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The Polaroid Project: At the Intersection of Art and Technology

From October 11, 2019 to June 21, 2020
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The Polaroid Project: At the Intersection of Art and Technology
265 Massachussetts Avenue
Cambridge, MA 02139
In its heyday, Polaroid and its products were loved by millions of amateurs and embraced by countless professionals. ThePolaroidProject tells the fascinating and instructive story of the Polaroid company, and presents all aspects of Polaroid photography, including the technology that made it possible. After traveling around the world, this critically acclaimed exhibition will make a stop at the MIT Museum, approximately a block from where instant film was first invented.

This unique exhibition explores various dimensions of the art-technology relationship through the exhibition of both art and artifacts. Featured will be over two hundred original works by 120 artists, including Ansel Adams, Chuck Close, Barbara Crane, Harold Edgerton, Walker Evans, Hans Hansen, David Hockney, Dennis Hopper, Gyorgy Kepes, Robert Mapplethorpe, Robert Rauschenberg, Andy Warhol, and William Wegman. The exhibition also showcases more than 75 artifacts--including cameras, prototypes, experimental films and other technical materials--from the MIT Museum's own historic Polaroid collection.

Due to the sensitivity of the photographs, the exhibition will be shown in two parts, with a complete re-installation mid-way through.
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Exhibitions Closing Soon

Fresh 2020 Exhibition
New York, NY
From September 09, 2020 to October 10, 2020
We are thrilled to announce the 5 exhibitors for the Fresh 2020 Annual Summer Exhibition. Congratulations to all selected. The calibre of entries was outstanding, making the selection process challenging and highly competitive. The exhibiting photographers, also now form the shortlist for the 2020 Rhonda Wilson Award, which will be announced on August 1st. Please join us at the Klompching Gallery in the Fall, when the exhibition will open to the public with an Opening Reception on Thursday, September 10th.
Easton Nights: Peter Ydeen
Millersville, PA
From September 14, 2020 to October 15, 2020
Easton Nights is a story about small town America as told by Peter Ydeen’s night time photographs. The Lehigh Valley, where Easton lies, has close to a million people but almost no real downtwon; but instead a sea of small towns which have grown together. It has its own personality, serving as a living museum of small town Americana.
Julie Blackmon: Talent Show
New York, NY
From March 02, 2020 to October 17, 2020
Robert Mann Gallery is pleased to present, Talent Show, an exhibition that draws from Julie Blackmon's latest collection of theatrical photographs. There is a dreamlike quality to Blackmon's imagery. Children live, play, grow bored, make up stories, act them out and play some more, as if unaware of the camera, while the artist devises a tableau of domestic entropy. Blackmon says,"I compare [my work] sometimes to fiction and literature; sometimes the greatest truth can come out of fiction." Drawing influence from her own family life, the Dutch master Jan Steen and French modernist painter, Balthus, Blackmon creates photographs that have an air of a past era - perhaps the 1950's or '60s - yet her use of 21st-century iconography, such as a perfectly placed iPhone recording a makeshift Talent Show, tells us that they are quite contemporary. Blackmon sets her scenes in familiar environments like a backyard bathing session or a fixer upper house and sometimes with multiple competing narratives at once. She focuses on children and families that are imbued with personality, yet overtaken by the haphazardness of child-rearing despite all the best-laid plans. Julie Blackmon lives and works in Springfield, Missouri. The artist's work is found in numerous museums and public collections including the George Eastman House; Nelson Atkins Museum of Art; Museum of Fine Arts, Houston; Kemper Museum of Contemporary Art, Kansas City; the Portland Art Museum; and the Musée Français de la Photographie in Bièvres, France. She was named American Photo's "Emerging Photographer of 2008" and one of PDN's "30 New and Emerging Photographers" in 2007, and has been the recipient of various awards including first prize from The Santa Fe Center for Photography in the Project Competition in 2006. Blackmon has had two monographs published, the first of which sold out, Domestic Vacations (Radius Books, 2008) and Homegrown (Radius Books co-published with Robert Mann Gallery, 2014). The exhibition coincides with Julie Blackmon's Fever Dreams at Fotografiska New York, March 5 - May 3, 2020, organized by Grace Noh in collaboration with Robert Mann Gallery and the artist. Fever Dreams presents a selection of photographs from Blackmon's Homegrown series as well as more recent works. Her photographs are updated with a satirical, penetrating eye and Blackmon's belief that artful fiction can capture the truth more memorably than the truth itself. "I deeply admire the photojournalism of Robert Frank, Diane Arbus and Garry Winogrand. But I am not practicing journalism, and I do not use my camera as those photographers did. I think of myself as a visual artist working in the medium of photography, and my assignment is to chart the fever dreams of American life."
