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The Body Says, I Am a Fiesta

From December 01, 2019 to March 01, 2020
The Body Says, I Am a Fiesta
1451 S. Olive Avenue
West Palm Beach, FL 33401
Largely drawn from the Norton's permanent collection, this exhibition addresses ideas about the body and its symbolic and societal implications in modern Latin American cultures. The Body Says, I Am a Fiesta presents paintings, photography, sculpture, and works on paper by artists active in Latin America and the United States between the 1930s and 2010s such as Diego Rivera, Ana Mendieta, Rufino Tamayo, and María Magdalena Campos-Pons. Collectively, the artworks explore differing approaches to figural representation to exemplify the universal elements of the body as well as the external forces acting upon it.

The exhibition's title also recognizes these external factors and originates from a book of short stories and folklore by Uruguayan journalist, writer, and novelist Eduardo Galeano (1940-2015). The book, Walking Words, includes a recurrent sequence of maxims Galeano called "Windows" and his "Window on the Body" illustrates the conflicting ways institutions regard, study, exploit, and extol the human body:

"The church says: The body is a sin.
Science says: The body is a machine.
Advertising says: The body is a business.
The body says: I am a fiesta."
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All About Photo Magazine
Issue #13
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Exhibitions Closing Soon

What is Home?
Chicago, IL
From September 11, 2020 to October 31, 2020
Catherine Edelman Gallery is excited to open the Fall season with What is Home? featuring work by Keliy Anderson-Staley, Omar Imam and Rubén Martín de Lucas. The Webster dictionary defines home as “one's place of residence; the social unit formed by a family living together; a familiar or usual setting.” If you ask most people how they define home, it is either where they currently live, or where they grew up. But for many people today, home is not always tangible, due to displacement, border restrictions, or lack of safety. What is Home? brings together three photographers who each interpret the concept of home in very unique ways. For more than fifteen years, Keliy Anderson-Staley [b. 1977, Boston, MA] has been working on [Hyphen]-Americans, a photographic tintype portrait series that encapsulates what America looks like today. Using a large-format camera, Anderson-Staley photographs anyone interested in having their portrait taken, regardless of age, sex, or ethnicity, as she continually adds to her collection of more than 4000 portraits. In 2017, after her Houston home and studio were flooded by Hurricane Harvey, she created Shelter in Place, a wooden house constructed of 560 portraits of local residents, as a testament to the strength and resilience of Houstonians. The idea of building a house of strangers redefines the concept of home. In 2012, Syrian activist turned photographer Omar Imam [b. 1979 Damascus, Syria] was kidnapped and tortured by a militia and only let go when a friend intervened. Soon after, Imam left Damascus, first settling in Beirut, and now residing in Amsterdam with his wife and children. Syrialism is Imam's response to the reality of torture experienced by himself and other refugees who settled in Lebanon and other European countries. Like his earlier work, Imam met and talked with numerous refugees who had been abducted, recreating painful memories to bring awareness about the psychological and physical torment that continues today. No longer able to live in their native homelands, each person pictured has had to adopt a new place to call home. Rubén Martín de Lucas' [b. 1977, Madrid, Spain] work challenges the concept of home by constructing arbitrary boundaries in unexpected places. In Minimal Republics, he creates photographs about the concept of borders and our need for the structure they provide. Martín de Lucas creates each image the same: define and allocate 100m2 of space and inhabit it for 24 hours. From wheat fields to soccer fields to expanses of dried earth, unidentified pieces of land are transformed into a temporary residence for one. All three artists create work that invites us into different physical spaces that challenge the definition of home. We hope this exhibition inspires visitors to think about the concept of home and the inherent complexities this word invokes.
Past and Present: Photographs by Earlie Hudnall, Jr.
Dallas, TX
From September 01, 2020 to October 31, 2020
Recently Earlie Hudnall has experienced a groundswell of attention locally and nationally. Two months ago, during the Juneteenth celebration, the New York Times published his tender image, The Kiss, caught in the 3rd Ward in 1989 in Houston. And two weeks ago, TIME Magazine featured a generous 8-page spread of new and old images in their August 17th issue, as well as online. TIME Editor, Paul Moakley, who penned the article, has been following Earlie's career, earlier writing about him in in 2016 regarding Hudnall's influence on the cinematographer, James Laxton, when filming the Oscar winning Best Film, Moonlight. Earlie Hudnall, Houston's beloved documentarian of the 3rd and 4th Wards, has also had multiple exposures in recent art exhibitions, including the MFA Houston's very timely exhibition, Soul of a Nation: Art in the Age of Black Power. In addition, a solo exhibition at the Houston City Hall features many of Hudnall's images from the 4th Ward, the historic neighborhood west of Downtown with roots that trace back to Freedmen's Town, settled by freed slaves. His work will also be included in an upcoming exhibition at the Holocaust Museum Houston this September. Earlie has provided a window to the vibrant communities of color in Houston for 40 years. These neighborhoods have changed, but because of Earlie's dedication to this work, we are fortunate to have these documents of Houston's inner city, that mirror so many cities of America. PDNB Gallery is devoting its gallery space and website to Earlie Hudnall, one of our most treasured artists that has been with the gallery since 1997. This exhibition will feature new work, as well as older images from his career that have not been seen in the gallery since the 1990's. The gallery is open by appointment only during normal business hours. Masks are required for safety.
