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LOST Carmel, curated by Kris Graves

From January 11, 2020 to February 23, 2020
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LOST Carmel, curated by Kris Graves
San Carlos and 9th
Carmel, CA 93921
LOST artists include Saleem Ahmed, Tim Carpenter, Nelson Chan, Isaac Diggs, Kris Graves, Sergio A. Fernández, Mercedes Jelinek, Shane Lavalette, Zun Lee, Andrea Modica, Wendy Red Star, Griselda San Martin, Steven B. Smith, Aline Smithson, Jules Slütsky, Jared Soares, Young Sohn, Shawn Theodore, Giovanni Urgelles, and Cristina Velásquez.
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Issue #16
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Exhibitions Closing Soon

Out of the Shadows: Contemporary Chinese Photography
San Diego, CA
From March 07, 2020 to May 22, 2021
Inspired by the last three decades of China's dynamic development, Out of the Shadows: Contemporary Chinese Photography features Chinese artists who question traditional aesthetics, local and global histories, and the photographic medium. Each featured artist has found his/her artistic voice by not only questioning traditional Chinese aesthetics but also challenging conventional expressions of the photographic medium. The show's selected contemporary Chinese artists, many of whom have never been exhibited in an American museum before, all continue to push the boundaries of photographic art with new technologies and innovative perspectives. The exhibition is curated by Tiffany Wai-Ying Beres, an art historian and Asian art specialist previously based in Beijing for nearly a decade, and who has curated over thirty exhibitions around the world. Artists included in the exhibition are Lang Jingshan (1892-1995), Chu Chu, Hong Lei, Ni Youyu, Shao Wenhuan, Shi Guorui, Wang Ningde, Yang Fudong, and Yang Yongliang. A catalog published by the Museum of Photographic Arts will accompany the exhibition.
Illusion: The Magic of Motion
San Diego, CA
From February 11, 2020 to May 22, 2021
Did you know that the idea for the camera existed 2,000 years before photography was invented? That the Chinese invented eyeglasses 300 years before they appeared in Europe? Or that photographs of a galloping horse captured the stages of motion for the first time? Illusion: The Magic of Motion explores how photography was not suddenly discovered but came about as a result of several centuries of scientific and artistic explorations into light, optics, and perception. Artworks in the exhibition show the invention of cinema, works created through perspective and anamorphosis, the magic of shadow puppets, and how the human eye perceives motion. Artists in the show include historic photographers Eadweard J. Muybridge, Berenice Abbot, Phillip Leonian, and Harold “Doc” Edgerton, and contemporary photographers Ori Gersht, Eric Dyer, and Luis González Palma.
Ernest Knee: Photographs from the Southwest and Mexico 1930 - 1940
Santa Fe, NM
From April 16, 2021 to May 22, 2021
We are thrilled to share an exhibition of vintage photographs by Ernest Knee, a well-known photographer and cultural figure who lived in Santa Fe in the 1930's and 1940's. Knee is best known for his images of northern New Mexico and other southwestern cultural landscapes, Native American dances, and many other profound Southwest locations which reveal a remarkable visual record of the Southwest between 1930-40, comprised into two books: Santa Fe, N.M. (1942, Hastings House) and Ernest Knee in New Mexico (2005, Museum of New Mexico Press). Also included in the exhibition will be a selection of photographs from Mexico of which were published in his book, Mexico - Laredo to Guadalajara (1951, Hastings House). Ernest Knee was born in 1907 in Montreal, Canada. Ernest descended from a long line of boat builders, fishermen, and sea captains and wound up serving in the Canadian marines at 19, also the same time he got his first Eastman folding camera. Ernie had contracted rheumatic fever at age 11 and while he did recover, he felt the long-term effects of the disease throughout his life. A few years later he contracted tuberculosis and after this time he and his mother moved to Tucson so he could recover and gain back strength. Once healed, his mother moved back to Canada and it was at this time, around 1930, that Ernie met his first love and eventual wife, Virginia Shnaufer, who was an artist and nurtured his photography. That following year they moved to Santa Fe, New Mexico, a place in which held a vision for him of something unaffected and pure, where one could live a simpler life. In 1916, Taos became a central hub for artists, where Mabel Dodge Luhan and her husband from Taos Pueblo, Tony Luhan had created an incredible residency of sorts for artists from all disciplines all over the country to visit and create. They hosted writers, artists and musicians such as Mary Austin, Willa Cather, DH Lawrence, George O'Keeffe, Leopold Stokowsky, and photographers including Edward Weston, Paul Strand, and Ansel Adams. Oftentimes Ernie was aided in his quest for pictures by Tony Luhan, who had friends everywhere and often drove Mabel's guests to one pueblo or another as guide and interpreter and he photographed the traditional dances, costumes, and people of the Indian Pueblos. His photos of the Devil Dancers at Zia Pueblo were the first record of their dance and were published in Life magazine in 1937. Good-humored and