Alisson Rossiter: Substance of Density 1918-1948
New York, NY
From March 06, 2020 to October 17, 2020
Yossi Milo Gallery is pleased to present an exhibition of new camera-less photographs by Alison Rossiter. Substance of Density 1918-1948 presents a chronology of assemblages made from expired photographic papers in the artist's collection. Through rigorous grouping and presentation, Rossiter constructs a photographic tonal narrative through three specific decades of the 20th century. The exhibition will open on Friday, March 6 with a reception for the artist and book signing from 5:30 - 8:00pm, and will be on view through Saturday, May 2. This is the artist's third exhibition at the gallery. The archive of expired photographic papers collected by Rossiter is the resource for her work. Since 2007 she has gathered over two thousand packages of paper dating from the 19th and 20th centuries, many of which have an expiration date stamped on the product box or envelope as a marker of quality assurance backed by the manufacturer. Even in dark storage each package of paper reacted to its surroundings over time. No matter what the light sensitive silver gelatin materials endured through their dormant years, they still respond to chemical development. Physical damage, mold, and atmospheric pollution form latent images in the photographic emulsion coating on the papers and become visible when processed in a darkroom. The artist considers these effects to be subject matter. The resulting photographic tones are evidence of experience and records of time. Substance of Density 1918-1948 involves the period when art movements responded to the social, political, and intellectual upheaval across nations after World War I. Dadaism, Surrealism, Suprematism, and Constructivism flourished. Influential art education thrived at the Bauhaus in Germany from 1919 through 1933 and Vkhutemas, the Russian state art and technical school in Moscow, operated from 1920 through 1930. Each of the assembled pieces in Substance of Density 1918-1948 is made with prints manufactured from the time period noted in its title. The assemblages are composed of the rarest samples of expired paper from the artist's archive, with emphases on the time in history that each sheet of paper represents. The expiration dates pinpoint their locations on a timeline and coexist with events in world history. For example, in 1919, the Bauhaus is founded in Weimar, Germany; the New York Wall Street Crash begins a worldwide economic crisis in 1929; the Summer Olympics are held in Berlin, Nazi Germany in 1936; in 1945, the Second World War ends. In addition to the assemblages, Substance of Density 1918-1948 includes three prints from a large roll of Gevaert Gevaluxe Velours paper from the 1930s that was given to Rossiter by the Belgian artist Pierre Cordier who, in turn, was gifted this paper by his friend the Belgian photographer Joseph Cayet (1907 - 1987). The exhibited works reflect Rossiter's chronological and thematic continuation of Compendium 1898-1919, twelve sets of gelatin silver prints included in Anna Atkins Refracted: Contemporary Works at New York Public Library, from September 28, 2018 - January 6, 2019, and subsequently acquired by the library for inclusion in their permanent collection. A new monograph, Compendium 1898-1919, featuring all twelve works from the series reproduced at actual scale, will be released in spring 2020, co-published by Radius Books/New York Public Library/Yossi Milo. This book will debut during the Paris Photo New York art fair presented with AIPAD in New York City, from April 2-5, 2020. Rossiter's first monograph, Expired Paper (2017, Radius Books/Yossi Milo), was nominated for Paris Photo-Aperture Foundation's 2017 PhotoBook of the Year, and will be available at the gallery during the artist's book signing on March 6, 5:30 - 8:00pm. Alison Rossiter's photographs are in the collections of major public institutions, including the National Gallery of Art, Washington, D.C.; New York Public Library; Israel Museum, Jerusalem; Carnegie Museum of Art, Pittsburgh; Art Institute of Chicago; Philadelphia Museum of Art; Minneapolis Institute of Arts; Museum of Fine Arts, Houston; Museum of Contemporary Photography, Chicago; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; National Gallery of Canada, Ottawa; and the J. Paul Getty Museum, Los Angeles. Rossiter was born in Jackson, Mississippi in 1953 and currently lives and works in the New York City metropolitan area.
