940
Barry Salzman: How We See The World
Holden Luntz Gallery | Palm Beach, FL
From February 24, 2024 to March 23, 2024
Barry Salzman's exhibition, "How We See The World," powerfully confronts the ethical dilemmas of our history through visually striking landscapes marked by human tragedy. His photography underscores the idea that the earth silently absorbs experiences, offering sustenance for future life. Salzman's work urges us to remember history, embrace its lessons, and strive for a future of peace and harmony.
Landscapes of Transcendence: Part II - Scenes of Ethereality
Susan Eley Fine Art | Hudson, NY
From February 01, 2024 to March 24, 2024
Since time immemorial artists have depicted their environs through a myriad of lenses: a realistic approach, recording as objectively as possible what is perceived; to an imaginative approach, using a real scene as a catalyst for the artist’s intuitive expression of place. In Landscapes of Transcendence, SEFA explores the latter, more subjective interpretations of place in a two-part exhibition at our Hudson Gallery, showcasing a variety of styles and techniques. Part II, entitled Scenes of Ethereality, features photographs that evoke surrealism and fantasy. Experienced together, these renderings depict lush flora and fauna; hyperreal and otherworldly urban narratives; and impossible architecture, defying laws of gravity and physics. The artists featured in this exhibition are Heather Boose Weiss, Carolyn Monastra and Leah Oates. Everything is visually recognizable, yet these creators elevate their aesthetics to fulfill their fantasies. The three artists have worked with SFEA for many years, and this exhibition is the introduction of the photographic medium to our Hudson space.
David Goldblatt: No Ulterior Motive
Art Institute of Chicago | Chicago, IL
From December 02, 2024 to March 25, 2024
Known for his nuanced portrayals of life under and after apartheid, South African photographer David Goldblatt (1930–2018) devoted himself to documenting his country and its people. Born into a family of Lithuanian Jews who emigrated to South Africa, Goldblatt focused much of his work on Johannesburg, the city where he lived for most of his life. His relative freedom to move within a society bitterly divided by racial segregation influenced the critical perspective of his work. In a church facade, down a mineshaft, through the exchange of glances between a passing man and woman, Goldblatt recorded the uneven application and reception of South Africa’s political values and beliefs. The highly descriptive captions he wrote for his photographs—which grew increasingly detailed over time—express his incisive attention to the country’s land, people, and history. This exhibition spans the seven decades of Goldblatt’s career, demonstrating his commitment to showing the realities of daily life in his country without pretense. Showing early black-and-white work alongside color photographs made after the end of apartheid, this presentation highlights how Goldblatt’s perspective shifted over time, responding not only to South Africa’s political upheavals but also his drive towards self-examination that he achieved by revisiting past subjects. The show’s title, No Ulterior Motive, borrows language that Goldblatt used in a newspaper ad seeking subjects for his photographs, gesturing to the artist’s promise of a fully transparent and straightforward photographic encounter and his dedication to impartial observation. Converging 140 works drawn from the collections of the Art Institute and Yale University Art Gallery, the exhibition also places Goldblatt within a global and intergenerational network of photographers, with a simultaneous presentation of approximately 40 works by international contemporaries including Josef Koudelka and Shomei Tomatsu, as well as fellow South Africans including Lebohang Kganye, Santu Mofokeng, Ruth Seopedi Motau, and Zanele Muholi. Through work that responds to and often departs from Goldblatt’s practice, these photographers reflect the openness to critical dialogue that Goldblatt maintained throughout his life as a photographer and mentor. The ambitious project aims to be a fitting tribute to Goldblatt and the opening of a new chapter in studies of his work. The exhibition is co-organized by the Art Institute of Chicago and the Yale University Art Gallery, New Haven, in collaboration with Fundación MAPFRE, Madrid, and curated by the Art Institute’s Matthew Witkovsky, Richard and Ellen Sandor Chair and Curator, Photography and Media, and vice president for strategic art initiatives; Leslie Wilson, associate director, Academic Engagement and Research; and Yechen Zhao, assistant curator, Photography and Media, and Yale University Art Gallery’s Judy Ditner, Richard Benson Associate Curator of Photography and Digital Media. Image: In the office of the funeral parlour, Orlando West, Soweto, 1972 © The David Goldblatt Legacy Trust
The Impact of Images:  Mamie Till’s Courage from Tragedy
California Museum of Photography - UCR ARTS | Riverside, CA
From November 04, 2023 to March 30, 2024
The lynching of fourteen-year-old Emmett Till by white supremacists in 1955 was a shocking tragedy, made worse by the appalling miscarriage of justice in the trial that followed. Emmett’s mother, Mamie, courageously made the decision to forego the privacy of her devastating loss by insisting the world see what they had done to her son. She chose to have an open casket funeral and invited the Black press corps in order to provide visual evidence of this tragedy to the world. The collective awakening and the actions that followed contributed directly to the Civil Rights Movement. Driven by courage, the event inspired a generation to force change, and the images that record this tragedy sparked consciousness across society. The impact of these images shook the world and there was no turning back. This photography exhibition begins with family photos of Mamie and Emmett, but at the core are extraordinary images made by Black photojournalists. The powerful photographs by Ernest Withers, for example, capture acts of bravery and of prejudice at the trial. Photographs of the funeral are fundamental to the story and are included. The famed images Mamie Till wanted “to let the world see,” however, are readily found elsewhere should one wish to bear witness. The exhibition continues with images of many exhilarating moments of the Civil Rights movement that followed and concludes with a photograph taken last year by Deborah Watts, Emmett’s cousin, of President Biden signing the “Emmett Till Antilynching Act.” Although sixty-eight years have passed, the images, lessons, inspiration, and courage of this singular tragedy can and must continue to educate, provoke, and inform today’s generation. This is the “Impact of Images.” The materials that contributed to this exhibition come from The Withers Collection, the Medgar Evers family and the Emmett Till Legacy Foundation, among other sources. Co-curator Chris Flannery gathered these historic photographs originally as support for the production of the 2022 film Till. Orion Pictures has generously made them available for this exhibition, which will feature screenings of the film and other public programs.
Andrés Mario de Varona + Cristobal Ascencio
Pictura Gallery | Bloomington, IN
From February 02, 2024 to March 30, 2024
The upcoming exhibition at Pictura explores the complex relationship of a child to a deceased parent. The show features two different projects, Contact by Andrés Mario de Varona, and Las Flores mueren dos veces by Cristobal Ascencio. Both projects are built from the artist’s efforts to connect with the lost parent. Ascencio creates a haunting virtual garden, honoring his father’s vocation as a gardener. De Varona works with personal relics, family members, and the mysterious properties of light to reach back towards his mother.
Brittany Nelson : I can
Patron Gallery | Chicago, IL
From February 03, 2024 to March 30, 2024
PATRON is proud to announce our third solo exhibition with New York-based artist Brittany Nelson (b. 1984). Nelson’s conceptual practice explores how science fiction, and the ongoing pursuit of space exploration, offer venues for the consideration of new social possibilities outside the limitations of heteronormative society. Utilizing analog chemical photographic techniques, historical science fiction and its archive, and visual culture from recent NASA missions, Nelson suggests how extraterrestrial, or non-human actors can function as proxies for queer life. I can’t make you love me pulls open the human, and often deeply romantic quests at the heart of astronomical discovery, both real and imagined. Since 2020, Nelson has researched an extensive archive of letters between science fiction writer Alice B. Sheldon (under the male pseudonym; James Tiptree Jr.) and novelist Ursula Le Guin between 1971 and 1976. Their exchange held space for real-life para-fiction. While withholding her true gender identity, Tiptree’s flirtatious fantasies were received and reciprocated by Le Guin—Tiptree would eventually reveal her true gender identity to Le Guin in 1976, and subsequently see Le Guin as a confidant “Ursula, Ursula I am petrified. - - - will they take it as “deception”? The exhibition opens with the persistent melody of everything but the signature is me (2023), an automaton typewriter, programmed by Nelson to perpetually dictate Tiptree’s excerpted term of endearment for Le Guin; “Starbear.” This coded evidence of Tiptree’s unrequited desire is extracted from their original context, scattered over the page in blue ink. The incessant transfer of the name by a non-human writer, suggests how Tiptree’s own use of a pseudonym functions as a metaphor. The letter, much like the format of science fiction, is a truth written in the present to apply to a future sense. Nelson further collapses past, present, and future in her Solaris series, expansive gelatin silver prints developed from stills of Andrei Tarkovsky’s 1972 film. Solaris narrates the plight of Kelvin, a cosmonaut who is pulled into the waking nightmare that has befallen his space station comrades as time and psychological acuity become increasingly warped. Nelson took screenshots from the film and rephotographed them onto 35mmx film at high speeds, a process which accentuates the silver grain of the image. The textural, impressionistic prints, developed with one of the last remaining Fotar Enlargers from the 1950’s, position us within the film itself, vulnerable, gazing outward onto the swirling waters of a foreboding form of extraterrestrial life. Solaris’s swirling waters of the ocean planet, like the mist-moody landscapes of Romantic painters, suggest that the scene is not an image of an experienced reality, but an existential experience of loneliness and mortality. Functioning as a coda, and bringing us to the present is I can’t make you love me, a single channel video, titled after Bonnie Raitt’s 1991 sentimental ballad. Edited from Nelson’s first-hand documentation during a research trip over the summer of 2023 at Hat Creek Radio Observatory in Northern California, the film tracks the artist’s own encounter with an isolated astronomical telescope array (Allen Telescope Array or ATA), technologies specifically designed for the Search for Extraterrestrial Intelligence (SETI). In the film, a presumed human subject sweeps spotlights across the open fields of the observatory, glimpses and fragments of the satellites appear as outlines in the dark as they themselves contemplatively yearn for the faintest glimmer of data to affirm their existence. Brittany Nelson: I can’t make you love me collapses and expands Nelson’s poetic parallels between Tiptree’s own closeted desire, the speculative space of scientific discovery, and the ongoing human quest to find, and communicate with, someone like us.
The Dissolve: Hellen van Meene
Yancey Richardson Gallery | New York, NY
From February 22, 2024 to March 30, 2024
One of the most influential international photographers of her generation, Hellen van Meene is known for her intimate color portraits of adolescent girls and young women inspired by traditions of classical painting. An exhibition of recent work, The Dissolve will be on view from February 22 through March 30, 2024, with the majority of the photographs on view in New York for the first time. A reception with the artist will be held on Thursday, February 22 from 6-8 p.m. In her sixth solo exhibition at the gallery, Dutch artist van Meene continues her exploration of female identity with 20 photographs made between 2016 and 2023. Many of her young subjects are on the cusp of adulthood and van Meene highlights both the psychological tension and confusion often experienced during these transitional years. Her unique visual language employs an exceptional use of natural, luminous light reminiscent of 17th century Dutch painter Johannes Vermeer. Martin Barnes, Senior Curator of Photographs, V&A, wrote in the book Hellen van Meene: The Years Shall Run Like Rabbits (Aperture 2015), “Each photo resounds with painterly color harmonies. She has a lucid understanding of the nuances of natural light: how it can transform a scene before the lens into a picture that distills and then transcends the depiction of reality. Coupling this with her choreographed scenes and her intuitive use of gesture in the faces and attitudes enacted by her subjects, she has consistently produced the condition for photographic transformations.” Van Meene’s subjects are often caught in dreamlike states or otherworldly situations. In one, a bride stands calmly as the train of her wedding dress ignites in a semi-circle of flames. In another, a sitter cradles a fish like a baby, and in another, butterflies carefully position themselves on the subject’s face, neck, and chest. One young woman immersed in a body of water is surrounded by flowers while fully dressed, recalling Shakespeare’s Ophelia. Van Meene’s subjects appear detached and unflummoxed about their unusual situations, absorbing the ambiguity of being at the brink of adulthood, while caught in the liminal space between childhood and womanhood. In the words of van Meene: “The girl’s dreams go beyond her daily life, as she yearns to be a butterfly and take flight into the skies. Her untangled hair serves as a powerful symbol of freedom and flight, inspiring us all to chase our dreams and embrace our innermost desires.” For more than 20 years, Hellen van Meene (Dutch, b. 1972) has been known as one of the world’s top photographers for her carefully staged portraits of adolescent girls. Her work has been exhibited internationally in museums including Fotografiska, New York (2024); Museum of Fine Arts Boston (2019); Musee d’Orsay, Paris (2016); Palais de Beaux-Arts, Brussels (2015); Brooklyn Museum, New York (2009); Art Institute of Chicago (2008); Van Gogh Museum, Amsterdam (2008); and Solomon R. Guggenheim Museum, New York (2007). Van Meene’s photographs are held in institutional collections worldwide, including the Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Art Institute of Chicago; San Francisco Museum of Modern Art; Museum of Contemporary Art, Los Angeles; National Museum of Women in the Arts, Washington D.C.; Museum of Fine Art, Boston; High Museum of Art, Atlanta; Victoria & Albert Museum, London; Stedelijk Museum, Amsterdam; Fries Museum, Netherlands; Museum of Photography, Netherlands; Folkwang Museum Essen, Germany; Huis Marseille, Amsterdam; and Museo Artium del Pais Vasco, Spain. Van Meene is the subject of five artist monographs, including Hellen van Meene: The Years Shall Run Like Rabbits (Aperture, 2015); Hellen van Meene: tout va disparaître (Schirmer/Mosel, 2009); Hellen van Meene: New Work (Schirmer/Mosel, 2006); Hellen van Meene: Portraits (Aperture, 2004); and Hellen van Meene: Japan Series (The Museum of Contemporary Photography, Chicago and De Hallen, Haarlem, the Netherlands, 2002). Van Meene lives and works in Heiloo, Netherlands.
Maggie Taylor: Up, Up, and Away!
Catherine Couturier Gallery | Houston, TX
From February 24, 2024 to March 30, 2024
Catherine Couturier Gallery is thrilled to announce Up, Up, and Away!, an exhibition of new work by gallery artist Maggie Taylor. Maggie Taylor (American, b. 1961, Gainesville, Florida) is well known for her technique using a flatbed scanner instead of a traditional camera to capture found objects and photographs she collects. In 1996, Taylor first used Adobe Photoshop to manipulate the timelessness of antique portraits by playing on their whimsical nature. She skillfully incorporates background elements to give depth and atmosphere to her works, effortlessly crafting a dreamlike style that tells a captivating story. With a rich history of embracing new technology in her art practice, Taylor skillfully incorporates elements generated by the AI program Midjourney into her latest digital collages. Using Midjourney, Taylor inputs prompts to create intricate background elements, seamlessly integrating them into her existing artistic practice through meticulous manipulation in Photoshop. The result is a series that not only showcases Taylor's longstanding commitment to innovative tools but also highlights the dynamic possibilities that emerge when combining her artistic vision with cutting-edge technology. "It is really amazing, but a steep learning curve to be able to control it." says Taylor. Maggie Taylor’s work is held by numerous public and private collections including The Princeton University Art Museum, Princeton, NJ; The Fogg Art Museum, Harvard University, Cambridge, MA; Harn Museum of Art, University of Florida, Gainesville, FL; Museum of Fine Arts, Houston, TX; and The Museum of Photography, Seoul, Korea.
Glorify Yourself: Carolyn Drake
Yancey Richardson Gallery | New York, NY
From February 22, 2024 to March 30, 2024
Begun in 2020, Glorify Yourself is the newest photographic series by Carolyn Drake, in which the artist turns the camera on herself, experimenting with self-portraiture and offering an exploration of, as Drake says, “the universe of desires and delusions that gave rise to the world I inhabit.” The exhibition will be on view from February 22 through March 30, 2024. An opening reception will be held on February 22, from 6 – 8 PM. The series takes its title from the book Glorify Yourself, a “beauty and charm guide” for women, popular in the U.S. during the 1940s and 1950s. The guide included chapter titles such as “Inviting Lips” and “Sitting Technique,” offering advice for its female readers on how to increase their allure to men. With pages of the book ‘s instructions plastered on one wall of the gallery, Drake’s darkly comedic self-portraits intersect with the misogynistic material that inspired them. Describing her process, Drake states; “With a mixture of satire and scorn, I began putting myself in the positions described in the book, exploring my relationship to its creed.” In Self-Portrait with Gene Tierney (Inviting Lips), Drake holds a page ripped from the book in front of her face. The page shows a portrait of a woman whose face has been cut out, replaced by Drake’s own mouth, agape in a silent scream. The caption beneath the image reads “Gene Tierney’s beautiful full mouth is one of her most attractive features.” In what could be seen as the pair to this image, The Face of Gene Tierney (Inviting Lips), these so-called “inviting lips” are revealed in a surreal composition that includes Tierney’s disembodied face suspended by a thread, and a pair of tweezers, held by the artist, pointing ominously towards it. Drake’s irreverent interrogation of this highly constructed, stereotypical notion of femininity exposes the degree to which women’s bodies have been controlled in service of the male gaze. Indeed, when we consider the series within the context of current events, including the recent rollback of abortion rights in the U.S., we can see it in part as Drake asserting her agency to present her body in whatever guise she chooses. In an act of defiance, the artist offers us so-called “self-portraits” in which her face is mostly obscured behind cut-outs and pages from the book, or disguised with a wig as she attempts to perform the prescribed exercises. Drake challenges our traditional understanding of the genre, offering us an introspective exploration of her identity and her shifting experience of gender and sexuality that refuses to be confined within fixed boundaries. Born in California in 1971, Drake’s work has recently been exhibited at the Henri Cartier Bresson Foundation, the High Museum, and the San Francisco Museum of Modern Art. She has published five photo books: Two Rivers (2013), Wild Pigeon (2014), Internat (2017), Knit Club (TBW Books, 2020), and Men Untitled (TBW Books 2023). Drake’s forthcoming project I’ll Let You Be In My Dreams If You’ll Let Me Be In Yours (Mack 2024) is co-authored with her partner Andres Gonzalez. She is the recipient of a Guggenheim fellowship, the Henri Cartier Bresson Award, and a Fulbright fellowship, among other prizes. Drake is a member of Magnum Photos and lives in Vallejo, California.
In the Room Where it Happened : A Survey of Presidential Photographers
Griffin Museum of Photography | Winchester, MA
From January 12, 2024 to March 30, 2024
Shealah Craighead, Eric Draper, Michael Evans, Sharon Farmer, David Hume Kennerly, Yoichi Okamoto, Bob McNeely, Adam Schultz, Pete Souza and David Valdez, Joyce Boghosian Our understanding of the U.S. presidency is largely shaped by images. Photographs of political campaigns, international engagements, historic legislation, and national tragedy, accompany more intimate family scenes and humanizing portraits, each contributing to the global perception of the American presidency for generations to come. Featuring the work of the official White House photographers Shealah Craighead, Eric Draper, Michael Evans, Sharon Farmer, David Hume Kennerly, Bob McNeely, Yoichi Okamoto, Adam Schultz, Pete Souza, David Valdez and staff photographer Joyce Boghosian, this group has shaped our vision of the presidency for the last 6 decades. Presidential photography highlights the complex nature of creativity, documentation and portraiture. Each photographers’ perspective and stories provide context for framing important moments, giving viewers a deeper understanding of the challenges and rewards of documenting the presidency, offering a comprehensive and insightful visual narrative of the U.S. presidency through the lens of these dedicated and talented photographers. Image: © Eric Draper
Dorothea Lange: Seeing People
National Gallery of Art | Washington, DC
From November 05, 2023 to March 31, 2024
During her long, prolific, and groundbreaking career, the American photographer Dorothea Lange made some of the most iconic portraits of the 20th century. Dorothea Lange: Seeing People reframes Lange’s work through the lens of portraiture, highlighting her unique ability to discover and reveal the character and resilience of those she photographed. Featuring some 100 photographs, the exhibition addresses her innovative approaches to picturing people, emphasizing her work on social issues including economic disparity, migration, poverty, and racism. Image: Grandfather and grandson of Japanese ancestry at a War Relocation Authority center, Manzanar, California, July 1942 © Dorothea Lange
Insight/Incite 20/20 EXHIBITION
Bolinas Museum | Bolinas, CA
From February 03, 2024 to March 31, 2024
We are excited to have our INSIGHT/INCITE 20/20 portfolio works on view in the beautiful gallery at Bolinas Museum this coming February! Curated by PhotoAlliance Creative Director Linda Connor, This exhibition will speak to humanity’s challenges, hope, and resilience as we grapple with daunting political, cultural, environmental, and humanitarian issues. Embracing artists who push the envelope in their own practice of photography in various ways, INSIGHT/INCITE offers the common ground of image as a tool for reflecting, sharing and learning from a multitude of incisive visual perspectives based on diverse identities and backgrounds. We invite you to celebrate these artists—who have generously donated their work to this project in support of PhotoAlliance—and our 20 years of commitment serving an inclusive, close knit community of artists, collectors, professors and cultural workers, and art lovers.
Poetry and Pose: Screen Tests by Andy Warhol
Ki Smith Gallery Ki Smith Gallery | New York, NY
From February 24, 2024 to March 31, 2024
Poetry and Pose: Screen Tests by Andy Warhol is an exhibition of forty-one Screen Tests shot between 1964 and 1966 showcasing sixteen beautiful individuals including Binghamton Birdie, Lucinda Childs, Roderick Clayton, John Giorno, Beverly Grant, Jane Holzer, Kenneth King, Donyale Luna, and Edie Sedgwick. The exhibition will be at Ki Smith Gallery from February 24th to March 31st, 2024, and is curated by Greg Pierce, Director of Film & Video at The Andy Warhol Museum. Presenting every portrait from a sitter’s single session, Poetry and Pose offers a peek into Warhol’s creative process by allowing visitors to compare the different poses, exposures, lighting scenarios, and framing techniques the artist used to capture his subjects resulting in some of his favorite Screen Tests - “Girl Who Cries a Tear” - Ann Buchanan [ST33] - and “Boy That Never Blinked” - Peter Hujar [ST158] - along with others that did not quite make the cut - “Mouth Open No Good” - Jane Holzer [ST143]. The centerpiece of the exhibit will be a double screen projection of fourteen Screen Tests featuring the members of the Velvet Underground - John Cale, Sterling Morrison, Nico, Lou Reed, and Maureen Tucker. These portraits of the musicians were culled from the background reels “Velvet Underground” and “Gerard Begins” both of which were projected on or behind the band during the live multi-media events known as Andy Warhol, Up-Tight, and Exploding Plastic Inevitable.