hospitable, the Knees had many visitors stay with them in their house on Camino Del Monte Sol, among them Edward Weston whom Ernie first met in 1932 through Willard Nash. Weston became a great friend and would use Ernie's darkroom when he was in town. "Ford gave him a car when he worked for them," Ernie said. "We would drive all over the countryside, stop, get out of the car at the same time, and always stand back to back, shooting in opposite directions." Perhaps intrigued and encouraged by Paul Strand and Edward Weston who had gone to Mexico before him, Ernie decided to set off and see some of that great country for himself in 1941. He focused on a route that led from Laredo to Guadalajara, taking in the sights and old settlements of Monterrey and Villagran, then veered southwest through the mountains to the Valley of Mexico, and finally went west through Morelia and Chapala. He noted with pleasure the relaxed pace of life enjoyed by the Mexicans and their attunement with nature, the pyramids of Teotihuacan, and the helpfulness of the people he met, but he frequently had to convince them that he "was not one of those Americanos [who] must get to and from places in a dreadful hurry." These images, nearly 100, were published in the book, Mexico: Laredo to Guadalajara, (Hastings, New York, 1951). Like many of his Anglo contemporaries, Knee was smitten with Santa Fe's distinctive architecture, crafts traditions, and landscape. Knee was part of the Santa Fe artist community that included Gustave Baumann, and Will Shuster and he was friends with many of the artists who visited the area regularly (John Sloan, Edward Weston, Ansel Adams, etc.). Ernie was a great afficionado ofthe Santa Fe fiestas throughout the 1930's, watching Shuster build Zozobra and photographing the process several times. He enjoyed taking pictures and films of the parades, musicians, friends and visitors alike, dressed up in their fiesta finery. Within a few years, his documentary films were also shown by Pathe News in movie theaters and included his photographs made on the Navajo reservationfor the documentary film called Navajoland. His three short documentaries are called; Indian Rhythm (Taos Pueblo dances), Navajo Fair at Shiprock, and Santa Fe Area Celebrations, all of which he donated to the State of New Mexico Photographic Archives. His photographic output was prodigious, with photos in local shows; a touring United States WPA exhibition; many printed in books and magazines, and a couple of his images winning awards in advertising circles. A few exhibitions were financed by the State Department and traveled around South America during 1944-45. In subsequent years, his freelance status with Pathe News kept Ernie going when other financial sources were in short supply. With literally hundreds of photos taken in and around Santa Fe in the previous decade, he gathered the many faces of his adopted hometown, brooding landscapes, area churches, and small town streets, and set them in a small pictorial book entitled Santa Fe, published in 1942. When the war came on, Ernie moved to California and worked for Howard Hughes, creating his photography department, remarrying, and creating a family. It was in 1949 when he moved back to Santa Fe after traveling to Venezuela that he realized the market for photography had come to a standstill. He wound up investing in his wood-working skills and the next twenty years created a wooden door company, Spanish Pueblo Doors, in downtown Santa Fe from 1950-1970 until he sold the business and returned to his passion for photography. By this time, he was almost unknown in the art world. Undeterred, he set up a darkroom and began printing and exhibiting the photographs of his earlier years. Soon he was having shows all over the country with major photographers, including Laura Gilpin (Masters of New Mexico) at the Colorado Photographic Arts Center. His first love had always been photography, and in interviews during this period he was fond of saying his life had never been better. When Ernie died at age 75, twenty-two major museums had exhibited and/or acquired collections of his work including the George Eastman House, Rochester, NY; Museum of Modern Art, NY; Center for Creative Photography, Tucson, AZ; Santa Barbara Museum of Art, CA; Los Angeles County Museum of Art, CA; Princeton University of Art, Princeton, NJ; New Orleans Museum of Art, LA; University of New Mexico, NM; New Mexico Museum of Art, Santa Fe, NM; Chicago Art Institute: among others.
Reproductive: Health, Fertility, Agency
Chicago, IL
From January 19, 2021 to May 23, 2021
Reproductive: Health, Fertility, Agency explores the psychological, physical, and emotional realities people encounter in the years leading up to, during, and after fertility. The exhibition features eight artists who consider a range of topics including birth, miscarriage, pleasure, the lack of access to abortion, trauma, and the loss of fertility. The term 'reproductive' is twofold. It implies the characteristics of a photograph, bringing attention to a notable lack of visual representation of the experiences of the female body. Additionally, the term is a reference to a common patriarchal, capitalist view of women's bodies as vehicles for reproduction. This exhibition aims to add visual presence and a deeper understanding of the precarious nature of female rights and freedoms in a time where the future of these rights is uncertain.