Pantea Karimi: The Unbearable Lightness Of Mathematics
Oakland, CA
From September 11, 2020 to October 17, 2020
Since 2014, Pantea Karimi's work has been an exploration into the pages of medieval and early modern scientific manuscripts. Karimi's infatuation with science harkens back to a four-year science training in high-school with the aim of becoming a doctor; a goal that she abandoned to pursue an art career. For her solo exhibition, The Unbearable Lightness of Mathematics, Karimi has made a series of mock blackboards animated by mathematical formulas in white chalk, topped with the phrase, In the Name of God, as well as the iconic headshots of Iran's revolutionary leaders. Coupled with "forbidden" objects that she was not supposed to carry in her school, mounted in the gallery, Karimi reconstructs the classroom of her science school in Iran. While a personal story, this "total work of art" connotes an oppressive educational system that did not leave any room for artistic and humanistic explorations. The paucity of the latter subjects is captured through the gradual fading of the contents of the mock blackboards into pure white. Mathematics was, indeed, too abstract and aloof to stimulate the articulation of subversive thoughts, artistic sentiments, and socio-political views. Unbearably "light" for the "heavy" atmosphere in which it was celebrated, mathematics is both the agonizing and the celebrated protagonist in this exhibition. PANTEA KARIMI is an Iranian-American multidisciplinary artist, based in the San Francisco Bay Area. Her works explore the intersection of art, history and science and examine how the broader aesthetic considerations of science are closely related to art. Utilizing conceptual and visual interpretations from her research, she creates individual bodies of artwork using interactive installations, VR, silkscreen, digital illustrations, and prints. Pantea Karimi has exhibited her works in diverse solo, group and traveling exhibitions in Iran, Algeria, Germany, Croatia, Mexico, the UK, and the United States. Her works are held in private and public collections and have been featured in several publications in Iran, Italy, Croatia, the UK and the United States. She is the recipient of the 2019 City of San Jose Arts and Cultural Exchange Grant; the 2019 Silicon Valley Artist Laureates Award; and the 2017 Kala Fellowship-Residency Award.
Displacements and Dead Trees
New York, NY
From September 10, 2020 to October 17, 2020
Miguel Abreu Gallery is pleased to announce the opening, on Thursday, September 10th, of Eileen Quinlan and Cheyney Thompson's two-person exhibition, Displacements and Dead Trees. The show will be held at our 36 Orchard Street location, while Dawn Goes Down, Quinlan's concurrent solo exhibition will be on view at our 88 Eldridge Street location. Eileen Quinlan's sequence of new, mostly black and white photographs of trees and scenes from nature is here presented in dialogue with a suite of paintings by Cheyney Thompson from his recent Displacement series. The exhibition inaugurates this new body of work comprised of medium-scaled, chiefly black and white works, which the artist has developed over the past year. As a dedicated literalist operating in the tradition of 'what you see is what you get' in painting, Thompson tends to astutely foreground the layers that participate in the subtle articulation of his works. Perhaps at no time in his career, however, has this plain truth and disposition been more nakedly visible and generously functioning than in this Displacement series. An initial layer of sprayed gesso is applied to the support, before a stencil made of small squares in grid formation is affixed to the linen and painted black, thus activating the retinal dimension of the flat surface. This simple and fundamental structure, one steeped in the history of art and of Thompson's medium of choice, then becomes the ground for gestures of material and graphic displacement, for attempts at discrete acts of liberation from the imposed arrangement made possible by the very paired down elements at hand. A snake-like silicone tool is used to at times extend squares into lines, at others initiate more dramatic painterly movements and smear effects. Surprising shapes of varied intensities ensue from these decidedly physical processes that always leave in plain sight the trace of their own making. Forms often seem to float in a state of suspension and produce illusions of three dimensional space, a space that remains directly connected, however, to its two dimensional sources. Finally and unexpectedly, as the insistent eye wonders and lingers upon these works, the contours of recognizable things, as if by chance, might begin to appear: a falling bird here, a tree trunk and a branch there. In one of the paintings, a yellow gradient is introduced like an intrusion of color from the outside. Allegorically speaking, if the notion of displacement can suggest the unwarranted movement of objects all the way indeed to that of actual people, as it obviously does today, Thompson reminds us with these at once humble and compellingly executed paintings that it is feasible, in art, to mentally as well as materially escape from established formal circumstances. And as is well known, art at its best is an invitation to see something new that can be turned, eventually, into a model for decisive action. On the far back wall of the gallery, installed adjacent to the final painting in the show, is Quinlan's close up picture of the doubly exposed bark of a tree. The lush and luminous black and white photograph, printed on fiber paper, veers towards abstraction and produces a haptic sensation that today few paintings are able achieve. Perpendicular to it hangs a glorious vertical winter landscape with the sun glaring through tree branches and into the camera. To the right, further, appears the only color photograph in the space, a faded image of foliage against the sky. The installation concludes with the outcome of a broken process, that of an old Polaroid film sliding in and out of a camera and failing to get exposed to what lies in front of it. What instead appears to the viewer resembles a sand dune in the desert, a mirage of a place on earth where mirages are expected to occur. There is a sense of melancholia emanating from Quinlan's diverse, yet thematically consistent installation across both spaces. If an elegiac determination to capture particular fragments of our endangered planet, as well as to reveal and manipulate the chemical and electronic processes of the photographic remain firmly in place, a feeling of uncertainty emerges as to whether the means at the artist's disposal can offer much more than their very limitation in manifesting slices of life in the universe.