The Lives of Others by Meg McKenzie Ryan
All About Photo Showroom | Los Angeles, CA
From March 01, 2024 to March 31, 2024
All About Photo is pleased to present 'The Lives of Others' by Meg McKenzie Ryan Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of March 2024 and includes twenty photographs from the series ‘The Lives of Others’ The Lives of Others Producing a round photograph can be a little troubling for some viewers. People are not used to that shape. Please let us explain how that shape happened. There are photographers who focus closely on the person or people they are shooting, such as Richard Avedon, a great photographer. Since he used a large format camera, and he made large prints, every detail is quite clear. He used a plain white background. Freckled faces, a spot on a shirt from a recent meal, wrinkles, etc. contribute to the fascination viewers can experience. However, Meg is trying for something different. Meg shoots an 8" x 10" format field camera. Instead of using a lens for an 8" x 10" camera, she uses a 4" x 5" lens. Since the small lens doesn't cover the entire sheet of film, and the lens is round, the resulting images are round and very wide angle. The reason for this choice is she wanted to try to understand the culture. She believes that people are at least partially influenced by their environment. Small things such as a roll of toilet paper sitting on a television in an otherwise perfectly neat living room says the bathroom is not under the same roof. Children crowd around a shoot watching the action, but they become part of the action. Mothers supervise the shoot which also makes them part of the action since they are at the edge of the photos. Meg chose to shoot in the poorer neighborhoods of Mexicali, Mexico, the capital city of the state of Baja California. With over a million residents, the possibilities were enormous. Residents hardships were visible. Meg lived a few miles north of the Mexicali border in the lower desert of California, USA. The summers there last roughly seven months, and daytime temperatures during several of those months are almost always over 115 degrees F. Nights get down to 90-plus degrees F. In addition, major earthquake faults run through the area, and roughly every ten years or so, a large earthquake hits causing some buildings to crack or even crumble. Meg would drive to a neighborhood in Mexicali, stop near some action going on, take her fully-open camera (bellows pulled out), and ask if it would be OK if she shot a picture. People never turned her down. Meg's Spanish was very limited, and this made it easy to let people choose who and/or what would be in the picture. Babies were a common choice. Dads hugging their sons. Friends smiling. A much-loved dog was a priority of one young boy. The photos edges are just as important as the central subject. This is where mothers would stand, arms crossed (sometimes sternly), supervising. Children not chosen by their parents to be in the photo are standing nearby watching. Major cracks in the stucco of some homes, or wood shoring up a patio or home, beds just inside the front door, are all interesting and contribute to the overall photo. The excessive heat in the summer was the hardest time of year for Mexicali residents. Some, not all, had swamp or evaporative coolers which helped a little, especially if it wasn't humid. The details make the photos rich with information and meaning. And they require a good long look to experience the full impact of them. Hopefully viewers will take a good long look.
FEAST: Cig Harvey
Robert Mann Gallery | New York, NY
From February 10, 2024 to April 05, 2024
Robert Mann Gallery is pleased to present Cig Harvey’s exhibition, FEAST, opening on Saturday, February 10, and on view through April 5, 2024. The exhibition approaches the heart of the human condition, where stories hold secrets as dark as a chocolate-frosted cake pressed with blackberries. FEAST becomes a sensory experience of apples gracefully descending the tree and wisteria engulfing a lady swaying in satin. Harvey delves into the science of color and explores taste and perception. The result is a photographic experience of wonder, unraveling the intricacies of how we engage with sight, light and feeling. Rooted in specific moments, her work transforms the mundane into a captivating conversation, for instance by exploring the quiet life of the coy and poisoned red berries no one dares to pick, while their color and texture tempt us to do just that. Harvey introduces a delectable discourse in FEAST with the inclusion of cake—a staple at gatherings ranging from birthdays to weddings and funerals—encompassing time, mortality, and the senses. She joyously celebrates maximalist cakes, drawing inspiration from the imaginative, homemade creations of loved-ones. These cakes boast multiple layers, lavish frosting, and a decadent overflow of fudge. Within FEAST, Harvey plays with the placement of this treat, whether stowed inside a trunk floating down the river, passionately smashed upon a table, or glowing warmly with flickering candles amidst the embrace of darkness. Concurrent with her solo exhibition at Robert Mann Gallery, Harvey is featured in a group exhibition at New York’s Fotografiska entitled Human / Nature. This exhibition delves into the complex and symbiotic connection between humanity and the
natural world. Harvey's work is included in permanent collections of major institutions including the Library of Congress, New York; Museum of Fine Arts, Houston, Texas; the International Museum of Photography and Film at the George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; Farnsworth Art Museum, Rockland, Maine; and the distinguished corporate collection of JPMorgan Chase. Harvey earned distinction as one of the 2021 recipients of the Farnsworth’s Maine in America Award and was also awarded the title of the 2018 Prix Virginia Laureate, a prestigious international photography accolade in Paris. In 2023, Eat Flowers, a documentary film about Harvey by River Finlay, premiered at film festivals worldwide winning the Special Jury Prize at the Santa Fe International Film Festival for Documentary Short. In FEAST, Harvey aspires for viewers to share in her initial experience upon discovering the images—the sensation that accompanies bearing witness to something rare. The palpable blend of desire and neon vigor in photographs encapsulates a lifetime of journeys, hopes, and perpetual curiosity.
American Glitch
Palo Gallery | New York, NY
From February 09, 2024 to April 06, 2024
Palo Gallery presents American Glitch, a new exhibition by artist duo Orejarena & Stein (b. 1994, Colombia and United Kingdom), and the photographers’ debut solo exhibition in New York City. Presenting a series of new and recent photographs, American Glitch examines the slip between fact and fiction and its manifestation in the physical landscape of the United States, the duo’s adopted home. Orejarena & Stein lead us to examine that amidst an overwhelming sea of unending information available in an instant, society is left asking what is real and what's fake. What can the world trust, and what is a ‘glitch’? To Orejarena & Stein, screen dominance, conspiracy theories, fake news, and the advent of the Metaverse call to question our reality and our potential existence in a ‘simulation,’ a term employed as a satirical collective protest against late-stage capitalism and an increased dependence on technology. To exist in an online community is to bear witness to the ‘simulation’, where images are posted as personal evidence of spotting a ‘glitch in our reality.’ A concept initially explored in films such as 'The Matrix’ and 'The Truman Show,’ a ‘glitch’ reflects a generation’s collective experience wherein the digital and physical worlds have merged; a world in which five senses seem inadequate against campaigns of conspiracy. The artists spent years treating the internet as our collective subconscious, collating posts on social media and Reddit threads of ‘evidence of glitches in real life’. These threads and images become a place for a new form of community and connection across time and space. Orejarena & Stein then photograph sites around the US which remind them or people on the internet of real-life glitches. Such locations include California City – the blueprint of a perfect town – replete with ‘paper roads,’ avenues, and cul-de-sacs, which were never completed; or a staged Iraqi village at Fort Irwin, the U.S. Army base in the Mojave Desert. By merging traditional and contemporary photographic techniques Orejarena & Stein transform tools perceived by others as artistic errors into intentional elements to prompt reflection on the intersection of technology, perception, and the human experience. The duo has conducted years of research on social media to discover that online spaces have fostered original forms of community which span time and space, where participation in a thought marketplace creates legitimate feelings of connection. Realizing this research in a comprehensive collection, American Glitch brings together photographs made with a large-format camera coalesced with images sourced from the internet of peoples’ evidence of ‘glitches in resal life’. Utilizing digital elements such as Adobe Photoshop and AI tools, the exhibition includes large-scale prints of Orejana & Stein’s photographs integrated with an installation of smaller-scale prints of the ‘glitch in real life archive’ to form a constellation between two modes of exploring photographic veracity. Thousands of photographs are created daily, and American Glitch examines the intersection of personal existence within this new collective. Amidst an inundation of digital images, Orejarena & Stein exist at the juncture where hope and truth are still alive.
The Flesh of the Earth: Curated by Enuma Okoro
Hauser & Wirth | New York, NY
From February 01, 2024 to April 06, 2024
Hauser & Wirth New York is pleased to present ‘The Flesh of the Earth,’ a multidisciplinary exhibition curated by Nigerian-American writer and critic Enuma Okoro. Through work by artists Olafur Eliasson, Adama Delphine Fawundu, Jenny Holzer, Rashid Johnson, Haley Mellin, Cassi Namoda, Lorna Simpson, Kiki Smith, Pamela Phatsimo Sunstrum and Billie Zangewa, the presentation, in the words of Okoro, ‘encourages us all to consider ways of decentering ourselves from the prevalent anthropocentric narrative, to reimagine a more intimate relationship with the earth and to renew our connection with the life-force energy that surges through all of creation, both human and more-than-human. Our human bodies—one of a diversity of created bodies of the natural world—are the primary language with which we dialogue with the earth. By acknowledging that these varied bodies are always in relationship we reawaken our awareness of the quality of those relationships, considering where we may falter or harm, and also deepen our appreciation and recognition of our interdependence with the more-than-human world.’ The exhibition will also include the poetry of acclaimed author Ama Codjoe, who draws both poignant and striking images with her words, articulating the kind of sensuous and imaginative self-reflection that can stir us to rekindle a necessary intimacy with the more-than-human—again, emphasizing the body as the primary vehicle through which to achieve this. The interrelationship between the different bodies of the natural world that Codjoe conjures recurs creatively and sometimes delicately and subtly throughout many of the works in the exhibition. Olafur Eliasson’s sculptural work ‘Now, here, nowhere’ (2023) lines up layered panels of colored glass along a length of found driftwood from Iceland. The gold, red-orange and blue-green circles and ellipsis, and the naturally weathered wood all evoke reconsiderations of time and temporality, including how bodies of water envelop and move intimately over other natural organic matter. And yet also in their likeness to suns and moons, elements of the work seem to lend to contemplation on the effects of circadian rhythms, and the solar and lunar cycles on human and non-human animal behavior and physiology. Other work gestures towards the human body as a link, like Adama Delphine Fawundu’s photograph ‘Ngewo Whispers’ (2022) from a series in which the artist occupies ghostly sites that bore witness to events of the African diaspora, in this case Savannah GA. In Fawundu’s photograph, she captures herself dressed in a bright blue dress and wearing cowries in her hair amidst a verdant setting. The scene situates the artist’s body as a bridge between the human and more-than-human worlds, threading a connective strand of exchange between the generative, energetically active space of nature and the material structures of history. Water, a potent symbol for life, death and rejuvenation, also plays a central role in ‘The Flesh of the Earth.’ New paintings by Cassi Namoda depict richly hued, abstracted seascapes that reference the African philosophical and religious theological teachings of Kenyan-born philosopher John Mbiti. In Namoda’s ‘Maternal Possession in Lago Regorria’ (2023) she evokes the Christian ritual of baptism in which the spirit is believed to invade the body and stimulate new life—yet the spiritual experience of rebirth is common to many traditions. The anonymous, nameless figures appear vulnerable as they submit to the powerful, primordial expanse of the sea. There are ways in which our broken relationship with more-than-human nature must also find new life. Namoda’s paintings simultaneously remind us of our natural beginnings in wombs of water, and our utter reliance on water to survive. ‘The Flesh of the Earth’ implores us to renew our connection to the fuller natural world by highlighting our estrangement from it in the first place. At the heart of the exhibition is Rashid Johnson’s living work, ‘Untitled Stranger’ (2017), which requires the committed relationship from humans to care for it and ensure its sustained life. The immersive sculptural installation invites viewers to circle the work and study the various symbolic objects placed within its stacked, architectural grids—live plants in ceramic pots made by Johnson, carved blocks of shea butter and a selection of books. These objects carry deep meaning for the artist; from essence extracted from the shea trees found across central Africa to titles like Albert Camus’ ‘The Stranger’ and ‘The Crisis of the Negro Intellectual’ by Harold Cruse, every item points to themes of alienation and escape, and the wistful quest to reconnect with a feeling of belonging and of familiarity. Okoro says, ‘The remedy to estrangement is an intentional and caring rekindling of relationship. We must return to thinking of the earth as also imbued with life-force energy as we are, with an aliveness whose health and engagement is essential to our collective well-being. The more-than-human world holds patterns of intimacy that we can learn from and participate in, but which require us to acknowledge and to draw closer to the rest of nature’s own inherent eroticism. It is only in recognizing and honoring the aliveness and sacrality of this world that we can reimagine a new and sustainable kinship.’ Through their sensorial formal qualities and symbolic resonance, the works on view here offer glimpses of what could be beyond our quotidian humanmade realm, urging us to recognize our collective dislocation and distance from the more-than-human, and to open ourselves to a renewed relationship with the rest of the natural world. In Okoro’s words, ‘We are unwholly ourselves when we mark stark boundaries between our bodies and that of other non-human bodies of nature. To speak of nature as something that exists apart from us or something merely ‘outside’ is to deny our own creatureliness and our humus-ness. We are part of the environment. We too are of the soil and the elements. Born from the water of the womb, at death we recycle back to the humus of the earth, where living microbes already exist in thriving interrelated communities, and the bodies of plants and animals also return to provide nourishment. There is so much transformative and necessary relational engagement between our beginnings and endings to which we have to return, and in some instances heal.’ On Saturday 3 February at 4pm, Hauser & Wirth will host a public program at its 18th Street gallery featuring readings of Ama Codjoe’s poetry by poet Maya Marshall, prose readings by Enuma Okoro and a special musical performance by Adama Delphine Fawundu and her son, Che Buford. More details about the event, as well as registration information, will be available at hauserwirth.com. The exhibition is in collaboration with 303 Gallery, Hesse Flatow, Lehmann Maupin, Galerie LeLong, Pace Gallery and Tanya Bonakdar Gallery.
This Must Be The Place
Leica Gallery San Francisco | San Francisco, CA
From February 05, 2024 to April 06, 2024
In the tender embrace of undulating hills and the gentle caress of the Pacific breeze, an enchanting beauty unfolds, uniquely belonging to this place. Here, dreams seamlessly merge with reality, and the vibrant pulse of life animates the lively streets. This must be the place, where its global spirit becomes a symphony of love. Captured by three local photographers, Brian L Frank, Jake Ricker, and Brandon Ruffin, this love of place materializes into the form of light, community, and narrative. This exhibition celebrates Leica Store San Francisco's 10 year anniversary. Image: © Jake Ricker
Sarah Moon: On the Edge
Howard Greenberg Gallery | New York, NY
From February 17, 2024 to April 06, 2024
The photography of Sarah Moon, one of France’s most renowned contemporary artists and filmmakers, will be presented from February 17 through April 6, 2024. Sarah Moon: On the Edge will survey over four decades of her work. Dreamy yet dazzling, mysterious and compelling, Moon’s work possesses a powerful signature style, depicting ethereal beauty, transportive places, and moments of magic in many forms. Curated by the artist, more than 30 photographs from the late 1980s to 2022 will be on view at Howard Greenberg Gallery, ranging from her legendary fashion images to landscapes from Coney Island and Tuscany. “All along, I tried to avoid the anecdote, looking for an echo between what I see and what I feel, trying to reach that visual point of no return, that second that cannot happen again,” Moon stated. “Today, I realize that minimalism means more and more to me whatever I photograph, trying to get to the essential of what I see, cropping the subject out of its context, reducing it to that second, to that limit of time, grasping light before it vanishes. The photos I am presenting here are on the edge of that attempt.” Image:Fashion 11, Yohji Yamamoto © Sarah Moon
 Carolle Benitah  B or the Memory of Childhood
Sous Les Etoiles Gallery | New York, NY
From February 22, 2024 to April 06, 2024
, or the Memory of Childhood is an exhibition that combines two of the best-known series by the Franco-Moroccan artist Carolle Benitah: Photo Souvenirs developed from her family and personal archives and the other entitled Jamais je ne t'oublierai constructed from found and anonymous photos. The opening exhibition is scheduled for Thursday February 22 from 6 to 8 PM and the show will be on view through at the gallery through April 6th, 2024. The paralleling of these two approaches of reinterpreting reality and fictional memory allows the artist to rewrite a story that perhaps the unspeakable would prevent from expressing. For almost twenty years now, Carolle Benitah's artistic intention has been telling us about the constant search for balance between familial ties hoping happiness can exist. “Exploring the memory of childhood, says Carolle Benitah, allows me to understand who I am and to define my identity today. Indeed, the title of Benitah’s exhibition B, or the memory of Childhood is inspired by the book published is 1975, from the French writer Georges Perec, W or The Memory of Childhood which combines the autobiographical story of a child's life during the war, a poor story of exploits and memories and a text belonging entirely to the imagination of the author relating an Olympic ideal.
(S)Light of Hand 2023 AWARD WINNERS: Debra Achen and Diana Blomfield
The Photographer's Eye | Escondido, CA
From March 09, 2024 to April 06, 2024
The Photographer's Eye Gallery in Escondido will host an exhibit by two exceptional artists, Debra Achen and Diana Bloomfield, award winners in the gallery's 2023 (S)Light of Hand Alternative Process Juried Exhibition. Bloomfield, of Raleigh, North Carolina, was honored by juror Ann Jastrab, Executive Director of the Center for Photographic Arts in Carmel, California, for her floral print, ''Hydrangea,'' a tricolor gum over cyanotype print. Achen, of Monterey, California, was honored by The Photographer's Eye Director Donna Cosentino for ''Shoring Up,'' a folded and stitched pigment print that references climate change. The exhibit will take place at The Photographer's Eye Gallery, 326 E Grand Ave., from March 9 until April 6, in conjunction with women's history month. The two artists will discuss their unique photographic processes and inspirations during an artists' talk at The Grand, 321 E. Grand Ave., across the street from the gallery, at 3 p.m. on March 9. That will be followed by a reception for the artists at The Photographer's Eye, from 5 p.m. to 7 p.m. Debra Achen has always loved nature and landscape photography, and she recently applied her art to address climate change. Where Achen's work stands apart is that after shooting her image, she folds, rips, scorches, and even stitches the prints, creating works that evoke a planet in crisis. Achen's concerns about our environment grew while she was shooting landscapes in Monterey and noticed trees that were dying because of prolonged drought, golden hills that were cracking under relentless heat, and coastlines that were eroding as sea levels rose. And that was before a spate of wildfires incinerated thousands of acres of California forests. ''I started noticing when I was out shooting in the field that I would find myself thinking about what's this landscape going to be like, how much of this forest is going to be left for the next generations,'' Achen said. ''I started to feel nostalgic about the photographs I was taking. I was feeling like I'm documenting this for future generations, and that's a sad thing.'' She then discovered ways to hand manipulate her prints by folding, tearing, scorching, and even stitching, which provided an appropriate metaphor for what she saw occurring all around her. So was born her series, ''Folding and Mending,'' which captures the concept of ''a world folding in on itself from the impacts of climate change,'' she says. Achen experimented with various types of paper to find the one best suited for the manipulation her prints would undergo, and she settled on agave, which is both sturdy and environmentally sustainable. Diana Bloomfield specializes in 19th century printing techniques, with a concentration on gum bichromate, platinum and cyanotype processes. Her photographic vision springs from the world of memories, and her images carry the flavor of waking up and trying to recall a dream. Her work, she says, ''is more about holding onto memories, which are always fugitive and ever shifting, and I wanted to get them down on paper, a tangible memory.'' Bloomfield began her career when shooting with film cameras and developing prints in the darkroom, which she hated. When she discovered platinum and palladium processing, and then cyanotype and gum bichromate, she felt she had found methods that best suited the effect she was striving for. They also offered the advantage that she could make prints in ambient light, using a light-tight box. Her printing process entails creating transparencies from a digital image, then exposing these on contact paper using ultraviolet light. The gum bichromate process requires multiple transparencies of separate colors, and she exposes them several times to deliver her desired result. ''The possibilities of what you can do there are truly endless,'' she says. ''It's a nice blending of 19th and 21st century technologies.'' Bloomfield also creates images using digital and toy cameras, and even Polaroids, because these offer images with a gauzy, fluid aura. ''You get that dreamy, memory effect — you're never quite sure of what you're getting,'' she said, which is a creative space where Bloomfield thrives.