Balancing Cultures: Jerry Takigawa
Winchester, MA
From April 01, 2021 to May 23, 2021
Initially an identity project, Balancing Cultures gives voice to a story suffered in silence by my immigrant grandparents and American-born parents. My mother's passing left my brother and me with boxes of photographs. Among them were photos of family members taken in camp that we had never seen. In my family, when anyone spoke of camp, they weren't referring to a pine-scented summer retreat-they were referring to the WWII American concentration camps sanctioned in 1942 by President Roosevelt's Executive Order 9066. Piecing together a historical puzzle of photographs, memories, and artifacts, I began an exploration into my family's undisclosed past. For the first time, the hardships my family endured in the camps were illuminated to me. EO 9066 caused 110,000 Japanese Americans economic loss, the pain of prejudice and imprisonment, and the repercussions of re-integration into post-war America. Although racism is deeply woven into our institutional and social fabric, there is no scientific basis for race. Race and racism are social constructs. This project is a testimony to the shame and indignation my family kept hidden due to their cultural stoicism and fear of retribution. Left untold, their experience would remain buried, a casualty of the country they loved and fought for. Balancing Cultures is especially relevant as long as America continues to incarcerate people-not for crimes they've committed, but simply because of whom they are. Bio Jerry Takigawa is an independent photographer, designer, and writer. He studied photography with Don Worth and is the recipient of many honors and awards including: the Imogen Cunningham Award (1982), the Clarence J. Laughlin Award, New Orleans, LA (2017), Photolucida's Critical Mass Top 50 (2017, 2020), CENTER Awards, Curator's Choice First Place, Santa Fe, NM (2018), and the Rhonda Wilson Award, Brooklyn, NY (2020). His work is in the collections of San Francisco Museum of Modern Art, Brooklyn Museum, Crocker Art Museum, Santa Barbara Museum of Art, Monterey Museum of Art, and the Library of Congress. Takigawa lives and works in Carmel Valley, California.
The Last Rose of Summer: Tavon Taylor
Winchester, MA
From February 20, 2021 to May 23, 2021
The 2020 jurors for the Chervinsky Scholarship awardee have chosen Tavon Taylor to receive the Chervinsky scholarship. The jurors would like to acknowledge their shortlist as well. "We propose the opportunity to have a longer short-list so that we have a larger group of emerging artists who receive the encouragement of being short-listed for the award. As we discovered a larger pool of individuals who deserve to be finalists and have equally impressive work. We thought this would be a wonderful opportunity for more emerging artists to add this accolade to their CV's and receive the acknowledgement that their work deserves." Logan Bellew, Becky Behar, Maria Contreras-Coll, Dylan Everett, Alayna N. Pernell, Kendall Pestana, Daniel Seiffert
Letters, Numbers & Symbols
Minneapolis, MN
From May 15, 2021 to May 29, 2021
Praxis Gallery presents photographic art that includes written language as a fundamental aspect of the composition, including text in the form of signs or fragments of signs.
Michal Chelbin: How to Dance the Waltz
New York, NY
From April 15, 2021 to May 29, 2021
ClampArt is pleased to present Michal Chelbin's exhibition "How to Dance the Waltz," her first solo show at the gallery, and her fifth in New York City. The exhibition coincides with the release of Chelbin's monograph of the same title from Damiani (Hardcover, 108 pages, 11 x 12 inches, $60). In his preface to the book, Joseph Akel writes: "That pervading sense of contradiction, that eruptive moment when budding youth clashes with burgeoning adulthood, lies at the heart of Chelbin's images, evinced through her juxtaposition of teenage subjects captured in garments, costumes, and uniforms symbolic of long-standing institutions and their traditions." The artist has long been fascinated by costumes and uniforms, commenting on how youth is so startlingly apparent - especially when dressed up in the clothes of adulthood. This fascination led Chelbin over the course of five years to photograph young matadors training at schools in Seville, Spain; cadets at a military academy in Ukraine; and high school students on the eve of prom in Kiev (the capital of Ukraine). The artist looks at puberty and gender as a performance that involves keen attention to costumery. The photographs address the ways in which societal expectations of gender, especially in regard to clothing and uniform, inform a young person's development and identity. With the subjects gazing directly into the artist's lens, Chelbin's remarkable portraits simultaneously represent the sitters' vulnerability and self-possession. But again, as observed by Akel, Chelbin's young subjects are "bound by the traditions and institutions which frame their lives." These are not the rebellious teens photographed by the likes of Larry Clark, Nan Goldin, and Ryan McGinley. Referring to Ukraine and Spain and their appeal to her, Chelbin observes, "It's the Old World. . . [M]en are still taught to be men, to be warriors, and the women are taught to know how to dance a waltz."