It Comes in Many Forms
Providence, RI
From May 15, 2020 to October 18, 2020
It Comes in Many Forms: Islamic Art from the Collection presents textiles, decorative arts, and works on paper that attest to the pluralism of Islam and its expressions. From an Egyptian textile fragment dating to the 1100s to a contemporary woman's top by the Paris-based designer Azzedine Alaïa, 30 objects offer explorations into migration, diasporas, and exchange and suggest the difficulty of defining arts from a transnational religious viewpoint. This exhibition includes several works from the RISD Museum collection that have never been displayed before. RISD Museum is supported by a grant from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly and a grant from the National Endowment for the Arts, and with the generous partnership of the Rhode Island School of Design, its Board of Trustees, and Museum Governors.
Working Together: Louis Draper and the Kamoinge Workshop
Richmond, VA
From February 01, 2020 to October 18, 2020
Inspired by the archive of Richmond native Louis Draper, VMFA has organized an unprecedented exhibition that chronicles the first twenty years of the Kamoinge Workshop, a group of African American photographers he helped to found in 1963. More than 180 photographs by fifteen of the early members-Anthony Barboza, Adger Cowans, Danny Dawson, Roy DeCarava, Louis Draper, Al Fennar, Ray Francis, Herman Howard, Jimmie Mannas Jr., Herb Randall, Herb Robinson, Beuford Smith, Ming Smith, Shawn Walker, and Calvin Wilson-reveal the vision and commitment of this remarkable group of artists. When the collective began in New York City, they selected the name Kamoinge, which means “a group of people acting and working together” in Gikuyu, the language of the Kikuyu people of Kenya. They met weekly, exhibited and published together, and pushed each other to expand the boundaries of photography as an art form during a critical era of Black self-determination in the 1960s and 1970s. The group organized several shows in their own gallery space, in addition to exhibitions at the Studio Museum in Harlem and the International Center for Photography. They were also the driving force behind The Black Photographers Annual, a publication founded by Kamoinge member Beuford Smith, which featured the work of a wide variety of Black photographers at a time when mainstream publications offered them few opportunities. In the continuing spirit of Kamoinge, Shawn Walker, Beuford Smith, Herb Robinson, and Tony Barboza have also made significant archival contributions and are among the nine members who recorded oral histories to provide the fullest account of the group's first two decades. In addition, through a generous grant from the National Endowment of the Humanities, VMFA has digitized the Draper archive-which will be available online.
Palm Springs: Modern Dogs at Home Nancy Baron
Winchester, MA
From September 05, 2020 to October 23, 2020
In good times and bad, our best friends are there for support, therapy, and unconditional love. Especially now-where would we be without our dogs? Although the so-called modernists of Palm Springs embrace the serenity of life in post WWII America, the sometimes-harsh realities of contemporary life are impossible to ignore. These mid twentieth century re-enactors are often transplants, enjoying the Palm Springs lifestyle with their dogs and friends as their chosen family. The beautiful climate, wide-open spaces, and clean décor make the perfect home for their desert pets that are as lovingly groomed and cared-for as their surroundings. For the many years that Palm Springs has been my second home, I've been documenting the endlessly intriguing lifestyle beyond its resorts. As a Chicago native, my fascination and appreciation for this desert oasis is magnified and unwaning. The community has welcomed my camera and me into their homes, perfect odes to mid century modern American design. The dogs of the house often follow me around and wander into my camera frame, adding warmth and life to the image as they do to their homes. In these pages I have put these precious pups in the spotlight where they belong. NB
Cani di Roma: Rick Ashley
Winchester, MA
From September 05, 2020 to October 23, 2020
My first formal introduction to photography came after college. That first summer I enrolled in a class at the New England School of Photography, aka NESOP. My instructor, Barry Kiperman, who had spent time with Walker Evans while at Yale, insisted that I take a weekend workshop with a guy named Gary Winogrand. By Monday I was looking to sell my car so that I could buy a Leica. By the time I had (almost) completed the two year program at NESOP I was assisting numerous Boston photographers, starting my own commercial studio, and shooting on the street whenever possible with yes, a Leica. Forty-five years later, after the commercial work, after the teaching, I still prefer the street. Since 1973, I have been returning to Rome, Italy. There was the summer school and fall semester at Trinity College; the travel passes from my wife, a Delta flight attendant; and the 2004 high school semester with my youngest daughter, after the fire that destroyed my studio. Now, that same daughter has been living in Rome for over a decade. Not that I ever needed an excuse, but it is a delight to visit family (often with family) and spend multiple weeks photographing my favorite city. The ever present dogs in Rome have always found their way into my photographs, but in the last few years the dogs have become principle actors. One year ago, Paula reviewed a book I produced of Roman photographs: "Roman Haikus: I-III". Knowing of her love of dogs, I also brought along a small box of dog photographs from Rome. After viewing the Haikus, she looked through the box of 5X7 dog prints and said, "I want to show these next year, this size, no frames, and in this room." And here we are. Thank you Paula! - RA