Paul McCartney Photographs 1963–64: Eyes of the Storm
Chrysler Museum of Art | Norfolk, VA
From December 05, 2023 to April 07, 2024
Captured by Paul McCartney using his own Pentax Camera, Paul McCartney Photographs 1963–64: Eyes of the Storm features more than 250 photographs taken between November 1963 and February 1964, illuminating the period in which The Beatles became international superstars. The photographs were rediscovered in McCartney’s personal archive in 2020. “Looking at these photos now, decades after they were taken, I find there’s a sort of innocence about them,” said Paul McCartney. “Everything was new to us at this point. But I like to think I wouldn’t take them any differently today. They now bring back so many stories, a flood of special memories, which is one of the many reasons I love them all, and know that they will always fire my imagination.” With these photographs, visitors can witness the dawn of the “British Invasion” that fundamentally transformed Rock and Roll music and American society. The exhibition also captures McCartney’s interest in the visual arts, with his photos reflecting the aesthetic and culture of the moment. McCartney describes this collection as “the eyes of the storm,” chronologically documenting the experiences of the band on their travels beginning in November 1963 at the height of Beatlemania and culminating with photographs taken in February 1964 during the final days of the band’s first triumphant trip to America. Most of these photographs have never been made into prints, existing as negatives and contact sheets for 60 years until now. “What struck me about these images, beyond their obvious historical value, was McCartney’s sensitivity to his subjects,” said Erik Neil, Macon and Joan Brock Director of the Chrysler Museum of Art. “The empathy that is at the center of his music is equally evident in his photographs.” Traveling from the National Portrait Gallery in London to Norfolk, the Chrysler Museum of Art will be the first venue in the United States to host this major exhibition, burnishing the Chrysler’s reputation as an institution committed to the presentation of the diverse histories of photography through exhibitions and the permanent collection. Exhibition curated by Paul McCartney with Sarah Brown on behalf of MPL Communications Limited and Rosie Broadley for the National Portrait Gallery, London, and presented by the Chrysler Museum of Art. This exhibition is supported by the Horace W. Goldsmith Special Exhibitions Endowment. Image: Self - portraits in a mirror. Paris, January 1964 © 1964 Paul McCartney under exclusive license to MPL Archive LLP
Alone Together: Criticall Mass 2023 Top 50
Colorado Photographic Art Center CPAC | Denver, CO
From February 23, 2024 to April 13, 2024
Featuring outstanding contemporary photographs by 50 artists from 10 countries, selected by the who’s who of the international photography community Organized by Photolucida, Critical Mass invites photographers at any level, from anywhere in the world, to submit a portfolio of 10 images. Thousands of artists submit their best work. From this massive pool of entries, 200 portfolios are selected – and then voted on by 200 leading curators, gallerists, publishers, and other art-world superstars who select the Top 50. . EXHIBITING ARTISTS Streetmax21, Tracy Barbutes, Lynne Breitfeller, Jo Ann Chaus, Diana Cheren Nygren, Cathy Cone, Leah DeVun, Jesse Egner, David Ellingsen, Santiago Escobar-Jaramillo, Argus Paul Estabrook, Marina Font, Adair Freeman Rutledge, Jesse Freidin, Eva Gjaltema, Zoe Haynes-Smith, Sarah Hoskins, Shao-Feng Hsu, Allison Hunter, Michael Joseph, Roshni Khatri, Kazuaki Koseki, Jaume Llorens, Simone Lueck, Krysia Lukkason, Aimee McCrory, Diane Meyer, Frankie Mills, Kevin Bennett Moore, Lisa Murray, Bob Newman, Lou Peralta, Walter Plotnick, Ann Prochilo, André Ramos-Woodward, Nathan Rochefort, Ruddy Roye, Mateo Ruiz Gonzalez, Claudia Ruiz Gustafson, Daniel Sackheim, Leah Schretenthaler, Lauren Semivan and John Shimon, Lindsay Siu, Stephen Starkman, Jamey Stillings, Nolan Streitberger, Krista Svalbonas, Rashod Taylor, Grace Weston, and Michael Young. For most photographers the act of making an image, the moment itself, is one of ‘happy solitude’ (to borrow from Raymond Depardon). It is no secret or surprise that those who crave periods of quiet contemplation of the world around them are drawn to making images; photography gives them an opportunity to embrace and revel in their alone-ness (note that I didnt use ‘loneliness’). This alone-ness allows us space to process, to ponder, to despair, and to accept – it is most craved when lifes challenges confront us. Famously Masahisa Fukase’s much-lauded photobook Ravens (originally published in 1986, and republished more recently by MACK), emerged from a period of grief after the collapse of his marriage and from his desire to escape to his childhood home island of Hokkaido (Japan’s northernmost island) for solitude. He sought out alone-ness. In the postscript to the book, Akira Hasegawa wrote: “In the case of Masahisa Fukase, the subject of his gaze became the raven. For him, the ‘raven’ was both a tangible creature and a fitting symbol of his own solitude”. During the process of looking through hundreds of photographs with the remit to select one from each of the 50 shortlisted artists (all of whom, it must be noted, deserve a solo exhibition), with the goal to entwine them together with a thematic thread, it occurred to me that simplicity was the best policy. It is easy to forget sometimes that each image that is ‘made’ has to have a maker, who invariably was ‘there, then’, in the moment. A human was present and necessary for that idea to become physical; the instance was recorded when someone made a decision, and in that moment there was silence, there was the photographer, a camera, a direction and a choice to press the shutter. In that specific time-space the photographer was alone, obsessed with that one frame, brain whirring, and fingers tensed. Alone-ness then is essential to the practice of making photographs. In the selection process for this exhibition I became obsessed with choosing images that caused me to slow down, to pause, and to consider what alone-ness truly means. I wanted to see if we could reclaim a positive space for being alone. I started to feel that photography IS solitude, (to amend a famous line from Italo Calvino), that one photographs alone, even when in another’s presence. When one is being photographed, as a subject, they are similarly alone faced with a lens and the apparatus behind which the photographer works. The look at the lens, the pose, the freeze, signals the instant of alone-ness. Each photograph in this exhibition provides space for you to ponder, to observe and to be alone in your thoughts. In doing so I ask you to occupy a spot in front of each image, pause, and consider the space each image provides, what does it mean to you? Where does your mind go when you consider the alone-ness presented here? Perhaps being alone is almost impossible, we are constantly around people, being watched, judged, observed by cameras, and if not our minds are flooded with thoughts of others, and what they would say or do at any given moment. At the same time we can feel entirely alone in the midst of a heaving mass of people, we can be overcome with alone-ness standing within touching distance of someone else. We are forever alone together, or somewhere in-between. – Daniel Boetker-Smith, Director of Australian Centre for Contemporary Photography
Desire to See:  Photographs by Agnès Varda
Fahey/Klein Gallery | Los Angeles, CA
From February 29, 2024 to April 13, 2024
The Fahey/Klein Gallery is pleased to present “Desire to See: Photographs by Agnès Varda”, the first exhibition in the United States dedicated exclusively to Agnès Varda’s photographic work. This retrospective exhibition delves into the rich photographic history of the French New Wave filmmaker and provides a comprehensive visual narrative of Varda’s life and creative pursuits through a diverse selection of photographs spanning from vintage lifetime prints developed and printed by Varda to newly discovered posthumous works. “Desire to See: Photographs by Agnès Varda” showcases Varda’s self-portraits, offering an introspective look into the artist’s identity alongside portraits of fellow artists (Alexander Calder, Salvador Dalí, Delphine Seyrig, Federico Fellini, Catherine Deneuve, Luchino Visconti, and more), highlighting her radical vision and passionate engagement with the world. Documentary photographs from her extensive travels through diverse locations such as Cuba, China, and Los Angeles, as well as her beloved home in Paris, illustrate her keen observational eye. Varda’s photographic career predates her filmmaking and intersects fluidly throughout her six decades of creative pursuits. Still photographs often influenced and inspired her films, as is the case of Le Pointe Courte and Ulysse, and likewise filmmaking was the subject and context for her still photographs. Varda’s eternally free spirit guided her restless curiosity and imagination while defining a strong, clear, experimental, feminine voice visible within every frame.  Agnès Varda, (1928 - 2019), was a film director, screenwriter, photographer, and visual artist. Born in Belgium, she studied art history and photography, working as a professional photographer before making her first feature film in 1954 at the age of 26, the ultra-low budget independent film La Pointe Courte. Her pioneering work was central to the development of the widely influential French New Wave film movement of the late 1950s and 1960s. Drawing on art history, literature, and philosophy, her films, photographs, and art installations focus on documentary realism, feminist issues, and social commentary with a distinctive experimental style. Throughout her life she maintained a fluid interrelationship between photographic and cinematic forms. Varda produced some of her most significant work in Los Angeles. Moving to L.A. in 1967 with her husband, filmmaker Jacques Demy. Living in Beverly Hills, driving a convertible, and mingling with movie stars and directors, among them Harrison Ford, Jane Fonda, and Michelangelo Antonioni. Varda made three films in L.A., Lions Love (…and Lies), Uncle Yanco and Black Panthers, films made in response to Varda’s keen awareness of the politically and socially charged times of the day. Agnès Varda returned to L.A. alone in 1981 to film Murs Murs and Documenteur, intent on turning the mirror back into the City of Angels. During the last 15 years of her life, Agnès Varda continued to explore ways to bring her work into totally new and exciting contexts. In 2003 Hans Ulrich Obrist invited Varda to participate in the Venice Art Biennale with Patatutopia, a three-screen video installation complete with 700 kilos of potatoes, giving her renewed vigor and engagement. She was now “not an old filmmaker but a young visual artist.” In 2017 Varda joined forces with French photographer and artist, JR, to make Faces Places, an unlikely collaboration in which the two traverse rural France in search of lost traditions and changing mores. The film was nominated for the Academy Award for Best Documentary Feature. In 2015 Varda was awarded the Palme d’or d’honneur for lifetime achievement at the Cannes Film Festival. She received an honorary Oscar in 2017, becoming the first female filmmaker to receive the award. Varda died in Paris in 2019 at the age of 91. The work of Agnès Varda is featured in many international collections such as: the Fondation Cartier pour l'Art Contemporain (Paris), the FRAC Lorraine (France), the MoMA (New York), the Musée Paul Valéry (France), the CAFA Art Museum (Bejing China), the Institut Culturel Bernard Magrez (France), and LACMA (Los Angeles), Le Centre Pompidou (Paris). Director’s Inspiration: Agnès Varda is currently on view at The Academy Film Museum, Los Angeles until January 5, 2025. Viva Varda, a retrospective organized by the Cinémathèque Francaise will open at the Centre de Cultura Contemporània de Barcelona, July 2024. Hans Ulrich Obrist Archive, Chapter Three: Agnes̀ Varda is at LUMA Arles, Arles, France through May 2024. “Desire to See: Photographs by Agnès Varda” is curated in collaboration with Rani Singh.
O Man!
Silver Eye Center for Photography | Pittsburgh, PA
From February 22, 2024 to April 13, 2024
In o_ Man!, Kelli Connell and Natalie Krick use collage, reappropriation, and wordplay as subversive tools to interrogate photography’s past. In 1955, Edward Steichen organized The Family of Man exhibition at the Museum of Modern Art in New York. Steichen, photographer for Vogue and Vanity Fair and director of the photography department at MoMA, ambitiously sought to describe universal aspects of human experience. The exhibition was an unprecedented success, even as scholars, writers, and artists quickly critiqued its Western-centric and sentimental narrative. Connell and Krick expand this long legacy of critical-looking by reinterpreting Steichen’s images, and photographs and original language from The Family of Man catalog. o_ Man! challenges the male dominated history of photography and raises questions of patriarchal authority, power, and bodily autonomy vital to our political time.
Endless
The Museum of Contemporary Art Chicago - MCA | Chicago, IL
From April 14, 2023 to April 14, 2024
Endless brings together artworks that touch upon the concept of infinity. Impossible to convey in full, the idea of the infinite prompts artists to reckon with the limits of what they can depict, leading to poetic and open-ended artistic approaches. This focused exhibition features key works from the MCA’s collection that approach the infinite through painting, sculpture, drawing, and photography. The four artists represented in the exhibition use repetition, abstraction, and processes of change to suggest endlessness—whether spatial, temporal, or spiritual—and to reflect the immeasurable depth of our inner lives. The exhibition is curated by Nolan Jimbo, Marjorie Susman Curatorial Fellow. It is presented in the McCormick Tribune Gallery on the museum’s second floor.
Raven Chacon: A Worm’s Eye View from a Bird’s Beak
Swiss Institute | New York, NY
From January 25, 2024 to April 14, 2024
wiss Institute (SI) is pleased to present A Worm’s Eye View from a Bird’s Beak, Raven Chacon’s first major institutional solo exhibition, organized in partnership with Nordnorsk Kunstmuseum in Tromsø, Norway. A 2023 MacArthur “Genius” Fellow and the first Native American artist to receive the Pulitzer Prize for music in 2022, Chacon works through sound, video, scores, performance and sculpture to address Indigenous sovereignty and environmental justice. The show brings together groundbreaking works from the last 25 years with a newly commissioned sound and video installation, novel iterations of pioneering works, and a major public art mural on SI’s building. The exhibition spans diverse geographic contexts: Sápmi (the Sámi homeland traversed by the present-day nation states of Norway, Sweden, Finland and Russia) and Lenapehoking, or New York, in Turtle Island. Both locations share Indigenous histories and presents that colonialism has attempted to eradicate for centuries. Yet they are also sites where resilience, or, in the words of cultural theorist Gerald Vizenor, survivance, continues to thrive. Upon entering the exhibition, the score American Ledger No. 1 (2018) displays a graphic meditation on the founding of the United States in chronological descending order. Made for sustaining and percussive instruments, coins, axe and wood, a police whistle, and a match, the piece narrates moments of contact, enactment of colonial laws, events of violence, the building of cities, appropriation of land and attempts to excise Indigenous worldviews. At the center of SI’s first floor gallery is Chacon’s sound installation, Still Life No. 3 (2015). Through a series of speakers installed in a cascading arch, a woman tells the Navajo story of origins, which comprises four worlds below and several others above. But rather than conceiving of the worlds below as the past and the worlds above as the future, in the linear way that Western narratives might suggest, in Navajo cosmogony these multiple worlds still, or already, exist. Parts of the creation myth repeat and overlap, blurring its progression and allowing multiple temporalities to coexist and affect one another. Further inside the gallery, Report (2001/2015), a composition and score for an ensemble of firearms, punctuates silence through a cacophony of both power and resistance. On the second floor, Chacon’s new video installation For Four (Caldera) (2024) features four women standing on a volcanic hollow in the Jemez Mountains of New Mexico, reading the panorama of their natural surroundings and expressing what they see through song. Also on view is video documentation of the making of the newly commissioned sculpture …the sky ladder (2024), emerging from a workshop with members of the Bål Nango family of artists, lawyers and activists in Northern Norway. There, participants drilled holes into wooden planks to trace outlines of mountain ranges and other culturally significant landscapes in reference to intergenerational and site-specific transference of knowledge. For a new iteration of Still Life No. 4, Chacon sounded a Diné drum from the collection of the Smithsonian National Museum of the American Indian that had not been played in a long time and recorded the beat, playing it back at listening stations at SI and elsewhere at different tempi ranging from fast to slow the further each station is located from the drum. Field Recordings (1999) from the American Southwest magnify sounds of silence to produce noise that reveals the vibrational patterns of these locations. In addition, throughout the building, viewers are invited to take and perform prints of scores. Painted as a large-scale mural on the outside façade of SI facing St Marks Pl, the new score for Vertical Neighbors (2024) will be activated during the exhibition with a performance, alongside expansive public programming throughout the duration of the show. A Worm’s Eye View from a Bird’s Beak highlights the multidisciplinary depth of Chacon’s prolific practice of the past 25 years. Between past, present and future, silence and noise, violence and resilience, Chacon’s work proposes new as well as ancient ways of relating through which alternative politics may be glimpsed. Chacon’s first monograph, published by Swiss Institute, Nordnorsk Kunstmuseum and Sternberg Press, will be launched on the occasion of the exhibition. The book includes newly commissioned contributions by Lou Cornum, Aruna D’Souza, Candice Hopkins, Anthony Huberman, Marja Bål Nango and Smávot Ingir, Patrick Nickleson and Dylan Robinson, Eric-Paul Riege, Ánde Somby, and Sigbjørn Skåden, with an introductory text by editors (with Alison Coplan) Katya García-Antón and Stefanie Hessler.
 2023 CPA Artist Grant Recipients Andrea Orejarena, Caleb Stein, and Chanell Stone
The Center for Photographic Art (CFPA) | Carmel, CA
From March 09, 2024 to April 14, 2024
The Center for Photographic Art is pleased to present the work of the 2023 CPA Artist Grant Recipients. Visit the gallery to see new work by the CPA Exhibition Grant Recipients including the artist duo, Andrea Orejarena & Caleb Stein, and Chanell Stone. Don't miss the artist talk by CPA Artist Support Grant Recipient Granville Carroll on January 17 to discover how the grant affected his project. We are honored and excited to support these talented artists and bring their work to Carmel. The 2024 grants cycle will be opening soon, including a new grant selection committee. Stay tuned! Chanell Stone Project Description: Continuum is a collection of images exploring the metaphorical relationship between the 'body 'and the 'scape'. Made across rural Louisiana, Stone presents a melange of riverscapes, lyric and contour offering glimpses into her practice of empiricism and remembrance. Andrea Orejarena & Caleb Stein, Artist Duo Project Description: American Glitch looks at the slip between fact and fiction and how this manifests in the U.S. landscape, which is our adopted home. An ocean of information leaves us perpetually asking what's real and what's fake. In an era defined by screens, conspiracy theories, and the advent of the Metaverse, the notion that we're existing within a simulation has become increasingly popular, often in a satirical collective protest to late stage capitalism, disinformation and increased dependence on technology. This notion that we're living in a simulation appears online where images are posted as personal evidence of spotting a “glitch in real life”. This vernacular builds on ideas explored in movies like The Matrix and The Truman Show. The notion of a glitch reflects a generation’s experience where the digital and physical worlds are merging. We spent years treating the internet as our collective subconscious, collecting posts on social media and reddit threads of people’s “evidence of glitches in real life”. These threads and images become a place for a new form of community and connection across time and space. We then photograph sites around the U.S. which remind us or people on the internet of real-life glitches. What does it mean when the same image, in varied forms, is circulating on the Internet? Sometimes, it's the same exact photograph being reposted -- you can see the pixels getting larger and larger showing the life the image has had on the internet. Other times, it's the same location being revisited by hundreds of people, showing all of our different, or similar, interpretations alongside posts on social media threads like Tumbler, or websites like Atlas Obscura with discussions of the uncanny. There are thousands of photos being made every day, that's the beauty of photography, and this project is about the flood of images in conversation with each other. We're searching for the intersections of the personal, and collective. This intersection is powerful, and full of its own type of hope.
Bodies of Work:  Katinka Herbert
Harvey Milk Photography Center | San Francisco, CA
From March 02, 2024 to April 20, 2024
This exhibition explores the commodification of athletic bodies. Bringing two projects into dialogue, Katinka Herbert delves into the lives of Mexican wrestlers and Cuban athletes. In doing so, her images capture the dilemma of physical performance: a tense relationship between economic necessity and the human form. While some athletes experience their bodies as vehicles of financial stability and international travel, many grapple with unpredictable incomes, visa barriers, and the looming threat of career-ending injuries. As such, ‘Bodies of Work’ is a study of precarious labor. Here, lives that are ordinarily defined by movement are frozen in the photographic frame. Their muscles resonate with tension and potential; their poses strain under personal and political weight. ‘Slam’ This project offers unprecedented access to the stars of the Mexican wrestling scene. Notoriously secretive about their true identities, it follows these hyper-masculine stars from the drama of the ring to the intimacy of their own homes. Eight years in the making, Slam is a story of trust. In documenting each costumed character, the project unmasks their private lives and alter-egos. Because concealed behind each disguise, many legends of Lucha Libre are a mess. Their foreheads are covered in scar tissue, their lives are marked by self-harm. This series brings a dignified lens to the characters hidden behind a uniquely Mexican ritual of performance, spectacle and machismo. ‘The Movers’ This project explores the subject of mobility through portraits of Cuba’s top athletes. Their lives are dictated by movement: running, dancing, leaping and jumping. For a lucky few, this opens up new kinds of mobility – geographic, economic and social. But most of them remain trapped: frozen inside a communist regime. The Movers captures this dilemma. Each subject is perfectly motionless within the frame. Each static body resonates with tension and potential. Their bodies are either a means of escape – a ticket to freedom – or the very obstacle to it. This exhibition invites us to consider the labor conditions that determine the lives of professional athletes, and the economic architectures that construct their performing bodies. These are bodies under tension: suspended between action and transaction, poised between freedom and constraint. KatinKa Herbert – Katinka is a commercial portrait photographer based in London. Her projects explore identity, performance and extroversion. Brought up among filmmakers and circus performers, she is fascinated by characters who visibly manufacture their own identities: wrestlers, cross-dressers, movie stars and burlesque dancers. Her work is highly-constructed, immersing her subjects in a world of seduction, theatre and enigmatic humor. This approach has fueled a highly-acclaimed career in commercial portraiture, capturing A-listers from Beyonce to Brian Blessed, Hulk Hogan to Heston Blumenthal. Alongside these assignments, she regularly works on commission for clients such as Adidas, English National Opera, Coutts, Casely-Hayford, Iris Worldwide, Gillette, Jaguar Land Rover, Dazed & Confused, The Observer, Guardian, Telegraph, The Times, Wunderman Thompson and Martin Agency. Her accolades include a catalog of international award shows. Recent highlights include Portrait of Humanity (2019), Portrait of Britain ( 2018), IPA Lucie awards (2018), Taylor Wessing shortlist (2018), LensCulture (2018), SIPA (2018), AOP Open (2017) and the Royal Photographic Society International Photography Exhibition (2017) Finalist in the Sony World Photography Awards (2020) and Shortlisted for the Alpha Female Award, Sony World Photography Awards (2020).