The Beauty in Madness
Minneapolis, MN
From May 15, 2021 to May 29, 2021
In honor of Mental Health Awareness Month, Praxis Gallery presents work that explores ideas linked to mental health, be it conflict or humor, fiction or fact, and other literal and ephemeral lens-based investigations. "I have schizophrenia. I use creativity to transcend the illness to find and express beauty in madness. " Exhibiting Artist
J Houston: Tuck and Roll
Broklyn, NY
From May 01, 2021 to May 30, 2021
There is a moment in most people's lives when they become awarethat their body appears different than what they might have imagined. Themoment usually coincides with middle school, adolescence and a great deal ofself-consciousness. It's a time when even adults gifted with beingconventionally attractive describe themselves as feeling different and outsideof the group. As age sets in, with some luck, people form their own familiesand communities, and the self-consciousness of defining oneself recedes intothe background of day-to-day existence. With this comfort of age, it can beeasy to forget how lonely it was growing up with the urgent desire to have aplace where one felt comfortable enough to be at home. This desire to find a place to belong can be greatly complicatedby being a Trans or Queer person. As a photographer, J Houston has harnessedthe large-format camera's ability to take the raw material of the world andcreate a place all their own. In the pictures, being Trans and Queer is thedefault, where there is no struggle for acceptance, just the ease with whichthe subjects welcome the camera into their intimate spaces, creating room forthe artist and by extension the viewer. The people in Houston's pictures exist in settings that could be anywhere, witheveryday objects like yoga balls, seat cushions and carpeting that seem tingedwith magic and heightened importance. Houston's pictures come alive in themundaneness of the portrait subjects' everyday emotions, romance, solitude,dignity, sadness, vulnerability, pleasure. It is the drama of a sharedhumanity, the little building blocks of experience, that create a community inthe pictures. Images, which in their making involved meeting, getting to knowand becoming part of subjects' lives form a small Trans-Queer utopia thatmanifest from the art into the world.
John Lipkowitz: Wild Places, Wild Things
Hudson, NY
From May 07, 2021 to May 30, 2021
510 Warren Street Gallery is proud to present the photography of John Lipkowitz in a show titled "Wild Places, Wild Things" beginning Friday, May 7th and ending on Sunday, May 30th 2021. All are welcome to view the show with Covid 19 protocol in place. John Lipkowitz, a retired NYC attorney, came to photography through exotic traveling he and his wife began in 1998. Thereafter, travel and photography became intertwined and he became drawn to wildlife in Africa, the Arctic and Antarctica as well as the ice and spectacular light in those polar regions. Many trips over the ensuing 22 years were directed to these places interspersed, when his wife Nina had her way, with more culturally oriented sojourns to other parts of the globe such as Asia and Southeast Asia which they visited many times. Travel plans, together with much of life itself, came to a screeching halt in March of 2020. For Lipkowitz, little in the way of new work was available. As a result of substantial isolation during this past year, time was available to revisit tens of thousands of his old images, very quickly at first, but with a more careful and curious eye as a new editorial process evolved. Many of the images in his current show have been exhibited in different forms before, but many others are presented here for the first time. His passions are here presented in images of wildlife experienced in Polar regions, (no Polar Bears and Penguins do not live in the same place), a Japanese winter and several trips to Africa with special emphasis on its two largest and charismatic cats, now offered as a gateway into the photographer's heart and soul. Future travel plans are booked but for Lipkowitz, fingers remain crossed for a new ‘normalcy' that permits such excursions in a safe way for us all.
Finding Meaning: An Offering of Photographs for an Uncertain Time
Tucson, AZ
From October 29, 2020 to May 31, 2021
Photographs can support the journey through our diverse experiences of processing, loss, and healing; we all react and respond to images differently, based on our own life perspectives. In this exhibition the Center shares a range of photographs to encourage investigation, reflection, and restoration as we explore ideas central to this historical moment. The exhibition (both online and in the Center’s Main and Heritage galleries) will share images within five conceptual pairs that seem particularly resonant at this time: connection/isolation; wellness/illness; solace/discomfort; presence/absence; and communal/domestic. We will create opportunities to share thoughts and responses to the photographs, building a collective and multivocal conversation about how we are experiencing and coping during this time.
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