Lacus Plasticus: Ryan Zoghlin
Winchester, MA
From July 13, 2020 to October 23, 2020
For almost 40 years, I've been sailing off the beaches of Lake Michigan. As a kid and now a father with children, I've always loved the shore. As time has marched on, I've noticed the increase in plastics on the beach year after year. A few years ago, I started collecting and disposing of the plastic bits I would find. Now I collect plastic to create photogram photographs. The images depict plastic parts and pieces as underwater creatures. The pieces dramatize, for now, a fictitious state where plastics displace nature. I've been calling this series, "Lacus Plasticus". RZ
The 2020 Arnold Newman Prize For New Directions in Photographic Portraiture Exhibition
Winchester, MA
From October 01, 2020 to October 23, 2020
Jon Henry Awardee, Finalists Michael Darough, Rubén Salgado Escudero and Priya Kambli The Arnold Newman Prize for New Directions in Photographic Portraiture is a $20,000 prize awarded annually by Maine Media Workshops + College to a photographer whose work demonstrates a compelling new vision in photographic portraiture. In addition to the winner, the jury selects three finalists each year who are invited to participate in an exhibit at the Griffin Museum of Photography. Jon Henry is the recipient of 2020 Arnold Newman Prize, one of the nation's largest in the world of photographic portraiture. Provoking timely themes of family, socio-political issues, grief, trauma, and healing within the African American community, Henry's work will be on View at The Griffin Museum from October 1 through 23, 2020 Henry's award-winning work entitled Stranger Fruit was created in response to the senseless murders of black men across the nation by police violence. According to his artist statement, "Even with smart phones and dash cams recording the actions, more lives get cut short due to unnecessary and excessive violence." About the Winner: Jon Henry is a visual artist who works with photography and text. He is from Queens, NY and currently living in Brooklyn. His work has been published both nationally and internationally and exhibited in numerous galleries including Aperture Foundation, Smack Mellon, and BRIC among others. Known for the cultural activism in his work, his projects include studies of athletes from different sports and their representations. He was recently named one of LensCulture's Emerging Artists for 2019, an En Foco Fellow for 2020 and he has also won the Film Photo Prize for Continuing Film Project sponsored by Kodak. In this series, Henry photographs mothers with their sons in their environment, reenacting what it must feel like to endure this pain. "The mothers in the photographs have not lost their sons, but understand the reality that this could happen to their family," Henry explains. "The mother is also photographed in isolation, reflecting on the absence. When the trials are over, the protesters have gone home and the news cameras gone, it is the mother left. Left to mourn, to survive." The title of the project is a reference to the song "Strange Fruit." Instead of black bodies hanging from the Poplar Tree, "these fruits of our families, our communities, are being killed in the street." About the Award: The Prize is funded by the Arnold and Augusta Newman Foundation and administered by Maine Media Workshops + College. The influential and revered photographer and educator, Arnold Newman, enjoyed a decades' long association with Maine Media, where he taught numerous photographic workshops over the years. The Arnold and Augusta Newman Foundation has continued his legacy at the College, supporting scholarships, media production, a distinguished lecture series, and the prestigious Arnold Newman Prize in Photographic Portraiture, a cash prize of $20,000 accompanied by an exhibition awarded annually to a photographer whose work demonstrates a compelling new vision in photography." About the Selection Process: Selected by a jury of world-renowned photographers Makeda Best (Richard L. Menschel Curator of Photography at Harvard University), Aline Smithson (Los Angeles based visual artist, educator, and editor), and Dan Winters (award-winning portrait photographer, illustrator, filmmaker, and writer), each juror brought to the selection process a unique perspective guided by distinguished insight, analysis, and integrity. The winner and finalists for the 2020 Arnold Newman Prize in Photographic Portraiture are invited to participate in a museum exhibition. The finalists this year include The Talk by Michael Darough, Solar Portraits by Rubén Salgado Escudero, and Buttons for Eyes by Priya Kambli.
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