Nightlife: Photographs by Berenice Abbott, Brassaï, Bill Brandt, Helmut Newton, Irving Penn, and Weegee
Marlborough New York | New York, NY
From March 07, 2024 to April 20, 2024
Marlborough New York is pleased to present Nightlife, a group exhibition featuring iconic images by six of the most prominent photographers of the twentieth century whose images all celebrate the nocturnal hours of city life. Featuring works by Berenice Abbott, Brassaï, Bill Brandt, Helmut Newton, Irving Penn, and Weegee, this exhibition unites photographs which capture underground subcultures, illicit activities, subversive fashions, and those otherwise existing on the fringes of society searching for hedonistic escapism. Ultimately, Nightlife will pay homage to the joyous freedoms experienced from dusk to dawn. Working in Paris and London respectively, Brassaï and Bill Brandt captured the joie de vivre of night-goers in the 1930s, as the recent invention of the flashbulb allowed for the new genre to be possible. Brassaï would often walk around the city at night, carrying his camera, tripod, magnesium flash powder and a box of 24 glass plate negatives to photograph Parisian nightlife. Wandering the dimly lit streets, he captured the excessive nightlife of the demi-monde in bars and brothels, creating a unique visual topography of the city and a colorful chronicle of its subcultures. Inspired by Brassaï’s Paris de Nuit published in 1936, Brandt’s second photobook, A Night in London, chronicles the events transpired on a London evening out, oscillating between capturing a variety of social classes. Interested in shadows, Brandt often used the darkroom to alter his photographs in decisive ways, using the “day for night” technique employed by cinematographers to transform images photographed in daylight into night scenes. New York-based photographers Berenice Abbott and Weegee employed a documentarian approach when photographing their nighttime scenes. Abbott is most notable for her book Changing New York, which documents the modern skyscrapers, harbors, highways, city squares, neighborhoods, storefronts of New York City as it swiftly evolved. On view in this exhibition will be New York at Night, one of the most iconic images featured in Changing New York which depicts an aerial view looking north on New York’s West Side. Taking a bleaker approach, legendary news photographer Weegee would listen to a police scanner radio installed in his 1938 Chevrolet in order to arrive first at crime scenes to produce gruesome, yet compassionate, photographs of murders, fires, car accidents, burglaries, and brawls. With a penchant for eccentric trends influenced by nightlife subcultures, Helmut Newton and Irving Penn both produced fashion photography for Vogue magazine. As one of fashion’s most prolific photographers, Newton is most notable for his provocative images which draw from influences such as film noir, Expressionist cinema, S & M, and surrealism. Penn’s fashion photography exercised a more pared-down aesthetic, often staging his motifs in front of white backdrops with minimal lighting. Nightlife celebrates a pivotal period in the history of photography, when the medium firmly established its position as an independent art form. The show also pays tribute to the critical role Marlborough played at the forefront of exhibiting photography during the 1970s and 80s. Many of the photographs on view have not been seen in decades and are from the gallery’s extensive collection. Marlborough’s program continues to highlight historical shows and artist estates alongside leading contemporary artists.
Gordon Parks: Born Black
Jack Shainman Gallery | New York, NY
From March 07, 2024 to April 20, 2024
Jack Shainman Gallery is pleased to present Born Black, an exhibition of Gordon Parks’s photographs—curated in collaboration with The Gordon Parks Foundation. This presentation is inspired by the 1971 book Gordon Parks: Born Black, A Personal Report on the Decade of Black Revolt 1960-1970, which brought together a collection of essays and photographs by Parks that were originally created for Life magazine. Translating the essential themes of the text into an exhibition, Jack Shainman explains, “We seek to commemorate Parks’s ground-breaking 1971 anthology, and the enduring impact of his photographs and writing today. This exhibition is an act of expansion—presenting both seminal and lesser-known works from his renowned photographic series, offering contemporary meditations on his incisive eye and insightful prose.” Gathered in this presentation are images that were featured in, relate to, and extend beyond the photographs illustrated alongside the nine essays in Born Black. In each photo essay, it is clear that Parks’s images capture momentous scenes that exceed the limitations of language, and simultaneously, the frankness of his prose grounds the accompanying images with vital sociopolitical context and his personal perspective. Through his photography and writing—but also clear in his films, literature, and musical compositions—Parks demonstrated the value of empathy and compassion when creating art. Before picking up his camera, he took a vested interest in getting to know his subjects when embarking on a new project, taking time to situate himself both on the frontlines and front porches of the events and lives he covered. Though positioned as an outsider with his camera and pen, as a Black man in America, Parks never shied away from incorporating his nuanced impressions and political solidarity with his subjects, nor did he conceal his personal investment in the experiences, movements, and history he depicted. Situating himself between the mainstream and the radical, this selection of works display his efforts to portray Black Americans from youth to adulthood, a multigenerational archive that expresses the inextricable links between the urban and rural, the individual and communal, and the center and periphery. Whether anonymous or celebrated, each of his subjects prompts the viewer’s participation in critically contemplating what it means to be born into, to be shaped by, and to strive to reimagine life in the United States. His images hold both the force of who is represented and what is symbolized, like the memorialized portraits of Muhammad Ali, Stokely Carmichael, and Malcolm X shown alongside photographs of crowds gathering to protest against police brutality. In the final essay of the book, Parks reflects on his conversation with Eldridge Cleaver in which the Black Panther Party leader invited Parks to serve as their minister of information. In response, and reflection, he explained, “my interests go beyond those of the Black Panthers, to other minorities and factions of the black movement who want change…Looking back to that moment I find that I am displeased with my answer. I should have said: Both of us are caught up in the truth of the black man’s ordeal. Both of us are possessed by that truth which we define through separate experience. How we choose to act it out is the only difference. You recognize my scars and I acknowledge yours.” Parks was attuned to the importance of singular moments, everyday and monumental, in developing a comprehensive portrait of his time—a precise but inclusive vision of Black life in the twentieth-century. This spring, Steidl, in partnership with The Gordon Parks Foundation, will release an expanded edition of Born Black that illuminates Parks’s vision for the book and offers deeper insight into the nine series within it through additional images, related manuscripts, and scholarly essays. Reflecting on the book’s enduring legacy, Peter W. Kunhardt, Jr., Executive Director of the Gordon Parks Foundation shares, “Born Black, the first book to unite Parks’s writing and photographs, illustrates his thorough effort to platform first-person narratives of Black lives and experiences across America at a time of unequivocal revolution. We are also pleased to include two new essays by renowned critics Jelani Cobb and Nicole R. Fleetwood.”
Mixed Up - Connected: Joe Ramos Photographs
Monterey Museum of Art | Monterey, CA
From January 18, 2024 to April 21, 2024
Mixed Up – Connected presents the works of California photographer, Joe Ramos. The exhibition merges intimate portraits of family and friends with captivating landscapes, reflecting themes of identity, belonging, and the intricate interplay between humanity and nature. The portraits capture a lifetime of cherished faces, while the landscapes reveal the artist's profound connection to the Salinas Valley. As a person of mixed Filipino and Mexican heritage, Ramos navigates the complexities of identity, echoing the experiences of many. These photographs, from birth to the end of life, remind us that we are all connected, regardless of our backgrounds. Joe Ramos, a San Francisco-based photographer hailing from Salinas Valley, has dedicated over four decades to the art of photography. Trained at the San Francisco Art Institute under Richard Conrat, a close associate of Dorothea Lange, Ramos specializes in documentary photography, capturing profound imagery from the Salinas Valley and San Francisco's Mission District. Beyond documentary, his botanical images reflect a deep appreciation for nature, emphasizing the sculptural essence and vibrant hues of plants, often bordering on abstract representation. Ramos's forte lies in portrait photography, evident in the depth and strength of his images—a testament to the mutual trust between the photographer and the subject. Since 2006, he has significantly contributed to San Francisco's Project Homeless Connect, capturing over 1,000 portraits, which culminated in a notable exhibition at the San Francisco Main Branch Library in 2012. Drawing inspiration from legends like Robert Frank, Edward Weston, and Henri Cartier Bresson, Ramos's work transcends mere imagery, encapsulating the essence of both everyday and profound moments. Image: ​Monique as a Child, 1980/2023 © Joe Ramos
Dorothea Lange: 1935 – 1942
Monterey Museum of Art | Monterey, CA
From January 11, 2024 to April 21, 2024
As one of America's most notable documentary photographers, Dorothea Lange offers a compelling glimpse into a pivotal period in American history. Marked by the Great Depression (1929-1939) and the tumultuous years leading up to World War II (1939-1945), this exhibition displays Lange's seamless ability to capture the essence of human experience in times of profound hardship. The photographs in this exhibition – selected from the Oakland Museum of California's Dorothea Lange Archive and the United States Library of Congress – showcase Lange's unwavering commitment to documenting history. Focused on the impacts of life in California, these photographs reveal Dust Bowl migrants, braceros (Mexican laborers brought to the U.S. as seasonal agricultural workers), and life within the migrant labor camps. Image: Filipinos cutting lettuce. Salinas, California, 1935
Conzo: A Look Back at the Bronx, 1977-84
Bronx Documentary Center | New York, NY
From March 22, 2024 to April 21, 2024
Born in 1963 in the South Bronx, Joe Conzo Jr. acquired a passion for photography as a young boy. By some combination of luck and circumstance, as a teenager Joe found himself at the very center of cultural and activist movements changing the Bronx. His father was the personal confidant of Tito Puente, promoting some of the biggest salsa shows of that time; his grandmother, Evelina López Antonetty, was a community activist known as the Hell Lady of the Bronx; and Joe’s classmates at South Bronx High School were literally birthing the culture of Hip Hop. Starting at the age of 10, Joe began to carry his camera daily, photographing everything from school walkouts, to the infamous fires ravaging the Bronx, to rap battles between the Cold Crush Brothers and other foundational Hip Hop groups. Forty-five years later, Joe’s images provide an unmatched and intimate document of the complex forces that created today’s Bronx. The silver gelatin prints in this exhibition were created at the BDC from Joe Conzo’s original negatives generously loaned by Cornell University.
Steve McCurry: The Endless Traveler
Peter Fetterman Gallery | Los Angeles, CA
From January 27, 2024 to April 27, 2024
We are pleased to share our next exhibition with our friend and photographer, Steve McCurry, will open this January. “Steve McCurry: The Endless Traveler” will be on view January 27th - April 27th, 2024 at the gallery alongside our concurrent exhibition, "Jeffrey Conley, An Ode to Nature". “Steve McCurry: The Endless Traveler” will feature a selection of Steve's greatest images from across the world, that have touched the hearts and minds of so many. Iconic images will include Steve McCurry's Afghan Girl, which graced the cover of National Geographic in 1985. We look forward to this exhibition, and encourage our audience to RSVP to our opening reception below.
An Ode to Nature: Jeffrey Conley
Peter Fetterman Gallery | Los Angeles, CA
From January 27, 2024 to April 27, 2024
Peter Fetterman Gallery is pleased to announce the upcoming exhibition, "Jeffrey Conley: An Ode to Nature" featuring the remarkable works of photographer Jeffrey Conley. The exhibition, opening on January 27th, 2024, promises to transport viewers to a world where nature's beauty takes center stage. "Jeffrey Conley: An Ode to Nature” is a retrospective showcase of Jeffrey Conley’s exceptional career up to the present. Currently residing in the Willamette Valley, Oregon, Conley’s ability to capture the essence of nature is unparalleled.. Conley is also a master printer, with each photographic print a testament to his meticulous craftsmanship and exacting standards. He works in multiple processes which include traditional gelatin silver darkroom processes, platinum palladium prints and archival pigment prints on Japanese Kozo paper.. The exhibition will feature a carefully curated selection of Conley’s most recognizable works, as well as some new images, never exhibited before. "Jeffrey Conley: An Ode to Nature" promises to be a must-see event for nature lovers and photography enthusiasts. The exhibition at Peter Fetterman Gallery will be on view between January 27th to April 27th, 2024 at Peter Fetterman Gallery, located in Santa Monica, CA.
Sage Sohier: Passing Time
Joseph Bellows Gallery | La Jolla, CA
From February 17, 2024 to April 27, 2024
oseph Bellows Gallery is pleased to announce its upcoming exhibition, Sage Sohier: Passing Time. This solo exhibition will feature a remarkable selection of black and white photographs from Sohier's recently published Nazraeli Press monograph of the same title. The show will run from February 17th - April 27th, with a reception and book signing with the artist from 5-7pm, on Saturday the 17th of February. This will be the artist’s second solo exhibition at the gallery. The images that comprise the exhibition are drawn from the photographer’s compelling and kindhearted portraits made between 1979-85 of people living in working class and ethnic neighborhoods in her hometown, as well as in the towns she visited each summer during her annual road trips through the eastern and southern regions of the country. The exhibition will showcase both a selection of vintage gelatin silver prints, as well as 16 x 20 inch modern gelatin silver prints, which are the result of the photographer revisiting her archive of negatives and contact sheets from the early 1980s where she discovered a trove of captivating images that had never been printed. Of the work, Sohier observes, “ I noticed a kind of relaxed sensuality in many of the pictures. A kind of theater of the streets emerged”. Sage Sohier has been photographing people in their environments for more than 30 years, and has been awarded fellowships from the No Strings Foundation, the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, and the Massachusetts Artists Foundation in recognition of her work. Sohier received her B.A. from Harvard University and has taught photography at Wellesley College, Massachusetts College of Art, and Harvard University. Her work is included in numerous public and private collections, including those of the Museum of Modern Art, New York; Museum of Fine Arts, Houston; San Francisco Museum of Modern Art; Cleveland Museum of Art; Nelson-Atkins Museum of Art; Portland Museum of Art; and the Brooklyn Museum. Books by the artist include: Perfectible Worlds (Photolucida, 2007), About Face (Columbia College Chicago Press, 2012), At Home With Themselves: Same-Sex Couples in 1980's America (Spotted Books, 2014), Witness to Beauty, Kehrer Verlag, 2016), Americans Seen, (Nazraeli Press, 2017), Animals (Stanley/Barker, 2019), and Peaceable Kingdom (Kehrer Verlag, 2021) and Passing Time, (Nazraeli Press, 2024).
Josef Koudelka: Industry
Pace Gallery | New York, NY
From March 29, 2024 to April 27, 2024
Pace is pleased to present an exhibition of work by Josef Koudelka at its 540 West 25th Street gallery in New York. On view from March 29 to April 27, this will be the artist’s first solo show in New York in nearly a decade, bringing together six large-scale panoramas he created between 1987 and 2010 as part of a project titled Industries. The exhibition will also include a display of small-scale, accordion-style maquettes of Mission Photographique Transmanche, Beyrouth Centre Ville, The Black Triangle, Reconnaissance-Wales, Lime Stone, Teatro del Tempo, Camargue, Piemonte, WALL, Ruins, and Solac. This presentation at Pace coincides with the release of Josef Koudelka: Next, the definitive and only authorized biography of the artist, published by Aperture. The book will be available for purchase on-site at the gallery during the run of the exhibition. Born in Czechoslovakia in 1938, Koudelka trained as an aeronautical engineer but began photographing Romani people—their everyday lives, their struggles, and their traditions—mainly in central European countries in the early 1960s, making a full-time commitment to photography later that decade. In 1968, he photographed the Soviet invasion of Prague, publishing his works under the initials P.P. (Prague photographer). Koudelka, who was anonymously awarded the Overseas Press Club’s Robert Capa Gold Medal for those photographs, left Czechoslovakia seeking political asylum in England, with assistance from the Magnum Photos cooperative, in 1970. His first book, Gypsies, was released by Aperture in 1975, and he has since produced more than a dozen publications of his work. Koudelka’s interest in the social and political dimensions of photography, evident in his earliest bodies of work, would endure through the following decades. He has been working in large-format, panoramic photography since 1986, capturing images of changing landscapes around the world—places that have been reshaped, altered, and in some cases devastated by the effects of industry, time, and war. Adopting a semi-nomadic lifestyle in pursuit of documenting these haunting, elegiac scenes, Koudelka produced deeply interconnected bodies of work that speak to the ways that the weight of history lingers within the natural world. During the late 1980s and early 1990s, the artist photographed the Berlin Wall; the streets of Beirut immediately following the Lebanese Civil War; outsized industrialization and pollution in the Black Triangle, a border region between Germany, Poland, and the Czech Republic; the Auschwitz concentration camp in Poland; and other places forever transformed by sociopolitical turmoil, violence, and environmental destruction. Also among Koudelka’s famous panoramic projects are his Ruins series, for which he photographed more than 200 archeological sites across Greece, Italy, Libya, Syria, and other countries between 1991 and 2015, and his body of work on Israel’s West Bank Wall, which he created over the course of seven trips to Israel and Palestine between 2008 and 2012. “The face of the wounded landscape—it is marked by trouble, by suffering,” Koudelka tells his biographer, Melissa Harris. “It is the same as the face of people who have a difficult life. I am interested in real people, real faces ... In this wounded landscape, I admire the fight for survival ... Nature is stronger than man.” The artist’s upcoming exhibition with Pace in New York, his first solo show in the city since 2015, will be presented on the gallery’s seventh floor against sweeping views of the Chelsea skyline. Measuring some nine feet in width, each of the six monumental panoramas that Koudelka has selected for the exhibition—captured across the United States, France, Germany, Italy, Azerbaijan, and Israel between 1987 and 2010—tells a different story.
David van Dartel: This Time Tomorrow
Klompching Gallery | New York, NY
From March 07, 2024 to April 27, 2024
We are delighted to present the first exhibition in the United States, of Dutch photographer David van Dartel. The exhibition is presented in collaboration with Elliott Gallery, Amsterdam. This Time Tomorrow brings together a selection of ten color photographs from two of the photographer’s acclaimed projects—On Vlieland and What Once Was—that explore an intimate portrayal of friendship and masculinity. Initially exploring and documenting his close circle of friends on Vlieland, a remote island in the north of The Netherlands, Van Dartel then photographed subjects as he travelled across several European countries; constructing a vivid portrait of young adults, and raising questions about male friendship and the classical discourse of masculinity. The photographs portray young men, located in soft, quiet landscapes, isolated from the external noise and distractions of society. Although stylized and constructed, the immense power of the photographs come from their success in conveying emotion across a succession of itimate scenes.
Ian Lewandowski: The Colossus
Clamp | New York, NY
From March 07, 2024 to April 27, 2024
CLAMP is pleased to present The Colossus, an exhibition of photographs by Ian Lewandowski, the artist’s second solo show in New York. Lewandowski collects source imagery like a bird canvasing for materials to build a nest. The world that the artist documents and builds in his images is populated by the poses and visual artifacts of the past—from art, history, queer life, pornography, erotica, and Instagram. Lewandowski moved from Indiana to New York in 2011 to study photography at the Pratt Institute clinging to a MTA subway map and a camera phone. Thirteen years post-arrival, Lewandowski no longer needs to carry the now crumpled and outdated map, and instead lugs around his large format camera and tripod. Many of the photographs in The Colossus were created by the artist during the COVID-19 pandemic and trace the navigation between domestic and public spaces, and a complex negotiation between safety and exposure. The earlier images in the series, often shot in private interior spaces in New York, communicate a level of intimacy between the photographer and subject in a shielded collaborative environment. During the lockdown, the artist was driven outdoors to maintain a level of comfort and safety for both him and his subjects—the public realm pierced the frame. Bedrooms became parks and the shrouded, intimate process the artist had been executing evolved into something that extended to the landscape of neighborhoods, and as an extension, the entire city. In “Self Portrait on Studio Floor II (after Tabboo!),” Lewandowski sits on the floor holding a shutter release, shirtless, wearing only thermal long underwear. His torso is adorned in an array of tattoos, each with a distinct visual style and their own respective source materials. The artist’s pose is based on a painting by contemporary artist Tabboo! depicting the photographer, Mark Morrisroe. Photographing friends, acquaintances, and strangers, Lewandowski makes his images as an inheritor and author of queer history and visual culture. In his reference of an image created through a collaboration of two artists and friends (Tabboo! and Morrisroe), Lewandowski is simultaneously memorializing a past instance of belonging and erecting a new structure for the photograph as blueprint through which to model one’s present and future. The Colossus presents a contemporary existence imbued with the contours and indentations of multiple histories. The Colossus of Rhodes, a monument to the sun god Helios, was one of the seven manmade wonders of the ancient world before it collapsed. The Colossus was also the theme of an elaborate 2004 beach party in the Fire Island Pines, an event which disbanded when it began to rain and guests sought refuge at a competing indoor event. Coinciding with Lewandowski’s exhibition at CLAMP, a risograph catalogue, designed by Liam Nolan and printed by TXTbooks (Brooklyn), will be released. There will be two hundred copies of a signed and numbered standard edition available for purchase during the run of the show as well as twenty copies of a special edition version. The special edition will be hand-bound by Sarah Smith and will include a signed and numbered gelatin silver print postcard, unique cyanotype cover, and a mini-pamphlet of Polaroid test shots from the body of work. Both versions of the publication include a foreword written by Nolan and a suite of poems by S. Eath. Ian Lewandowski (b. 1990) is a photographer from Northwest Indiana. His first solo exhibition, Community Board, was exhibited at The Java Project in Brooklyn in 2019. The Ice Palace Is Gone, his body of large-format color portraits made from 2018-19, was published as his first monograph by Magic Hour Press (Montréal) in 2021. My Man Mitch, his body of photographs and photo-based material native to his home state of Indiana, was published by Kult Books (Stockholm) in 2022. He teaches undergraduate and continuing education courses in photography at The New School and Gowanus Darkroom and manages and prints the photo work of Kenny Gardner (1913-2002). He lives in Brooklyn with his husband, Anthony, and their dog named Seneca.
Networks: George Platt Lynes and PaJaMa
Clamp | New York, NY
From March 07, 2024 to April 27, 2024
CLAMP is pleased to present “Networks—George Platt Lynes + PaJaMa,” an exhibition of photographs exploring the web of professional and personal relationships instrumental in the conception and reception of work by George Platt Lynes (1907-1955) and PaJaMa [Paul Cadmus (1904-1999), Jared French (1905-1988), and Margaret Hoening French (1906-1998)]. Photographer George Platt Lynes functioned as a nucleus in the highly interconnected world of New Yorkers, particularly in the 1940s. Moving between high fashion magazine publications, celebrity portraiture, dancers and choreographers, gallery and museum contacts, and the overlapping circles of fairly visible homosexuals of the day, Platt Lynes connected a wide range of individuals through both his professional and personal interactions. Paul Cadmus, Jared French, and Margaret Hoening French, while primarily regarded as painters, collaborated extensively with the camera beginning in 1937 through the 1940s, and occasionally as late as 1957 under the moniker PaJaMa (comprised of the first syllable of each of their first names). Connected romantically and sexually (Paul Cadmus and Jared French were longtime lovers, while Jared and Margaret French were husband and wife), the ménage à trois often incorporated their social sphere into their photographs, including writer Glenway Wescott, his partner and MoMA coordinator Monroe Wheeler, actor Sandy Campbell, writer and editor Donald Windham, among many others. The photographs not only acted out psychological dramas among the three key players, the process of collaborative art making was a singular “type of game into which any member of their social circle was invited to enter.”(1) In Body Language: The Queer Staged Photographs of George Platt Lynes and PaJaMa, the first critical study of George Platt Lynes and PaJaMa in tandem, scholars Nick Mauss and Angela Miller extensively discuss the employment of the artists’ extended social networks in the production of their photographic imagery, and the influence the artists projected onto one another. Mauss writes of Platt Lynes: “Fashion models, dancers, artists, assistants, choreographers, editors, curators, novelists, poets, ‘trade,’ and lovers pulsed in and out of the studio with a frequency that was matched only decades later by Andy Warhol’s Factory.”(2) For Platt Lynes, as with PaJaMa, the process of producing photographs was not a proprietary act of “singular originality,” but rather a “condition of play” to which both the photographer and his model claimed a certain degree of agency. The studio of Lynes represented “a space in which the intimate, the social, the imaginary, the commercial, and the personal coexisted.”(3) Angela Miller discusses PaJaMa’s preferred practice of collaborative staging over “the decisive moment,” akin to the method by which Platt Lynes meticulously staged and lighted compositions in his studio. “PaJaMa’s stories had to be conveyed . . . through the expressive language of the body: through pose, gesture, expression, gaze, attitude, and spatial intervals; through props; and through dramatic stagings”(4), which is not dissimilar from the presentation of a dance, which so intrigued Platt Lynes throughout his life. Further, PaJaMa’s triad found its mirror in Platt Lynes’s own sometimes stormy ménage à trois with Glenway Wescott and Monroe Wheeler, who lived together in a New York apartment and shared a weekend home in New Jersey, which was often visited by members of their New York circle. Lastly, the photographs of Platt Lynes and PaJaMa were promoted and disseminated by the same networks involved in the art’s conception and production. Platt Lynes’s imagery was circulated through the pages of popular magazines as both editorial spreads and fashion shoots and well as advertisements; as prints on the walls of public museums and private galleries; in the pages of dance performance programs; and more quiet exchanges as gifts among friends as with his now celebrated male nudes. PaJaMa’s small scale photographic prints were handed out like “play things” or carte de visites, never intended for exhibition or sale. They were given to friends and members of a chosen family who would recognize and appreciate the interpersonal dynamics and tensions enacted and exorcized through calculated compositional strategies. All of this is underpinned by exhaustive, solid scholarship by writers such as Allen Ellenzweig, whose astounding biography of George Platt Lynes was published by Oxford University Press in 2021(5). Ellenzweig will be presenting a talk on the life of work of Platt Lynes at the gallery on April 13th, toward the end of the exhibition.
Francesca Woodman
Gagosian Gallery | New York, NY
From March 13, 2024 to April 27, 2024
Gagosian is pleased to announce its inaugural exhibition of works by Francesca Woodman. Opening on March 13 at 555 West 24th Street, New York, it will feature more than fifty lifetime prints—many of which have not been previously exhibited—including Blueprint for a Temple (II) (1980), the largest work she accomplished. The exhibition presents key prints from approximately 1975 through 1980. Photographing in Providence, Rhode Island; Rome; Ravenna, Italy; and New York, Woodman situated herself and others within dilapidated interiors and ancient architecture to compose her tableaux. Using objects such as chairs and plinths along with architectural elements including doorways, walls, and windows, she staged contrasts with the performative presence of the figures, presenting the body itself as sculpture. In the Self-Deceit series (1978), she photographed herself nude in a room with crumbling walls, standing, crawling, or crouching with a frameless mirror. Through compositional fragmentation and blurring, Woodman throws into question the conceit that photography offers a revelation of the self. On view for the first time since spring 1980, when it was included in Beyond Photography 80, a group exhibition at the Alternative Museum in New York, Blueprint for a Temple (II) is a collage assembled from twenty-four diazotype elements and four gelatin silver prints. Using diazotype, a medium typically employed to create architectural blueprints, allowed Woodman to work at a monumental scale. The composition depicts the right half of a temple façade and features four caryatids—female figures who form columns in classical architecture. The most famous examples of these features are on the Erechtheion at the Acropolis in Athens, which Woodman visited multiple times. Made together with her Caryatid photographs (1980) and printed in sepia and inky blue diazotype, this work is one of two large-scale compositions realized. Blueprint for a Temple (I) (1980), now in the collection of the Metropolitan Museum of Art, New York, has a related composition. Approximately life-size, the four figures in Blueprint for a Temple (II) support an entablature and pediment assembled from photographs of tile mosaics, the claw feet of a tub, and other bathroom fixtures taken in friends’ New York City apartments, likely the same friends who posed as Woodman’s caryatids. Below the figures is a print joining multiple head profiles and a figure with arms occluded by marks Woodman made on its negative. On the work’s lower right are gelatin silver prints taken in bathrooms and a diazotype print that functions as a proposal or diagram of the work through sketches, photographs, and the following inscription: Project A Blueprint for a Temple For a temple of contemplative classical proportions made out of classically inspired fragments of its modern day counterpart the bathroom Bathrooms with classical inspiration are often found in the most squalid and chaotic parts of the city. They offer a note of calm and peacefulness like their temple counterparts offered to wayfarers in Ancient Greece A culmination of Woodman’s representation of the figure in space, the Blueprint for a Temple works prompt consideration of how she drew on classical themes throughout her career. In an untitled photograph made in 1978 at the Pastificio Cerere in Rome, a headless, half-dressed figure leans against an aged wall, her arms behind her back, emphasizing her torso. With her skirt sitting low on her waist and blurred by a gentle movement captured by the camera, the photograph anticipates Woodman’s preoccupation with caryatids and the body as sculpture. The same can be seen in earlier works, such as From Space² or Space² (1976), in which a figure emerges from behind torn wallpaper. As the artist noted around 1976–77, “I’m interested in the way that people relate to space. The best way to do this is to depict their interactions to the boundaries of these spaces. Started doing this with [ghost] pictures, people fading into a flat plane—ie becoming the wall under wallpaper or of an extension of the wall onto floor.” A catalogue will accompany the exhibition, with an essay by Brooke Holmes, the Susan Dod Brown Professor of Classics at Princeton University. A public conversation between Holmes and Lissa McClure and Katarina Jerinic of the Woodman Family Foundation will take place in the gallery on April 17. The exhibition in New York coincides with Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In, a major survey at the National Portrait Gallery in London, on view from March 21 to June 16, 2024, before traveling to IVAM Institut Valencià d’Art Modern, Spain. With over 150 prints spanning the careers of both artists, the exhibition explores thematic affinities between two influential photographers who worked a century apart. A selection of Woodman’s photographs will also be presented by Gagosian at Burlington Arcade, London, from March 18 to April 6, 2024. Image: Untitled, ca. 1977–78 © Francesca Woodman - Woodman Family Foundation/Artists Rights Society (ARS), New York
John Chiara: Sea of Glass
Haines Gallery | San Francisco, CA
From March 15, 2024 to April 27, 2024
Haines Gallery proudly presents Sea of Glass, an exhibition of new work by San Francisco photographer John Chiara. Focusing on the dynamic forces that continually re-shape the city, Sea of Glass features a striking new body of work created during the Chiara’s recent residency on Treasure Island—located in the waters separating San Francisco and Oakland—as well as images made on nearby Yerba Buena Island and elsewhere along the bay. The exhibition marks Chiara’s fourth solo exhibition with Haines. Chiara describes his creative process as “part photography, part sculp- ture, and part event.” Using large-scale cameras that he builds himself, he prints directly onto photographic paper, controlling the exposure time as he dodges, burns, and filters the images. The resulting works of art are luminous and one-of-a-kind, inviting us to contemplate their content while they point to the physical and chemical aspects of their creation. In 2022, Chiara was invited by the San Francisco Arts Commission to document changes being made to Treasure Island, a 400-acre man- made island just minutes from the city. Originally constructed to host the 1939 Golden Gate International Exposition, Treasure Island is currently in the midst of a massive, decades-long redevelopment plan. Mirroring the conditions of its creation, the site’s narrative is once again one of possibility and invention, shaped by complex socio-economic forces. Chiara’s Treasure Island works reinterpret the experience of meandering through a neighborhood that straddles the old and the new. Carefully composed images of aged and industrial exteriors draw our attention to shifting elements of the landscape and shed new light on seemingly non- descript places. Navy Mound, Center of Treasure Island (2023) appears at first glance like one of his oceanscapes, but the work’s horizon line is marked by wire and nails, and glittering light reflects off of a crinkled plastic tarp instead of water. Other images combine the remaining wooded areas on Yerba Buena Island with flora in San Francisco’s Golden Gate Park. Exposing these prints for a third time, Chiara turns the paper around and exposes it to sunlight, allowing the unfiltered light to directly hit the back of the emulsion. Elements of the landscape emerge and recede from these complex, layered compositions. Dense with wildlife, they hint at how it might have felt to have experienced the island when it was still an Ohlone fishing village called Tuchayune. They are also fictive landscapes, a place that is both and neither, speaking to the subjectivity of our memories and experience. Within these evocative, atmospheric photographs, the changing light and fog so distinctive to San Francisco parallels the story of a city in transition. Sea of Glass also includes a selection of large-scale photographs of San Francisco, shot from across the bay on Treasure Island, the city’s skyline bisecting a wide expanse of sea and sky. These latest land- scapes capture the effects of light and its movement, as it animates the water’s surface or filters through dense clouds and marine layer. Here, Chiara’s inventive methods yield images that subvert and refresh our reading of these familiar, postcard-perfect vistas, as the stylistic signatures of his process—uneven hand-cut edges, subtle chemical streaking, tape marks, and the unexpected placement of recognizable landmarks—lend a sense of disorientation and discovery.
Linda Connor: Earth and Sky
Haines Gallery | San Francisco, CA
From March 15, 2024 to April 27, 2024
Haines Gallery proudly presents Earth and Sky, a new exhibition with the celebrated photographer Linda Connor. Her 7th solo exhibition at Haines, Earth and Sky will highlight seminal images from Connor's distinguished practice, reproduced as luminous sublimation prints on aluminum. ''Above all, I’m interested in the power of imagery—in how a medium as factual as photography can evoke responses on the border between the world we know, and the one we can’t.'' Throughout her career, Connor has traveled extensively with her 8x10 view camera, investigating remote landscapes and the sacred and spiritual worlds across multiple continents. Her peripatetic approach to photography demonstrates a longstanding interest in the relationship between systems of belief and the natural landscape, resulting in profound images of wide-ranging subjects. Bridging the terrestrial and the celestial, Earth and Sky includes images from Connor’s ongoing series Once the Ocean Floor, which depicts the intricately jagged cliff faces in the mountainous Ladakh region in Northern India—carved over millennia by the power of nature, as well as iconic images of the cosmos. In 1995, Connor began printing with the historic glass plate negatives in the archives of California’s Lick Observatory, located at Mt. Hamilton just east of San Jose. Numbering in the thousands, the Lick Observatory has one of the most extensive collections of glass plate negatives, most of which have not been used to make prints since their original production in the late 19th century. In both cases, time—the latent subject of every photograph—moves both backward and forward, as we traverse its geological and astronomical aspects in order to locate ourselves within a universe defined solely by flux. In Connor's hands, the camera is not an instrument of precise control; instead, she leaves her process open to unknown possibilities. She usually makes unmetered exposures and has a proclivity for photo- graphing in uncontrollable situations. What results are contemplative, quietly powerful images invoke a sense of timelessness and invite us to contemplate our place in the world, and emphasize the ethereal, diffused light so signature to her imagery.
Willie Anne Wright: Artist and Alchemist
Virginia Museum of Fine Arts | Richmond, VA
From October 21, 2023 to April 28, 2024
Celebrate this groundbreaking, internationally renowned photographer and painter whose remarkable Richmond-based career spans over six decades. Presenting 63 photographs and 9 paintings by the Richmond native, born in 1924, this is the first major exhibition to explore the trajectory of her impressive 60-year career. From playful and irreverent scenes of everyday life to ethereal evocations of the past, Willie Anne Wright’s experimental paintings and photographs examine pop-culture, feminine identity, the pull of history and the shifting cultural landscape of the South. With a focus on photography’s role in shaping collective understandings of history, place, and gender, the exhibition draws from VMFA’s recent acquisition of Wright’s work, including more than 230 photographs and 10 paintings, as well as a comprehensive artist archive. Image: Anne S at Jack B’s Pool, 1984 © Willie Anne Wright
Gestures of Refusal: Black Photography and Visual Culture
Contemporary Arts Center | New Orleans, LA
From January 06, 2024 to April 29, 2024
Gestures of Refusal: Black Photography and Visual Culture is no ordinary investigation of how we experience and render blackness visible. Gestures of Refusal: Black Photography and Visual Culture is an exercise in the unconventional and the splendid—bringing attention to the ways that contemporary photographers wield the visual power of the camera to discern, behold, celebrate, and document people, places, events, collective memories, encounters, and other ever-present moments of blackness that refuse erasure. From the invisible to the obvious, the mundane to the spectacular, the overlooked to the known, the erased to the remembered—the artists in this exhibition explore a range of photographic frequencies, styles, tenses, punctuation, and rhythmic scores creating new visual vocabularies for futurity. Curated by Shana M. griffin, Gestures of Refusal will feature five immersive installations and over 180 photographs and objects covering a spectrum of narrative styles, compositions, techniques, and approaches, showcasing the photographs of nearly one hundred contemporary Black photographers with ties to New Orleans from the 1950s to the present.
Metamorphosis by Elizabeth Heyert
Daniel Cooney Fine Art | New York, NY
From February 29, 2024 to April 30, 2024
Exhibition coincides with the publication of Metamorphosis, a monograph published by The Grenfell Press with an Artist Conversation with Lesley M. M. Blume and a short story by Colm Tóibín. “I’m interested in what makes up our essence as human beings and what the person on the outside sees. If people are placed in a safe emotional space, often a complex interior world will reveal itself'' - Elizabeth Heyert Known for her groundbreaking photographs of the interior lives of others, most famously The Sleepers and her controversial series of postmortem portraits The Travelers, American fine art photographer Elizabeth Heyert delves once again into the deepest emotional landscapes of strangers in Metamorphosis, a provocative, and visionary new exhibition and book about the power of transformation. Heyert takes the viewer on a fascinating journey into the transcendent worlds of her subjects who after being hypnotized in her studio by a trained hypnotherapist are then photographed naked, acting out childhood memories or transforming themselves emotionally into animals, birds, or other creatures unique to their subconscious fantasies.
The Travellers and The Troubles by Jamie Johnson and John Day
Leica Gallery Boston | Boston, MA
From February 02, 2024 to April 30, 2024
This new photography exhibition brings together the unique perspectives of two distinguished photographers, Jamie Johnson and John Day. This showcase, running from February 2nd until April 20th, delves into the heart of Ireland’s history, presenting two distinct approaches to documenting a culture through the lens of monochrome photography. “The Travelers and The Troubles” presents a unique journey through time as well as a poignant reflection on Ireland’s past. JAMIE JOHNSON Jamie Johnson has spent her photographic career traveling the world to document children. This current body of work, ‘Growing Up Traveling’, focuses on the Irish Travellers who live in caravans along the roadside and in open fields across Ireland. The Travelers are a community of oral tradition, and Johnson’s work will help to visually document their rich culture. She returns frequently to record these families as they grow up, forging generational connections with this historically misunderstood community. JOHN DAY John Day spent the summer of 1972 in Belfast, Ireland, armed with newspaper press passes and a dream to become a journalist. He was there to write about The Troubles, and just happened to bring his Leica M2R along for the ride. After immersing himself in the community, it became clear this story was meant to be told on film. Capturing the atmosphere of daily life during this conflict, Day brings the viewer back in time with compositions full of joy hidden around corners alongside the tension. Day was in the area with his friend, Richard Dunne, on July 21st, now called Bloody Friday. After seeing the aftermath and following the victims to the hospital, Day vowed to become a doctor. For the last forty years, he worked as a Pulmonary and Critical Care Physician and now is happily retired in Woodstock, CT.
Hollywood: John Divola and Robert Cumming
Gallery Luisotti | Los Angeles, CA
From February 24, 2024 to May 04, 2024
Movie studios have long employed professional photographers to document film sets for continuity. In the 1930s and 40s, these photographers used eight-by-ten cameras and contact printed each photo directly from the negative. The resultant photos were sharp and unusually striking for such pragmatic pictures, with every detail rendered visible. But with no practical value after production wrapped, these utilitarian images were discarded, ending up in second-hand stores, flea markets, memorabilia shops, and dumpsters. That’s how they got into the hands of Robert Cumming and John Divola, who discovered them separately in the 1970s and 80s and found in them a deep connection to their own bodies of work. Curated by California photographer John Divola, Hollywood: Robert Cumming and John Divola showcases the work of two artists who reference or use studio continuity photography as art material. In an extension of his Continuity (1995-) series, Divola presents four new arrangements of found stills, organized and grouped thematically. In a selection from his 1977 Studio Still Lifes, Robert Cumming’s photos of the backlot of Universal Studios capture film production materials and locales as surreal scenes and sculptural tableaux. Divola (b. 1949) began collecting continuity stills in the 1970s, amassing thousands, primarily from the pre-war golden age of the studio system. He was drawn to the enigmatic aura of these images, their strange stillness, pristine legibility, and their uncanny resemblance to real life. “Even the most mundane and generic rooms were previsualized, constructed, and completely artificial,” writes Divola. “I am interested in how these stills collectively construct a fictive sense of the normal.” Though innocuous at first, the presence of a clapper board across many of the stills becomes destabilizing, reminding us that the images are simulacra. To the artist, they function almost like crime scene photographs: haunting and filled with clues to decipher. Thematically and aesthetically, Divola’s Continuity groupings align with his own photo works: abandoned spaces left with remnants of actions past (Zuma series, 1977/78), film sets shot to expose their artificiality (MGM Backlot, 1979/80), and anonymous figures immersed in the scenery (As Far as I Can Get, 1996/97). In the early 2000s, partially inspired by his stills collection, Divola photographed abandoned sets of the television series The X-Files (X-Files, 2003), embodying the role of a continuity still photographer himself. Painter, sculptor, and conceptual artist Robert Cumming (1943-2021) was equally drawn to the strange and staged artificiality of old Hollywood continuity stills. To Cumming, the mundane subjects of these found stills were made absurd by their obviously fabricated qualities: optical tricks, backdrops, and forced perspective architecture, all constructed for the movie camera’s lens. He drew inspiration from what he called their “language of rebuilt reality,”creating staged, surreal, and often humorous tableaux that played with scale, materiality, and the illusion of motion. In 1977, Cumming was invited by the studio executive and photo collector Al Dorskind to photograph Universal Studios. For six months, Cumming freely traversed the backlot with his eight-by-ten camera. He found scenes similar to his sculptures but on a much grander scale–readymade rather than fabricated by the artist: an elevated boat and dummy fisherman created for the Universal Studios Tour attraction, a cross-section of a submarine for the naval drama Grey Lady Down (1978). These studio elements became sculptural once photographed. To Cumming, they were akin to “involutions,” puzzles inviting a viewer to untangle, and “documents of the hardware employed in the ultimate illusion.” In both artists’ series, there is a playful tension between artifice and reality. In movies, illusions encourage viewers to suspend their disbelief. But in these works by Divola and Cumming, artificiality is the central subject, and the viewer becomes complicit in the ruse.
 David Seidner: Fragments, 1977-99
ICP Museum | New York, NY
From January 26, 2024 to May 08, 2024
CP's survey of the work of David Seidner (1957–1999) reintroduces this important and rarely exhibited artist of the 1980s and 1990s whose work has largely faded from view since his passing from AIDS-related illnesses in 1999. Primarily drawn from Seidner's archive, which has been a part of ICP’s collection since 2001, highlights include David Seidner’s early fine art photography and fragmented portrait studies, vibrant fashion and editorial photography, images of groundbreaking dancers and choreographers, portraits of well-known contemporary artists and their studios, and works from his final project, abstracted studies of orchids. During his life, David Seidner was a notable fashion photographer, photographing for designers like Yves Saint Laurent--with whom he had an exclusive contract at the age of just 22—Azzedine Alaïa and Madame Grès among many others. David Seidner also was a prolific editorial photographer for publications such as Harper's Bazaar, Harper's & Queen, The New York Times Magazine, Vanity Fair, and international editions of Vogue. His magazine work crossed over into the art world, where Seidner frequently contributed to BOMB Magazine as a photographer, interviewer, and guest editor. Much of David Seidner's photography and subjects defy easy categorization, like Seidner himself, who now might be referred to as multi-hyphenate for his work across different fields. Similar to many young artists working today, David Seidner pushed the boundaries of the photography industry, collapsing the often unnecessary distinctions between disciplines. In addition to images made for fashion houses and editorial assignments, Seidner maintained a robust personal practice throughout his career. His interest in visual experimentation through techniques like fragmentation, reflection, and double exposures are often seen in both his personal work and his commissions. Join us at the International Center of Photography to explore the versatile and boundary-pushing work of famous fashion photographer, David Seidner.
 ICP at 50 From the Collection, 1845-2019
ICP Museum | New York, NY
From January 26, 2024 to May 08, 2024
Kicking off ICP's 50th anniversary year, ICP at 50: From the Collection, 1845–2019 is a thematic exploration of the many photographic processes that comprise the medium’s history, presenting works from ICP’s deep holdings of photography collected over 50 years since ICP was established in 1974. As a renowned NYC historical museum and one of the top photography galleries in NYC, the exhibition includes work from the 19th century to the present, featuring photographs by well-known artists that ICP has in-depth holdings of—such as Robert Capa, Weegee, Francesco Scavullo, and Gerda Taro among many others—as well as lesser-known and vernacular works and recent acquisitions including images by Jess T. Dugan, Nona Faustine, Deana Lawson, Paul Mpagi Sepuya, and Guanyu Xu. Other photographers featured include Henri Cartier-Bresson, Samuel Fosso, Robert Mapplethorpe, Susan Meiselas, Louise Lawler, Gordon Parks, Laurie Simmons, Lorna Simpson, Mickalene Thomas, Carrie Mae Weems, and more. The exhibition will also offer insight into the breadth and depth of ICP’s collection with historically critical images and media that include images taken of the surface of the moon by NASA in 1966, as well as activist posters from the 1980s and ‘90s groups ACT UP, Gran Fury, and fierce pussy. ICP’s founder Cornell Capa created ICP in 1974 in honor of his brother Robert Capa, a preeminent photojournalist of his day, who died in 1954. Robert's archive became a key early piece of ICP’s collection, alongside work by other important photojournalists and documentarians. In the ensuing five decades, the collection has expanded to include early photographic works, vernacular images, fashion photography, and fine art photography among many other types of photographic production, leading ICP to become one of the many famous museums in NYC. Dissolving and challenging boundaries between categories—technological, aesthetic, conceptual, and beyond—the collection is a celebration of image culture and the medium’s ability to reflect the values and interests of its time. ICP at 50 is not only a significant milestone for the institution but also stands as a must-see art exhibit in NYC. It's the first overview collections show since the institution’s move to 79 Essex Street in January 2020. The exhibition will reintroduce the depth and breadth of the ICP holdings to audiences, celebrating 50 years of photography’s evolution.
Between Modernism and Surrealism by Mona Kuhn
Edwynn Houk Gallery | New York, NY
From April 04, 2024 to May 11, 2024
Edwynn Houk Gallery presents “Mona Kuhn: Between Modernism and Surrealism,” an exhibition of 7 solarized photographs by Mona Kuhn from her series Kings Road in dialogue with artworks by masters exploring surreal representation, including Man Ray, Láslzó Moholy-Nagy, Dora Maar, Erwin Blumenfeld, and Bill Brandt. The show is on view from April 4 - May 11, with an opening reception with the artist on Saturday, April 6 from 3-5pm. A walk-through of the exhibition with the artist and Darius Himes, International Head of Photographs at Christie’s, will begin at 4pm. Mona Kuhn’s portraits visualize an uncanny love story. Kuhn’s solarized photographs in this exhibition follow a young woman throughout the groundbreaking mid-century modernist home designed by architect Rudolph Schindler in West Hollywood. In this mysterious narrative, Kuhn explores the core themes of Surrealism — dreams, desire, creation, and a challenge to conventional modes — through this autonomous woman. An active subject, she seeks formal and spiritual union with the King’s Road House, an avant-garde center of its day and a symbol of community and creativity. Kuhn’s solarization pushes these scenes further into the otherworldly, dissolving the aesthetic distinction between the human body, and its presence within the building. Rendered in layers of oxidized silver, body parts and architectural elements mirror and dissolve into each other, and the woman’s silver shadow cast on the building creates a literal space of integration. The breakthrough of Surreal explorations in photography are widely traced to Man Ray’s experimentations, which radically expanded the horizons of photography beyond straight representation. This show presents two of the artist’s solarized gelatin silver prints, a technique that he discovered with Lee Miller in 1931: a nude portrait of Meret Oppenheim posing in front of Salvador Dalí’s painting, printed on a carte-postale, as well as a portrait. Both the figure of the mysterious woman and architecture were key motifs used by Surrealists and artists influenced by the movement, and photographs by László Moholy-Nagy, Dora Maar, Erwin Blumenfeld, and Bill Brandt open a historical dialogue with Kuhn’s practice. Image: SILHOUETTE from Kings Road series © Mona Kuhn
Dynamic Range: Photographs by Bill Tennessen
Haggerty Museum of Art | Milwaukee, WI
From January 19, 2024 to May 12, 2024
Bill Tennessen was born in 1934 and grew up on 39th Street in North Milwaukee. He is a 1956 graduate of Marquette University’s School of Business Administration. Tennessen is a self-taught photographer who began contributing photos to the Milwaukee Community Journal, Wisconsin’s largest African American newspaper, in 1981. He has documented the Ernest Lacy demonstrations, Juneteenth Day celebrations, activities of the Boys and Girls Club of Greater Milwaukee and the YWCA of Greater Milwaukee, and the Ko-Thi Dance Company. He captured many of Milwaukee’s Central City storefront churches and the appearance in town of numerous important cultural and political personalities of our time. He has photographed the Milwaukee Bucks and Marquette University basketball and many other sports and community events. Dynamic Range was curated by Lynne Shumow (Haggerty Museum Curator for Academic Engagement) in collaboration with Dr. Robert Smith (Marquette University Harry G. John Professor of History and Director of CURTO) and Mia Phifer (Education & Research Coordinator at America's Black Holocaust Museum). Additional assistance was provided by Kate Rose (Haggerty Museum Career Diversity Fellow), Caroline Bielski (Haggerty Museum intern) and UWM students/America’s Black Holocaust Museum interns; Sebastien Brown, Sophia Furman, Logan Glembin and Niktalia Jules. Support for this exhibition is generously provided by the Marquette University Women’s Council Endowment Fund. Image: Juneteenth Day Celebration, 1985 © Bill Tennessen
Native America: In Translation
Museum of Contemporary Photography (MOCP) | Chicago, IL
From January 26, 2024 to May 12, 2024
Native America: In Translation brings together the works of nine Native artists who explore aspects of community, heritage, and the legacy of colonialism on the North American continent. By posing challenging questions about land rights, identity, and the legacy of violence toward Native people perpetrated by settler governments, the artists probe the fraught history of photography in representing Indigenous populations. Representing diverse nations and affiliations, the artists reclaim complex personal and collective narratives to imagine new histories of image-making. “The ultimate form of decolonization is through how Native languages form a view of the world,” exhibition curator Wendy Red Star notes. “These artists provide sharp perceptions, rooted in their cultures.” Native America: In Translation features works by Rebecca Belmore, Nalikutaar Jacqueline Cleveland, Martine Gutierrez, Duane Linklater, Guadalupe Maravilla, Kimowan Metchewais, Alan Michelson, Koyoltzintli, and Marianne Nicolson. Native America: In Translation is curated by Wendy Red Star as she expands on her role as guest editor of the Fall 2020 issue of Aperture magazine. The exhibition is organized by Aperture and is made possible, in part, with generous support from the National Endowment for the Arts.
Human/Nature: Encountering Ourselves in the Natural World
Fotografiska New York | New York, NY
From February 09, 2024 to May 18, 2024
Our impact on nature has far-reaching consequences, as we know from our changing climate. Human / Nature will explore our faceted relationship with the natural world, including moments of harmony and recovery, as well as our tendency towards destruction. The show will shepherd viewers through scenes reflecting on the impact of urbanization and climate change on worldwide ecosystems. Human / Nature is comprised of 14 artists whose work explores, in various ways, humankind’s fraught and mutually beneficial relationship with nature. Alfredo De Stefano Brendan Pattengale Cig Harvey David Ụzọchukwu Djeneba Aduayom Edward Burtynsky Helene Schmitz Inka & Niclas Lewis Miller Lori Nix / Kathleen Gerber Ori Gersht Pat Kane Santeri Tuori Yan Wang Preston
Preston Gannaway: Remember Me
Chung 24 Gallery | San Francisco, CA
From March 06, 2024 to May 18, 2024
The power of photography as a storytelling medium is well-represented in Gannaway's ongoing series Remember Me, now in its 19th year. From intimate portraits to alluring landscapes to everyday vernacular photography, Gannaway takes viewers on an emotional journey with images that feel, at times, voyeuristic and confronting. The use of color as a thread weaving through time is subtle yet observable. This series began in 2006 as a story for a New Hampshire newspaper, Concord Monitor, which followed the St. Pierre family as they navigated through the processes of illness, death and grief. What could have ended with the death of the mother evolved into the beginning of a longitudinal visual narrative focusing on the coming of age of the youngest child, a 4-year old boy. The honesty and rawness come through consistently in images spanning nearly two decades; there is no glossing over the rough edges or overly leading sentimental shots. Gannaway is not telling a tale about a motherless boy in a place far, far away; she is showing us a universally-relatable human story of life, love and remembrance. Photos from the beginning of Remember Me earned Preston Gannaway the Pulitzer Prize in Featured Photography in 2008.
Isaac Julien: Lessons of the Hour
Tang | Saratoga Springs, NY
From February 03, 2024 to May 19, 2024
London-based artist Isaac Julien CBE RA is a multimedia filmmaker and photographer known for bringing history to life with a nuanced and thought-provoking visual language that critically addresses the politics of race and gender. His film installation Lessons of the Hour features actor Ray Fearon in the role of Frederick Douglass, the nineteenth-century abolitionist, writer, and freed slave. Open-ended narrative vignettes set in Washington, DC, London, and Edinburgh portray Douglass with various influential women of his time—including Susan B. Anthony and Ottilie Assing—dramatizing ideas of racial and gender equality. Julien’s work reiterates Douglass’s belief in the importance and power of photography and picture-making in advocating for social justice. Julien conjures Douglass’s role in the abolitionist movement, powerfully emphasizing its relevance to contemporary social justice struggles. Lessons of the Hour features ten screens of varying dimensions hung salon-style—referencing a popular nineteenth-century method of arranging a group of images. The vibrant colors of the film have a modern aesthetic that, in conjunction with the period set, costumes, and salon-style screens, unites past and present. Isaac Julien CBE RA, born in London in 1960, makes work that focuses on themes of remembrance and social justice in contemporary and historical cultural narratives. His previous films include the 1989 documentary-drama Looking For Langston and his 1991 feature-film debut, Young Soul Rebels, which won the Cannes Film Festival’s Semaine de la Critique prize. His films and photography have been shown worldwide in solo and group exhibitions in galleries and museums, including Victoria Miro Gallery, London; Zeitz Museum of Contemporary Art Africa, Cape Town; and the 57th Venice Biennale at the inaugural Diaspora Pavilion, Venice. Julien has received numerous awards for his work, including the Charles Wollaston Award for his work in the 2017 Royal Academy Summer Exhibition, an annual show at the Royal Academy of Arts, where he was named a Royal Academician. In addition to creating film, photography, and installation art, Julien has taught at the University of the Arts London and Staatliche Hoscschule für Gestaltung Karlsruhe. He is currently a professor of digital arts at the University of California, Santa Cruz. Image: The North Star (Lessons of the Hour), 2019 © Isaac Julien
Anastasia Samoylova FloodZone
Albin O. Kuhn Library Gallery | Baltimore, MD
From January 29, 2024 to May 24, 2024
In 2016, Anastasia Samoylova (American, b. Soviet Union, b. 1984) moved to Miami, Florida. As she familiarized herself with the city through photography, a larger story began to unfold. The resulting body of work, FloodZone, explores what it looks like to live in the southern United States at a time when rising sea levels and hurricanes threaten the most prized locations with storm surges and coastal erosion. Samoylova’s lyrical photographs are deceptive, drawing us in with a seemingly documentary promise of a palm-treed paradise. Their alluring color palette—filled with lush greens, azure blues, and pastel pinks—gives way to minute details that reveal decaying infrastructure, encroaching flora, and displaced fauna. Both seductive and eerie, Samoylova’s images show us what it is to live at the edge of a climate crisis, a space where palm trees topple over onto buildings, where the patina of constant moisture results in dank mold on a freeway overpass, where the sky fills with golden hues after the storm. Somewhere between the artifice and the sobering reality lies the melancholy of living with the constant burden of climate anxiety. Image: Anastasia Samoylova, Gator, 2017. From FloodZone © Anastasia Samoylova
Futuristic Ancestry Warping Matter and Space-time(s)
Fotografiska New York | New York, NY
From February 02, 2024 to May 24, 2024
Fotografiska New York is proud to present rising-star French artist Josèfa Ntjam’s solo U.S. museum show debut. Through a multi-sensory video experience, biomorphic sculptures and photomontages printed on plexiglass and aluminum, the exhibition explores the artist’s deep interest and research into African mythology, biological processes, science fiction, and the ingrained but outdated ideas about origin, identity and race that rule our world. Throughout her work, Ntjam blends memory with historical fact and speculative fiction (from Battlestar Galactica to the novels of Octavia E. Butler) to produce new interpretations of radical liberation movements around the world, from the battle against white supremacy led by the Black Panther Party in the U.S., to the fights in Cameroon and Nigeria against colonial rule. Ntjam is best known for her work blending science fiction, history, and fantasy to present alternative narratives of African diasporic experiences. Across multiple mediums, her practice deconstructs mainstream discourses on origin, identity, and race. The artist, who earned a degree from the École Nationale Supérieure d’Art, has been featured in exhibitions at the Stedelijk Museum in Amsterdam and the Barbican Art Gallery in London.
Ann Shelton: worm, root, wort... and bane
Alice Austen House Museum | Staten Island, NY
From March 09, 2024 to May 26, 2024
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification. The images in worm, root, wort…& bane are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space. Worm, root, wort…& bane engages with botanical knowledge as a sphere in which politics have been played out then and now, continuing to effect Western attitudes to women, to nature and to privilege. Put in the context of ecopolitics and intersectional feminisms, the current environmental emergency and the many impacts of this high capitalist moment, these works signal a rupture that has taken place. This has distanced us economically and spiritually from our environment and ultimately led to our current crisis. THIS EXHIBITION IS SUPPORTED BY the Andy Warhol Foundation for the Visual Arts, New York State Council on the Arts, Richmond County Savings Foundation, Ruth Foundation For the Arts, Lily Auchincloss Foundation, and public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
From Alpha to Creation: Religion in the Deep South
Southeastern Center for Contemporary Art (SECCA) | Winston-Salem, NC
From February 15, 2024 to May 26, 2024
For the first time, the North Carolina Museum of Art (in Raleigh) and SECCA (Southeastern Center for Contemporary Art, Winston-Salem), present a shared exhibition on both campuses, bringing awareness of global artists to audiences across our state. Examining place and theology from North Carolina to eastern Texas, From Alpha to Creation: Religion in the Deep South explores the ideological relationships among various belief systems, highlighting the blending of spiritual practices throughout our daily lives. The exhibition distinguishes itself from antiquated or heavily stereotyped studies of Southern culture that often disregard our complexities. It instead focuses on the spiritual innovations that allow many of us to maintain a dedicated relationship with our religious heritages, from Abrahamic denominations to composite belief systems like Hoodoo. For many artists throughout the exhibition—who originated or worked extensively in the region—the South represents a unique context for religious expression reflected by our racial, political, and economic structures. From Alpha to Creation leads with documentary photography that grounds its analysis of Southern culture with actual people and circumstances throughout the region. Landscape photography illustrates the physical prominence of iconography and messaging embedded in the environment. Meanwhile, portraiture demonstrates the social effect of adornment throughout different faiths, with examples of people using dress to signify their devotion or hierarchy. The exhibition's video and sculpture complete the survey of spiritual practices by interpreting the extensive rituals and traditions that span as far back as precontact Indigenous societies. The Winston-Salem installation of the exhibition features works by Allison Janae Hamilton, Ambrose Murray, Baseera Khan, Bill Aron, Brandon Thibodeaux, Debbie Fleming Caffery, Deborah Luster, Earlie Hudnall Jr., Heather Baebii Lee, Jamal Cyrus, Logan Lynette Burroughs, with newly commissioned works by Keni Anwar, Luzene Hill, and Ralph Burns. From Alpha to Creation: Religion in the Deep South is organized by Maya Brooks, Assistant Curator of Contemporary Art, with support from Georgia Phillips, Curatorial Intern.
CFEVA at 40: Four Decades of Supporting Contemporary Art
Michener Art Museum | Doylestown, PA
From February 17, 2024 to May 26, 2024
CFEVA at 40: Four Decades of Supporting Contemporary Art celebrates the 40th anniversary of the Center for Emerging Visual Artists (CFEVA) with an exhibition of work by 40 contemporary artists affiliated with the center who represent the Philadelphia region’s artistic excellence, its legacy, and its future.  CFEVA was founded in 1983 as a support system for the visual artists of the greater Philadelphia region. Since its inception, the organization has dedicated itself to making artistic practices sustainable, helping artists reach new audiences, and promoting awareness and understanding of visual art among community members. CFEVA’s support of visual artists is critical to maintaining and expanding an equitable and accessible cultural ecosystem, the free exchange of ideas, and the region’s creative economy. 2023 also marks CFEVA’s 40th year of serving artists through its prestigious fellowship program The artist fellows, selected by CFEVA’s Artistic Advisors, go on to shape our region’s cultural community as leaders in the arts. 40 artists have been chosen to represent CFEVA from over 300 fellows whom CFEVA has mentored over four decades and the dozens of established artists who have given their time and talent as advisors, including Mahtab Aslani, Will Barnet (1911-2012), Katie Baldwin, Jill Bell, Henry Bermudez, Rita Bernstein, Tom Birkner, Christina Bothwell, Charles Burwell, Ziui Chen, Donald E. Camp, Anne Canfield, Vincent Desiderio, Amze Emmons, Trey Friedman, Colette Fu, Sophie Glenn, Sidney Goodman (1936-2013), Mary Henderson, Jeff Hurwitz, Leroy Johnson (1937-2022), Mami Kato, Mark Khaisman, Daniel Kornrumpf, Chelsey Luster, Douglas Martenson, Ray K. Metzker (1931-2014), Maggie Mills, Jedediah Morfit, Lydia Panas, Andrea Packard, Serena Perrone, Tim Portlock, Csilla Sadloch, Laurence Salzmann, Julia Stratton, Ron Tarver, Ada Trillo, and Nadia Hironaka & Matthew Suib, with Eugene Lew. Image: Kitty, Black Tulle, 32 x 40", 2011, from the series Something Like Love © Lydia Panas
RGB Collars: Photographs by Elinor Carucci
The Jewish Museum | New York, NY
From December 15, 2024 to May 27, 2024
The Jewish Museum presents RBG Collars: Photographs by Elinor Carucci, an installation of two dozen photographs of former US Supreme Court Justice Ruth Bader Ginsburg’s collars and necklaces taken by the contemporary photographer Elinor Carucci (Israeli, b. 1971) shortly after Ginsburg’s death in 2020. The suite of photographs is being shown at the Jewish Museum for the first time since they were acquired for the Museum’s collection in 2021. The installation will also include jewelry from the collection, reflecting freely on the expressive possibilities as well as the cultural and religious aspects of adornment. RBG Collars: Photographs by Elinor Carucci will be on view from December 15, 2023, through May 27, 2024, in Scenes from the Collection on Floor Three of the Museum. Ruth Bader Ginsburg (1933-2020), who was the second-ever woman to sit on the US Supreme Court, wore collars not just to emphasize the long overdue feminine energy she brought to the court, but also to encode meaning into her dress—a sartorial strategy practiced by powerful women throughout history. Her early penchant for traditional lace jabots was later joined by necklaces made of beads, shells, and metalwork from around the world, many of them gifts from colleagues and admirers. Seen as a whole, the photographs of these collars offer a collective portrait of the late Justice through these objects imbued with her personal style, values, and relationships. While Ginsburg often chose them on a whim, she occasionally used them as a form of wordless communication; in every instance, they served as a reminder that her august responsibilities were carried out by a particular human being. Towards the end of her life, Ginsburg’s style helped to make her a feminist pop culture icon: collared and bespectacled, she adorned tote bags, t-shirts, and tattoos as “the Notorious RBG.” Ginsburg’s Jewish upbringing was formative to the person she became. Questioned about her sensitivity to racial bias, she invoked her experiences growing up Jewish in Brooklyn the 1930s and 1940s, while the horrors of the Holocaust unfolding in Europe cast ominous shadows over antisemitic slights encountered at home. She often noted how the Jewish principle of tikkun olam (repairing the world) guided her work. Over nearly 30 years, she wrote many notable majority opinions that helped to advance legal protections for women and members of other historically marginalized groups. Alongside Carucci’s photographs is a selection of jewelry from the Museum’s collection. Many of the necklaces, pendants, fibulae, and other items included in the installation bear amuletic inscriptions; some have compartments in which scrolls with magical inscriptions can be stored. For the most part, those who made and wore these items came from corners of Jewish history and geography quite distant from the twentieth century American context in which Ginsburg lived and worked. Yet she too understood how adornment—particularly jewelry, given its close association with the body and its ability to express individuality in settings where possibilities for self-expression are limited—can communicate beauty and power, joy and defiance, optimism and resolve. The installation is organized by Shira Backer, Leon Levy Associate Curator, the Jewish Museum.
Center Forward 2023
The Center for Fine Art Photography | Fort Collins, CO
From August 29, 2023 to May 31, 2024
Hamidah Glasgow Honorable Mentions: Debra Achen, Mona Bozorgi, David Ellingsen, Susan Goldstein, Michele Lyn, Susan Rosenberg Jones, Dean Terasaki Charles Guice Honorable Mentions: Mona Bozorgi, Mehreen Khalid, Denise Laurinaitis, Michele Lyn, Susan Rosenberg Jones, Mouneb Taim Selected Artists: Debra Achen, Geoffrey Agrons, Ashley Allen, Laurel Anderson, Filippo Barbero, Nancy Baron, Tabea Borchardt, Mona Bozorgi, Marisa Brown, Tuan Bui, Tracy Burke, Patty Carroll, Anahit Cass, Alex Cassetti, Madeline Cawkins, Jo Ann Chaus, Patricia Christakos, Matthew Conboy, Seth Cook, Jesse Egner, David Ellingsen, Dan Florin, Patricia Fortlage, Debora Francis, Susan Goldstein, Charlotta Hauksdottir, Austin Jensen, Luke Jordan, Richard K. Kent, Mehreen Khalid, Frazier King, Sandra Klein, Gershon Kreimer, Judy Labib, Susan Lapides, Denise Laurinaitis, Ana Leal, Traci Marie Lee, Drew Leventhal, Michele Lyn, Mara Magyarosi-Laytner, Lawrence Manning, Christina McFaul, Jason McKinsey, dee (darren lee) miller, Greer Muldowney, Robin North, Eleanor Oakes, Laurie Peek, Oriana Poindexter, Austin Pope, Nathan Rochefort, Gjert Rognli, Susan Rosenberg Jones, Angela Scardigno, Rebecca Sexton Larson, Anastasia Sierra, Olga Steinepreis, Mouneb Taim, Jerry Takigawa, Dean Terasaki, Anne Vetter, Suzanne Theodora White, and Michael Young.
Shades of Compassion
San Juan Island Museum of Art | Friday Harbor, WA
From March 08, 2024 to June 03, 2024
Participating photographers: Ansel Adams, Wolf Ademeit, Carol Beckwith & Angela Fisher, Daniel Beltra, Niki Boon, Phil Borges, Nick Brandt, Ernest H. Brooks Ii, Kevin Bubriski, Tom Chambers, Imogen Cunningham, Virgil Dibiase, Tj Dixon & James Nelson, Melinda Hurst Frye, Maurizio Gjivovich, David Gonzalez, Misha Gordin, Robert & Shana Parke Harrison, Michael Kenna, Angela Bacon Kidwell, Marla Klein, Jon Kolkin, Lisa Kristine, Joey Lawrence, Ruth Lauer Manenti, Rania Matar, Beth Moon, Nasa / William Anders, Wayne Quilliam, Chris Rainier, Antonio Aragon Renuncio, Manjari Sharma, Maggie Taylor, Joyce Tenneson, Jerry Uelsmann, Dave Walsh, Alice Zilberberg and Zoe Zimmerman. Compassion--defined as the intention to respond with kindness towards those in need, including all living things, one’s self, and Planet Earth, motivated by a a true concern for their well-being--is good for you, for everyone you come in contact with, and the the entire planet. The exhibition Shades of Compassion will guide you to intentionally evoke and sustain positive constructive emotions such as compassion. Curated to engender a nuanced experience of compassion, the exhibition invites the viewer to dig deeper in their understanding of compassion, an opportunity for growth and exploration. The photographs, fifty outstanding fine art photographs by forty-one internationally recognized photographers, are sequenced and organized into three thematic groups: Environment, Humanity and Spirituality. Meditation stations preceding and following the photographs, as well as six intervening Pause Stations, invite deeper exploration into specific images. The exhibition concludes with an Action Station where visitors are invited to express their intentions concerning acts of compassion, and take away reminders and additional online resources for continued growth and exploration. Materials for the self guided Pause Stations and the facilitated curriculum were created under the guidance of leading experts, include senior MoMA and Minneapolis Institute of Art educators, Emory University’s Social, Emotional, and Ethical (SEE) Learning program for K-12, and Life University’s Compassionate Integrity Training (CIT) for adults.
Death Of A Valley  Photography By Dorothea Lange and Pirkle Jones
Booth Western Art Museum | Cartersville, GA
From November 11, 2023 to June 09, 2024
Featuring photographs by two of the 20th century’s most important photographers, Death of a Valley is a nearly 70-year-old story full of contemporary issues such as water policy, private property rights, land conservation and local governance vs. state and federal jurisdiction. Dorothea Lange is famous for her social realist images, including the iconic Migrant Mother which many consider THE image of the Dustbowl and Great Depression era of the 1930s. In 1956 she convinced Life magazine to commission a photo essay documenting the last year of the Berryessa Valley, including the town of Monticello, roughly 80 miles northeast of San Francisco. The entire area was due to be submerged with the opening of the Monticello Dam and the creation of Lake Berryessa to provide water for irrigation and recreational purposes. Lange then invited Ansel Adams protege Pirkle Jones to collaborate on the project. “The Berryessa Project was one of the most meaningful photographic experiences of my professional life. When Dorothea Lange, a friend, and colleague, invited me to collaborate on this project with her in 1956, I looked forward to the experience.” –Photographer Pirkle Jones. The essay proved unsettling for Life, and they declined to publish it. In 1960, the photographic journal of the Aperture Foundation published thirty of the photos as an essay entitled “Death of a Valley.” These photographs were then exhibited at the San Francisco Museum of Modern Art and later at the Art Institute of Chicago. Since then, the project has been largely forgotten; until now. The Booth Museum exhibition, organized with Lumière of Atlanta and the Special Collections and Archives at the University of California, Santa Cruz, and the Robert Yellowlees Special Collection, will include over 80 images, most having never been exhibited before.
Studio / Archive
The Frances Young Tang Teaching Museum and Art | Saratoga Springs, NY
From February 03, 2024 to June 09, 2024
Studio/Archive presents photography from the Tang Museum collection—many of them recent acquisitions—that explore studio portraiture and archives. Works on view range from nineteenth century daguerreotypes and vernacular photography, to contemporary portraiture and video. Together these diverse bodies of work explore themes of agency—how people shape their own identities—and visual representation as a tool for empathy and justice. Organized to complement the Tang Museum’s presentation of Lessons of the Hour by Sir Isaac Julien, this exhibition aims to extend the conversation around the power of photography to (re)frame ourselves and the world around us through the photographic lens. Studio/Archive is organized by Dayton Director Ian Berry and is supported by the Friends of the Tang.
Daniel Arsham: Phases
Fotografiska New York | New York, NY
From March 22, 2024 to June 14, 2024
Beginning March 22, 2024, Fotografiska New York will present the first-ever exhibition dedicated to artist Daniel Arsham’s photography practice. Best known for his sculptures and design collaborations with brands including Tiffany & Co and Hot Wheels, Arsham has taken photographs since he was 11 years old, making it an essential component of his practice that has fundamentally informed his work as a sculptor and designer. Arsham’s photographs are primarily black and white, which create a unifying aesthetic. The images take viewers on a journey alongside the artist’s travels and experiences with a focus on the juxtaposition of natural and urban environments. His images of skylines and nightscapes bring light, the passage of time, and negative space to the forefront. Visitors will encounter never before seen photographs alongside Arsham’s sculptures that together show the broad impact photography has on the artist’s full practice.
Ma-kan: Ebti
SF Camerawork | San Francisco, CA
From March 12, 2024 to June 22, 2024
SF Camerawork is proud to announce Ma-kan مكان, a solo exhibition with Ebti, a multidisciplinary artist, a self-taught photographer, and a translator living between Cairo and San Francisco. The exhibition will be on view at our Fort Mason location from March 12 through June 22, 2024. A public opening reception will be held on Friday, March 15, from 6-8 pm. Ebti and SF Camerawork will host a series of open studio visits at the gallery commencing March 1, where visitors and SF Camerawork community members will have the opportunity to learn about the artist's work in progress and witness Ebti's creative practice unfold in real-time. Additional programs and specific open studio dates are to be announced on our website at sfcamerawork.org., and via our email list. Ma-kan مكان means place in Arabic. Taken apart, the word ma-kan can also mean it was and is not. For her exhibition, Ma-kan مكان, Ebti will present a suite of site-responsive, photo-based installation works crafted from prints on fabric, projections, transparencies, and traditional paper prints. Using images, stories, and objects collected from her travels, home life, and the space itself, a narrative of perpetual departure, arrival, home, and homesickness unfolds.
Barbara Bosworth: Sun Light Moon Shadow
Cleveland Museum of Art | Cleveland, OH
From February 25, 2024 to June 30, 2024
When photographer Barbara Bosworth was a child growing up in Novelty, Ohio, she would go on nighttime walks with her father, and they would gaze up at the sky. This practice, which became a lifelong passion, inspired the photographs in this exhibition. Timed to coincide with the total solar eclipse visible in Cleveland on April 8, it explores Bosworth’s photographs of light—from eclipses, sunrises, and sunsets to the luminescent glow of fireflies and a flashlight. Light is essential to both photography and astronomy. British scientist and astronomer Sir John Herschel coined the term photography in 1839 by combining Greek words that mean “drawing with light.” The camera and telescope, which Bosworth has used together in some of the photographs on view, each collect light. Her pictures of stars are the result of the impact on film of light that has traveled millions of years to get there. Nine monumental color images of the sky and heavenly bodies are joined by six intimately scaled black-and-white scenes of life and light on the earth. Seen together, they suggest how we endow astronomical phenomena with personal meaning. Bosworth’s art elucidates bonds between humans and the natural world that often go unnoticed. Image: Ramkishore Singh of Rewa (detail), c. 1885–87 © Raja Deen Dayal
First Came a Friendship: Sidney B. Felsen and the Artists at Gemini G.E.L.
J. Paul Getty Museum | Los Angeles, CA
From February 20, 2024 to July 07, 2024
For over five decades Sidney B. Felsen (b. 1924) has chronicled the life of the Gemini workshop, conveying with great empathy the joy and demands of the creative process. He has documented the expertise, labor, materials, time, and care that sustain every project, capturing how Gemini’s modes of making transform with each artist. First Came a Friendship: Sidney B. Felsen and the Artists at Gemini G.E.L., on view February 20 –July 7, 2024, shares the remarkable history of Gemini G.E.L (Graphic Editions Limited), the Los Angeles artist’s workshop and publisher of limited-edition prints and sculpture eloquently. The photographs record the many close friendships fostered with artists who collaborated at Gemini, and bear witness to the evolving Los Angeles art scene. In 1966, Felsen co-founded Gemini G.E.L., the Los Angeles publisher of limited-edition prints and sculpture, with Stanley Grinstein and master printer Kenneth Tyler, together with Rosamund Felsen and Elyse Grinstein. An accountant by profession, Felsen had been studying drawing, painting, and ceramics at local schools since the 1950s. His creative practice came into focus when he started photographing artists at Gemini. “What is so stunning about Sidney Felsen’s work is how he uses both the understanding of artist practice and his patience behind the lens to yield photographs of such great insight,” says Mary Miller, director of the Getty Research Institute. “His eye opens fresh vistas on 50 years of art-making in Los Angeles.” Gemini has championed a boundless sense of possibility, encouraging artists to expand their creative reach and push the limits of printmaking. Within its first five years, Gemini produced groundbreaking editions by Robert Rauschenberg, Claes Oldenburg, Ellsworth Kelly, Jasper Johns, and Roy Lichtenstein, becoming a major force in the post-war American printmaking revival and earning a reputation for dynamic, generative collaboration. Today, this spirit of innovation endures. Gemini continues to collaborate with world-renowned artists who embrace broad-ranging visual languages and technical approaches. Recent artists include Julie Mehretu, Analia Saban, and Tacita Dean. At the heart of this exhibition is the Felsen archive of photographs, which was donated to the GRI in 2019 by Jack Shear. The exhibition also features Gemini prints and editioned sculpture as well as related drawings from the GRI’s special collections with loans from LACMA, the Grunwald Center for the Graphic Arts, Hammer Museum, Gemini G.E.L., Robert Rauschenberg Foundation, and three private collections. This exhibition will illustrate the rich ties between Gemini and the GRI’s collection and highlight the far-reaching research potential of the Felsen archive of photography. “Felsen’s photographs are born of an intimacy with his subjects,” says Naoko Takahatake, curator of the exhibition. “They offer rare insights into five decades of collaborations between artists, printers, and fabricators. They also celebrate the bonds of friendship that shaped Gemini to become more than a workshop and publisher, but a creative community where art is embraced as a way of life. Image: Self-portrait with two Ellsworth Kellys, 1984. Sidney B. Belsen (American, b.1924). Getty Research Institute, 2019.R.41. Gift of Jack Shear. © J. Paul Getty Trust.
Transformations: American Photographs from the 1970s
Philadelphia Museum of Art | Philadelphia, PA
From January 24, 2024 to July 07, 2024
The 1970s witnessed an unprecedented explosion of interest and activity around photography, and was a hub for wildly varying conceptions of what photography could look like, how it could be used, and what it could stand for. On one hand, the 1970s were an apex of traditional black and white darkroom photography, as artists who had worked in relative obscurity were suddenly thrust into the spotlight. But it was also the end of an era, as younger photographers began experimenting with mediums, formats, and conceptual approaches that defied established modes of photographic art. Some artists made deeply personal works that included crafts like embroidery and collage, historical processes like cyanotype, or new technologies such as the Teleprinter, an early version of the fax machine. Other photographers, including William Eggleston and Joel Meyerowitz, created images that recalled the spontaneity, humor, and saturated color of vernacular snapshots. Mikki Ferrill and Susan Meiselas spent years producing series of intimate portraits that forged connections between photography and the growing Black Arts and Feminist movements. And conceptual artists such as Martha Rosler interrogated photography’s association with advertising and systems of visual representation, even branching out to explore the new medium of video. This exhibition offers an exciting overview of this diverse and energetic era. Image: New York City, 1974, © Joel Meyerowitz
In the Right Place: Photographs by Barbara Crane, Melissa Shook, and Carol Taback
Philadelphia Museum of Art | Philadelphia, PA
From January 24, 2024 to July 07, 2024
This exhibition brings together three photographic series made in the 1970s: Barbara Crane’s People of the North Portal (1970–71), Melissa Shook’s Daily Self Portraits (1972–73), and Carol Taback’s Photo-Booth Strips (1978–80). The three photographers worked in different cities—Crane in Chicago, Shook in New York, and Taback in Philadelphia—and may not have ever crossed paths. They also used different cameras and equipment and made radically different choices about who to photograph. Nevertheless, there is a surprising alignment in their approaches to their work. Each photographer elected to operate under similar self-imposed constraints, creating strict guidelines that dictated where they would photograph. Crane confined her working environment to a single doorway, Shook to her small New York tenement apartment, and Taback to a cramped photo booth. Despite, or perhaps because of, these rigid parameters, each photographer was able to forge an innovative approach to portrait-making, producing pictures that deftly call attention to the complexity of lived experience. Image: George, 1979-1980, © Carol Taback
A Little Truth: Fact and Fiction in Family Photography
The Block Museum of Art | Evanston, IL
From March 20, 2024 to July 07, 2024
When we have our picture taken, we often try to present our best selves. Even during difficult moments, we might force a smile, sit straighter, move closer together, cover the stain on our shirt. We might take pictures of things as we would like to remember them, present ourselves as we would like to be seen, even if—and especially when—there is significantly more to the story. Drawing from The Block’s collection, this intimate exhibition weaves together personal snapshots and work by artists who have integrated family photography into their visual language. By incorporating family photographs into their artwork in various ways, these artists make visible some of the memories, realities, and complexities that might lie beneath the facades of family photography. This exhibition asks us to deepen our own looking practices to better understand the role of photographs in familial memory: What is the relationship between what we see in a photograph and what we know or don’t know? How are memories shaped by what cannot be represented visually? And what is the relationship between private family photographs and broader cultural histories? In our digital age, where photo filters and editing are so prevalent, this exhibition provides a space to reflect on the power of what we cannot, and in some cases, do not want to see.
In the Now: Gender and Nation in Europe, Selections from the Sir Mark Fehrs Haukohl Photography Collection
Brooklyn Museum | New York, NY
From March 08, 2024 to July 07, 2024
In the Now unites nearly fifty women artists who are resisting traditional ideas of gender and nationality, as well as of photography itself. The first museum survey of photography-based works by women artists born or based in Europe, this exhibition interrogates the continent’s legacies of nationalism and patriarchal power structures—which continue to shape everyday life, particularly for women. In the Now highlights the expansive nature of the Sir Mark Fehrs Haukohl Photography Collection at the Brooklyn Museum and Los Angeles County Museum of Art. Made entirely after 2000, the exhibition’s more than seventy artworks offer a window into the first decades of the twenty-first century. In the section titled “Gender,” photographers such as Bettina von Zwehl and Elina Brotherus contend with (mis)representations of women’s bodies and experiences, bucking against oppressive beauty standards and the male gaze. “Nation” unpacks the promises—and realities—of contemporary Europe and the ongoing fallout of European nationalism and colonialism. The controlled explosion in Sarah Pickering’s Landmine (2005), for example, underscores the relative peace in England as British troops supported the U.S. invasion of Iraq. And in “Photography,” women artists upend this male-dominated medium with experimental approaches—as in Shirana Shahbazi’s Farsh-13-2006 (2006), a Vermeer-inspired photographic portrait translated onto a carpet hand-knotted in her native Iran. Together the works defy outdated definitions of a woman, an artist, a nation, and a photograph. Image: Le déguisement (the disguise), 2009 © Carolle Benitah
SACRED LAND Photographs by Ralph Gibson
Heller Museum | New York, NY
From March 19, 2024 to July 08, 2024
In Sacred Land, legendary American photographer Ralph Gibson, and producer Martin Cohen, have created a unique photographic exhibition and publication that capture the soul of Israel, both ancient and contemporary. The photographs convey the fundamental humanity and underlying affinities that connect all who deem this land as sacred, and express aspirations for mutual understanding and peace. At a time when the war and suffering in Israel and Gaza overwhelm us, Gibson's images offer a compelling and hopeful outlook for the future. Sacred Land invites us into the eye of the photographer as a first-time visitor to Israel – we see what he sees, what captures his attention. It is in the details, a particular gesture, a candid pose, a fragment, a moment, that we glimpse a deeper meaning. The essence of the images is their intimacy, we are drawn close to people, places, things, the instantaneous and the eternal. Their juxtaposition reveals the convergence of antiquity and modernity. Ralph Gibson describes Israel as ''the oldest and youngest country in the world,'' a place where ''ancient luminosity refracts into mythology and biblical wisdom'' and the durability of its limestone foundations hardened with exposure to the air, ''speak louder and stronger every thousand years or so…becoming as permanent as time itself.'' The natural beauty of the details of the landscape, nature, and millennia-old archaeological artifacts express a timeless sense of wonder and spirituality. The industrial, urban images convey the impact of human imagination, ingenuity, and necessity. While each individual image captures our attention, it is Gibson's artful pairing of images that creates the special impact of these photographs. Etched stone encounters graffiti. The rugged desert intersects with man-made materials. A quietude amid the cacophony of modern life. Each juxtaposition sparks the viewer's imagination in making the connections – visually, emotionally, and psychologically. Gibson conveys the complexity and multiplicity of this sacred land – across ethnicities, faiths, and transcending the millennia. His images are captured in the moment – sometimes dramatic, sometimes reflective, always riveting. They express the universal humanity of each being, the transcendence of time, and the pulse of life. Martin Cohen describes, ''In this relatively small nation one can witness and relive the very beginnings of world history; experience the world's most advanced institutions in science, technology, and medicine – and everything in between. Jerusalem exists at the intersection of nearly all modern religions.'' ''In Ralph Gibson's Sacred Land, one senses that this place is holy to all, across all of the differences that rupture this part of the world. This exhibition projects hope for a peaceful future, where all can find healing, empathy, and shared understanding,'' explains Jean Bloch Rosensaft, Director, Heller Museum.
János Megyik Photograms
Art Institute of Chicago | Chicago, IL
From February 03, 2024 to July 08, 2024
For six decades, János Megyik (Hungarian, born 1938) has been making poetic investigations of fractal geometry and perspectival systems, motivated by questions of point, line, plane, volume, and all that lies between and beyond their innumerable intersections. In 1983, following a decade or so spent building constructions from larch wood, the artist started experimenting with the cameraless technique known as the photogram. To create a photogram, objects are placed directly upon photographic paper that is then exposed to light, darkening the exposed areas and revealing a shadow-like image of the object in white (or, if the object is transparent, shades of gray). Using his Vienna studio as a makeshift darkroom, Megyik spread six-foot-long sections of photosensitized paper directly on the floor and made photograms of his larch wood constructions—essentially creating reversals of his earlier work. Over the next five years Megyik made about 50 of these photograms. Working photographically offered the artist a ready means to give negative and positive space equal weight and to emphasize that “drawing” space always involves an interpretation. For Megyik, however, rigorous spatial analysis goes hand in hand with a sense of wonder at the infinite and absolute. The first US museum exhibition of the artist’s work, János Megyik Photograms includes 12 large-scale photograms and one wall construction, his sculpture Corpus. A projection in three dimensions generated from one of his photograms, Corpus effectively functions as the reversal of a reversal, a prime example of the sort of “new dimension” the artist continuously seeks.
The Awe of the Arctic: A Visual History
New York Public Library | New York, NY
From March 15, 2024 to July 13, 2024
For centuries, what lies above the Arctic Circle has been a source of intrigue and fascination for those who live below its border. Stories from the ancient Greeks mixed with Norse mythology and reports from early voyages gave rise to lively and creative conceptions of ice-free waters and a fabled people who lived at the top of the world. Expeditions to the Arctic in search of resources and trade routes slowly replaced these legends with more accurate information. Yet even these narrative accounts were still filled with details of a foreign world that excited the imagination. Accompanying illustrations further enhanced the appeal of the polar North because they seemed to promise verisimilitude, giving shape to the incredible. Whether as woodcuts, engravings, lithographs, photographs, halftones, or digital prints, these images continue to captivate. They influence and inform our knowledge, bringing a distant region closer to those unfamiliar with its icy shores. This exhibition, drawn almost exclusively from the rich collections of The New York Public Library, is a large, multipart survey of how the Arctic has been visually depicted, defined, and imagined over the past 500 years, and invites us to consider how this history relates to our current understanding of the Arctic. The presentation ranges from 16th-century explorers who attempted to capture the perceived strangeness of a remote region to contemporary artists whose work conveys the human impact on its changing climate and vulnerable landscape. This exhibition is curated by Elizabeth Cronin, Robert B. Menschel Curator of Photography, and assisted by Maggie Mustard, Assistant Curator of Photography, in The New York Public Library's Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Marilyn Stafford: A Life in Photography
Akron Art Museum | Akron, OH
From February 24, 2024 to July 14, 2024
Marilyn Stafford - A Life in Photography will open at the Akron Art Museum, Ohio, USA, in the Judith Bear Isroff Gallery and the Laura Ruth and Fred Bidwell Gallery on Saturday, February 24, 2024. The exhibition features decades of Stafford’s photography which will highlight the work, people, and issues she found most important. Marilyn Stafford was born in Cleveland, Ohio, in 1925 but spent most of her life in Europe. Stafford made a great income by photographing notable performers, models, writers, and celebrities which allowed her to devote time to her stronger interest in humanitarian work. She recorded the Algerian War of Independence in 1958, peacetime Lebanon in the 1960s, and India’s intervention in the Bangladesh Liberation War in 1971. Marilyn Stafford passed away in 2023 at the age of 97 and this exhibition marks a posthumous homecoming for her work to the USA where she was born. “The Akron Art Museum has a fondness for photographic work, especially work which showcases natural curiosity and intrigue.” Says Jon Fiume, Executive Director, and CEO of the Akron Art Museum. “Her work is more than excellent photography – it’s connective stories between the subject, Marilyn, and the viewer.” Photography was the driving force in Marilyn Stafford's incredible life, and it connected her with cultures and historical events across the world.” Says Dr. Jeff Katzin, Senior Curator at the Akron Art Museum. “I am truly excited that this exhibition will honor her boundless curiosity, her humanitarian compassion, and her pioneering role as a female photojournalist in the twentieth century and share all of this with the Akron Art Museum's audiences. On view in this exhibition is a picture Stafford took during the Algerian War of Independence. The picture showcases refugees in a camp near a bombed hospital. This picture ended up being her first front-page photograph in The Observer, which then sent an additional journalist to report on the situation. That photograph is a remarkable story from Stafford which we get to share with Akron. “What engages me most about Marilyn Stafford’s work is the extraordinary range of subjects she was able to capture, from celebrities to street photography, fashion, everyday life, and wartime photojournalism.” Says Wendy Earle, Curator at the Akron Art Museum, and co-curator of this exhibition. “Viewers who are interested in almost any facet of photography will find something to connect with in this exhibition.” This exhibition could not have happened without the support of Marilyn Stafford Photography, who is an archive for Stafford’s work and connects with Museums for exhibitions and events. “It is very moving, in the year after my mother's death, to see her work exhibited so close to her hometown.” Said Lina Clerke, daughter of Marilyn Stafford and Director of Marilyn Stafford Photography. “This exhibition will also bring me back to Cleveland, for the first time in 25 years. I can't wait to see her photographs on the museum walls, and to meet residents when I give a talk [at the Museum] in April.” “The exhibition is intended to be a reflective and engaging look at a period of 20th century history through Marilyn's unique gaze.” Said Nina Emett, the Photo Archive Manager, Curator and Director of Marilyn Stafford Photography. “We were able to let Marilyn know the good news [the Museum’s exhibition] before she died in early 2023. ‘Oh, how lovely, my work is going home,’ she said with a big smile on her face.” This exhibition will allow you to engage with several decades of the twentieth century with glimpses into the locals of Paris, London, Rome, Tunisia, Lebanon, India, and Bangladesh. This combination of children, passersby, pedestrians, and war refugees, with models, artists, celebrities, and politicians makes for a striking contrast. All the subjects are portrayed with respect and dignity, but each showcases a level of humanity that once again proves the major similarities we share as humanity.
Irving Penn
De Young Museum | San Francisco, CA
From March 16, 2024 to July 21, 2024
Irving Penn is widely recognized as one of the 20th century’s greatest photographers. Vogue’s longest-standing contributor, Penn revolutionized fashion photography in the postwar era. Using neutral backgrounds, he emphasized models’ personalities through their gestures and expressions. The exhibition includes approximately 175 photographs, spanning every period of Penn’s nearly 70-year career. The works range from early documentary scenes, celebrity portraits, and workers with the tools of their trades to abstract nudes and fashion studies. A special section of images from San Francisco’s Summer of Love features hippies, members of the Hells Angels Motorcycle Club, and local rock bands the Grateful Dead and Big Brother and the Holding Company.
Hương Ngô: Ungrafting
Colorado Springs Fine Arts Center | Colorado Springs, CO
From March 01, 2024 to July 27, 2024
Time is crucial to Hương Ngô, who investigates the resonances of colonial histories in the present day. She explores various aspects of Vietnamese resistance to French colonialism through archival research, and activates the historical record via imagery, language, and material matter. For her first solo exhibition in Colorado, Ngô turns to a series of early twentieth-century photographs showing foreign trees and tree grafts planted in Vietnam by the French. For the artist, grafting—a procedure that involves cutting and splicing different species into a single plant—serves as a powerful metaphor for the physical violence inherent in colonialism. Ngô reproduces the archival photographs using the Van Dyke method, which was common at the time the original pictures were made, but alters the fixing process so that the new images will gradually deteriorate and darken. Accompanying the photographs are other new works by Ngô: altered reproductions of plants that were catalogued in 1919 for a French herbarium (a collection of systematically organized dried plants) and hanging fabric works with visible sutures that are treated with iron, copper, and other materials, many of which carry particular significance in the Southwest region of the United States. Like tree grafts, the tears in these works serve as a reminder of the violence of agricultural and mineral extraction; control of land, the artist proposes, is often accompanied by control over the land’s inhabitants. At the same time, the mends make visible the resistance and repair that may emerge in response to such violence. To expand on this idea, the artist will bring into the exhibition a selection of cultural heritage items from our Fine Arts Center’s permanent collection that further speak to the history of the region and its cultural intersections. Collectively, the works in the show offer a gesture of what the artist has termed “ungrafting”: a poetic decolonial methodology that weaves together networks of care across time.
Brian Taylor, The Art of Getting Lost
The Center for Photographic Art (CFPA) | Carmel, CA
From June 08, 2024 to July 28, 2024
The Center for Photographic Art is proud to present The Art of Getting Lost, an exhibition brimming with exciting ideas and photographic possibilities by Brian Taylor. Through decades of university teaching and workshops held coast to coast, Brian has long been highly regarded as an influential teacher and inspiring artist in the realm of alternative photographic processes. Join us for a broad overview of his creative explorations over 50 years, portraying his fascination with beautifully antiquated 19th century processes such as gum bichromate printing, cyanotypes and selectively toned silver prints, as well as handmade books, poetry, and mixing photography with drawing and painting. Brian aspires to create individual artworks which each contain a unique narrative— resulting in a gallery filled with stories. “My imagery is inspired by the surreal and poetic moments of living in our fast-paced, modern world. I'm fascinated by how daily life in the 21st Century presents us with incredible experiences in such regularity that we no longer differentiate between what is natural and what is colored with implausibility, humor, and irony. I savor the tactile pleasures of making art by hand and believe that certain works of art created by a human touch may contain a resonance of that touch: a discernible, lingering aura.”
Picture This: Recent Acquisitions
The San Diego Museum of Art | San Diego, CA
From March 09, 2024 to August 04, 2024
This exhibition selects from over a thousand photographs that were accepted as gifts in the last three years, leading up to the recent merging of the Museum of Photographic Arts and The San Diego Museum of Art. This combined collection now contains over fifteen thousand works of photography, video, and new media. From anonymous nineteenth-century photographers to renowned artists such as Berenice Abbott, Martín Chambi, Mary Ellen Mark, Arnold Newman, Alison Rositer, Aaron Siskind, Mike and Doug Starn, Louise Dahl Wolfe, and many more, the photographs presented here reflect a diverse range of processes spanning nearly two hundred years. Picture This: Recent Acquisitions is organized into three sections: Portraiture, Abstraction/Manipulation, and Modernism. Picture This demonstrates that a photograph is truly worth a thousand words. Sharing the work and the stories that each provide is a vital part of the nature of collecting. This exhibition looks specifically at the most recent acquisitions to the collection, the majority of which were gifted by local collectors or by the artists themselves. In particular, the Museum is grateful for the ongoing generosity of Cam and Wanda Garner, Ken and Jacki Widder, and Forrest D. Colburn. Two significant gifts were bequests, one from Lawrence S. Friedman and the other from Jerry D. Gardner. By learning about the maker along with their influences and motivations, a deeper understanding can be experienced. It was Aristotle who wrote, “Educating the mind without educating the heart is no education at all.” The core of the Picture This exhibition is to share the humanistic power of photography in all of its facets. Image: Hendrik Kerstens, Spout, 2011
Truth Told Slant: Contemporary Photography
High Museum of Art | Atlanta, GA
From March 22, 2024 to August 11, 2024
This exhibition will feature the work of Rose Marie Cromwell, Jill Frank, Tommy Kha, Zora J Murff, and Kristine Potter, five photographers who take unique approaches to documentary photography that challenge the principles of observing the contemporary world. The more than seventy-five works in the exhibition, including several from the High’s collection, exemplify a recent shift in how photographers have taken up the challenge of making meaningful images from the world around them in a lyrical way, rather than utilizing the traditional approach of a dispassionate observer. These artists consider issues that documentary photographers have grappled with for decades and that remain pertinent to contemporary American life: race and inequality; identity and sexual orientation; immigration and globalization; youth and coming of age; climate change and environmental justice; and the uncanny pervasiveness of violence. There are overlaps and intersections of these topics within each body of work as the artists address the pulse of the moment while self-consciously skirting the direct and detached methods of traditional documentary photography. Image: Jill Frank (American, born 1978), Talent Show, Noelle, 2019, pigmented inkjet print, courtesy of the artist. © Jill Frank..
Captured Earth
Museum of Contemporary Photography (MOCP) | Chicago, IL
From May 24, 2024 to August 18, 2024
Captured Earth presents works by artists who create works in photography and installation that use elements from nature to explore place, ecology, and the material and mystical qualities of the land. Depictions range from site-specific performances, including Tarrah Krajnak’s documentations of her nature-centered rituals using rocks and plant material, and Alan Cohen’s walking meditations on the equator. Other artists use natural elements to create experimental process-based works, such as Jeremy Bolen’s prints produced from film developed in a polluted river or Barbara Crane’s photographic transfers of tree bark, leaves, and fungi she gathered at her Michigan cabin retreat. Others attempt to convey things so confounding that they cannot be contained in an image, such as Penelope Umbrico’s 8,146,774 Suns From Flickr (Partial) 9/10/10, that presents an assemblage of photographs of sunsets from one day found on a photo sharing website to underscore the universal human attraction to capture the sun’s essence. Collectively, the exhibition shows ways artists grapple with creating visual language to express their connection to the earth and its magnitude. Curated by Kristin Taylor, Curator of Academic Programs and Collections.
From Alpha to Creation: Religion in the Deep South
North Carolina Museum of Art | Raleigh, NC
From February 17, 2024 to August 18, 2024
For the first time as affiliated institutions, the North Carolina Museum of Art and the Southeastern Center for Contemporary Art present a shared exhibition between both spaces, bringing awareness of global artists to audiences across our state. Examining place and theology from North Carolina to eastern Texas, From Alpha to Creation: Religion in the Deep South incorporates photography, video, and sculpture to survey various iconography and rituals throughout our landscape. The exhibition includes works by Alec Soth, Allison Janae Hamilton, Ambrose Murray, Baseera Khan, Bill Aron, Brandon Thibodeaux, Bill Aron, Burk Uzzle, Charles Edward Williams, Debbie Fleming Caffery, Deborah Luster, Earlie Hudnall Jr., Heather Baebii Lee, Jamal Cyrus, Jeffrey Gibson, Keni Anwar, Linda Foard Roberts, Logan Lynette Burroughs, Margaret Sartor, Ralph Burns, and Titus Brooks Heagins. Organized by the North Carolina Museum of Art. This exhibition is made possible, in part, by the North Carolina Department of Natural and Cultural Resources; the North Carolina Museum of Art Foundation, Inc.; and the William R. Kenan Jr. Endowment for Educational Exhibitions. Research for this exhibition was made possible by Ann and Jim Goodnight/The Andrew W. Mellon Foundation Fund for Curatorial and Conservation Research and Travel.
Vivian Maier Unseen
Fotografiska New York | New York, NY
From May 30, 2024 to August 31, 2024
Born in New York in 1926, Vivian Maier spent her early years in the Bronx. Throughout her years in New York City, she began to photograph and build her visual language, all while working as a nanny. Nearly a century later, Maier now figures in the history of photography alongside the greatest masters of the twentieth century. Unseen focuses on the whole of her work, from the early 1950s to the mid-1980s, through around 200 works, vintage or modern prints, color, black and white, super 8 films and soundtracks, offering a complete vision of the dense, rich and complex architecture of this archive that provides a fascinating testimony to post-war America and the hell of the American dream. The exhibition is organized by diChroma photography and Fotografiska New York, in collaboration with the John Maloof Collection, Chicago, and the Howard Greenberg Gallery, New York. Presented for the first time at Musée du Luxembourg, Paris, from September 15th, 2021 to January 16th, 2022, the exhibition was co-organized by diChroma photography and the Réunion des musées nationaux Grand Palais. The exhibition is supported by Women In Motion, a Kering program that shines a light on the talent of women in the fields of arts and culture.
Tyler Mitchell: Idyllic Space
High Museum of Art | Atlanta, GA
From June 21, 2024 to October 27, 2024
Atlanta native Tyler Mitchell (born 1995) ascended to global prominence when he photographed Beyoncé for the September 2018 issue of Vogue — the first Black artist to shoot the cover in the magazine’s history. This summer, the High will present a major exhibition featuring his seamless blend of fine art and fashion photography, along with a new photo-sculptural artwork. In his practice, he centers Black self-determination and empowerment with affirmative images of people who are often shown enjoying the freedom of leisure, play, and recreation. This homecoming exhibition will feature more than thirty photographs considering his examination of themes such as masculinity, motherhood, domesticity, rest, and the natural world. The playfully theatrical, expressive works explore style, beauty, and identity and delve into the profound themes of family and connection, capturing not just moments but the essence of relationships, as they weave a narrative of love, intimacy, and shared experiences. Image: Ancestors, 2021, archival pigment print, courtesy of the artist © Tyler Mitchell.
An-My Lê  Between Two Rivers
The Museum of Modern Art - MoMA | New York, NY
From November 05, 2023 to November 16, 2024
For 30 years, the photographs of artist An-My Lê have engaged the complex fictions that inform how we justify, represent, and mythologize warfare and other forms of conflict. Lê does not take a straightforward photojournalistic approach to depicting combat. Rather, with poetic attention to politics and landscape, she meditates on the meaning of perpetual violence, war’s environmental impact, and the significance of diaspora. “Being a landscape photographer,” she has said, “means creating a relationship between various categories—the individual within a larger construct such as the military, history, and culture.” An-My Lê: Between Two Rivers/Giữa hai giòng sông/Entre deux rivières is the first exhibition to present Lê’s powerful photographs alongside her forays into film, video, textiles, and sculpture. Never-before-seen embroideries—some large scale, others the size of a laptop screen—and rarely shown photographs from her Delta and Gabinetto series explore the relationship between mass media, gender, labor, and violence. And an immersive installation created especially for the exhibition attests to the artist’s long-standing consideration of the cinematic dimensions of photography and war. Born in Vietnam in 1960, Lê came to the United States in 1975, after the fall of Saigon, as a political refugee. The two rivers in the exhibition’s title refer to the Mekong and Mississippi river deltas, to Vietnam and the United States. The phrase also gestures toward other subjects that Lê has inflected with her own experiences of war and displacement, from the Seine, to the Hudson River, to the Mexican-American border along the Rio Grande. It is a metaphor that invites viewers to reflect on the circularity of time and history, the layering of disparate geographies, and the intimacies that paradoxically grow out of conflict.
Laura Aguilar: Nudes in Nature
Phoenix Art Museum | Phoenix, AZ
From December 12, 2023 to November 17, 2024
Laura Aguilar: Nudes in Nature showcases photographic works by a groundbreaking yet underrecognized artist who challenged perceptions of beauty by examining the female body in dialogue with the natural world. Born and raised in California’s San Gabriel Valley, Laura Aguilar created photographic representations of historically excluded and marginalized groups of women from various communities across Los Angeles. She eventually turned the camera on herself to consider the multitude of factors that defined her own identity as a Chicana and a lesbian who lived in poverty and with depression and learning disabilities. Later in her career, Aguilar began to capture intimate portraits of nude, large-bodied women in natural settings. She created various series within this framework to highlight the inherent connections between nature and the female form. Laura Aguilar: Nudes in Nature brings together nearly 60 photographic works from the most-recognized of those series, including Nature Self-Portrait (1996) Stillness (1999) Motion (1999) Center (2000–2001) and Grounded (2006–2007). Featured works either directly explore the relationship between physical features of the body and the landscape or adopt an abstract approach. Exhibited in conversation, they encourage reflection on the ways female bodies are perceived within the natural world in comparison to how they are viewed in social and cultural spaces. All of the images in Nudes in Nature were made in the Southwestern region of the United States. With this particular backdrop, the exhibition provides a unique opportunity to consider Aguilar’s trailblazing work within the context of our desert region. Image: Motion #59, 1999 © Laura Aguilar Trust of 2016
Star Power: Photographs from Hollywood’s Golden Age by George Hurrell
National Portrait Gallery | Washington, DC
From March 01, 2024 to January 05, 2025
Widely regarded as the preeminent Hollywood portrait photographer of the 1930s and 1940s, George Hurrell (1904–1992) created definitive, timeless images of many of the most glamorous figures of filmdom’s golden era. Hurrell began his Hollywood career in 1930 as a photographer for Metro-Goldwyn-Mayer, the studio (founded in 1924) that claimed to have “more stars than there are in heaven.” With a keen eye for lighting effects and artful posing, he developed a style of presentation that magnified the stars and influenced popular standards of glamour. Advancing rapidly to become MGM’s in-house portraitist, he produced memorable images of film royalty, from Joan Crawford and Clark Gable to Spencer Tracy and Greta Garbo. He established his own studio on Sunset Boulevard in 1933, where he continued to photograph actors for MGM as well as those under contract with other major studios. After closing his studio in 1938, Hurrell concluded the decade as the head of photography for Warner Bros. Selected from the National Portrait Gallery’s collection by senior curator of photographs Ann Shumard, this exhibition features golden-era portraits that reveal Hurrell’s skill in shaping the images of Hollywood’s brightest stars.
Louis Carlos Bernal: Retrospectiva
Center for Creative Photography | Tucson, AZ
From September 14, 2024 to January 25, 2025
Born in 1947 in Douglas, Arizona, and based in Tucson, Louis Carlos Bernal was a pioneering Chicano photographer, among the very first to envision his work in the medium not as documentation, but as an art form. He began his career in the early 1970s in the wake of the Chicano civil rights movement, articulating a quietly political approach to photography with the aim of heralding the strength, spiritual and cultural values, and profound family ties that marked the lives of Mexican Americans who were marginalized and little seen. Initially focusing on the people of modest means he encountered in the barrios of Tucson, the city where he lived and taught, Bernal eventually traveled to small towns throughout the Southwest, where he portrayed individuals and families in outdoor settings or in their homes surrounded by belongings, tabletops filled with religious statuary and curios, and at times, rooms absent of people that nevertheless express the tenor of the lives lived within them. In a relatively short career that spanned the 1970s and 1980s, Bernal demonstrated his profound gift for magnifying the lives of his subjects and for capturing the essence of their character in a single image. In addition to the photographs made in Southwestern barrio communities, the exhibition will also include examples of Bernal’s early experimental work, photographs he made during his frequent trips to Mexico, and a selection of never-seen images he produced in Cuba. It is curated by Elizabeth Ferrer, a specialist in the history of Latinx photography, and will be accompanied by a catalog to be co-published by the Center for Creative Photography and Aperture. Image: ​​Louis Carlos Bernal, El Gato, Canutillo, New Mexico, ​1979, Gift of Morrie Camhi, ​© Lisa Bernal Brethour and Katrina Bernal
Brilliant Exiles: American Women in Paris, 1900–1939
National Portrait Gallery | Washington, DC
From April 26, 2024 to February 23, 2025
Through portraiture and biography, “Brilliant Exiles: American Women in Paris, 1900–1939” illuminates the accomplishments of sixty convention-defying women who crossed the Atlantic to pursue personal and professional aspirations in the vibrant cultural milieu of Paris. As foreigners in a cosmopolitan city, these “exiles” escaped the constraints that limited them at home. Many used their newfound freedom to pursue culture-shifting experiments in a variety of fields, including art, literature, design, publishing, music, fashion, journalism, theater and dance. An impressive number rose to preeminence as cultural arbiters, not merely participating in important modernist initiatives but orchestrating them. The progressive ventures they undertook while living abroad profoundly influenced American culture and opened up new possibilities for women. “Brilliant Exiles” highlights the dynamic role of portraiture in articulating the new identities that American women were at liberty to develop in Paris. “Brilliant Exiles” is the first exhibition to focus on the impact of American women on Paris – and of Paris on American women – from the turn of the 20th century until the outbreak of World War II. Included will be portraits of cultural influencers, such as Josephine Baker, Isadora Duncan, Zelda Fitzgerald, Loïs Mailou Jones, Edna St. Vincent Millay, Anaïs Nin, Gertrude Stein, Ethel Waters, and Anna May Wong. The exhibition is curated by Robyn Asleson, curator of prints and drawings, and will be accompanied by a major catalogue, published by the National Portrait Gallery and Yale University Press. Image: Josephine Baker by Stanislaus Julian Walery, Gelatin silver print, 1926 / National Portrait Gallery, Smithsonian Institution
Powerful Partnerships: Civil War-Era Couples
National Portrait Gallery | Washington, DC
From July 01, 2022 to May 18, 2025
Long before the term “power couple” found its way into English lexicon, dynamic duos had been making their mark on U.S. history. “Powerful Partnerships: Civil War-Era Couples” sheds light on the stories and faces of five couples whose work and lives shaped the nation around them during tumultuous times. Featuring photography by the iconic Mathew Brady Studio, the exhibition introduces visitors to the exploits of Nathaniel and Mary Banks, John and Jessie Frémont, Ulysses and Julia Grant, George and Ellen McClellan, and Charles and Lavinia Stratton (better known to the public as Mr. and Mrs. Tom Thumb).
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