Environmental Diversity: The World Trough a Lens
Palm Beach, FL
From September 19, 2020 to October 31, 2020
Throughout the history of photography, artists have depicted and explored the vast qualities of nature, building a pictorial legacy that generated profound effects on the viewer's senses and our collective understanding of the world. The intrinsic enchantment and harshness of the natural environment, coupled with the photographer's poetic undertaking of revealing the observed physical earth and its arresting beauty, created the grounds for a photographic subject that would ultimately showcase the myriad dimensions of earth's landscapes. These photographers could capture exquisite moments of awe in many diverse arenas, connecting the viewer's inner nature to the world's grand vastness. They could draw out mysteries in nature, to create plots and narratives beneath a cape of rich tones and contrasting values. These photographers could abstract the real world into sensuous forms or studies of color, reimagining the medium's possibilities, capturing surrounding nature in two dimensions. Picturing the sea, sky, and land, these contemporary and classic photographs use the environment as a continuous subject to explore the ever-changing earth. From the majestic photographs of Ansel Adams, Stephen Wilkes, and Andre Lichtenberg, we see the expansive landscape as a transformational space of open immensity. In the pictures of Neil Folberg, Sebastião Salgado, Bill Brandt, and Brett Weston, the natural world is translated into stark, tonal realities, often building the brightness or the pictures' layers out of darkness. Their work has an intrinsic "moodiness" to it. They are contrasted with the photographs of Eliot Porter, Francesca Piqueras, Joel Meyerowitz, George Tice, and Edward Weston, whose images center on forms that are often abstracted. Simultaneously, vivid colors are cast into the film's emulsion for these photos, highlighting the dynamic properties of diverse palettes and the beauty of a moment frozen in time. All of these photographers have developed individual voices and styles to complement their experiences of transcending locations and instants to expand observations into memorable photographs. Their photographs are proof of the keen focus and the visual power of the media to ‘picture' and express our limited understanding of our infinitely complicated planet. The works included in this exhibition surpass capturing mere moments and strive to present ideas that use photography to reveal new ways of seeing a topography that is both expressive and dynamic. Ultimately, these photographers present images of unadulterated, organic forms and connect them to a constant flux of creativity and possibility, all stemming from their admiration of nature's unrivaled beauty, mystery, and richness.
Zaido by Yukari Chikura
San Diego, CA
From October 01, 2020 to October 31, 2020
Zaido (Dedicated to My Late Father...) Nothing had prepared me for my father's death. He was taken by a blood cancer before the family knew he was seriously ill. After his sudden death, I had a two big accidents and suffered serious injuries to my face and legs. They seemed fatal, but I somehow managed to escape death. The process of recovery was slow and just as me and my family were about to return to our daily lives, the 2011 Tohoku earthquake and tsunami struck. The whole of Japan was shaken, feeling unimaginable despair. All hope seemed lost in one single moment. As if nightmares appearing one after the other, these new realities bruised my body and soul, leaving me feeling as if I had taken a severe beating. With no strength left whatsoever, I found it hard to even get out of bed in the morning. On one such day, my deceased father came to me in a dream and said, "Go to the village hidden in deep snow where I lived a long time ago". I followed my father's instructions and arrived at a dream place, covered with deep snow. There, an ancient 1300-year old shrine ritual called "ZAIDO" was being performed. During the 1300 years of its existence, there are said to have been times when it had a difficulty surviving. It is a beautiful, but harsh ritual. Before it, the noshu (performers) are required to undertake a very strict purification. In the longest documented cases, some of these noshu are known to have gone through 48-day long periods of complete abstinence. From our modern society's viewpoint, shojinkessai (self-purification) seems like a very hard thing to do. Japan is a country surrounded by sea from all sides. That is why, a specific way of life and culture, unlike that of any other country, exist here. This, however, is not the only difference between Japan and the rest of the world. Sadly, natural disasters such as earthquakes, tsunami, typhoons, and volcanic eruptions are also much a part of the Japanese everyday life. These days, I fear that the culture that has been preserved and passed down from generation to generation through many sacrifices, is sadly starting to disappear. And yet, regardless of how many hardships they have to endure, how many times they have to fall down and get back up, there still exist people who are willing to continue protecting it. It is through their dedication and the great impact it left, and continues to leave, on me that I am able to find a meaning to life again.
Place in the Sun: Scott B. Davis
Chicago, IL
From November 06, 2020 to October 31, 2020
Catherine Edelman Gallery is pleased to present Place in the Sun, our first exhibition of works by scott b. davis. The show opens November 6 and runs through December 31, 2020. Since the inception of the camera, photographers have been drawn to the majestic landscapes throughout the Southwest, attempting to capture the land's unimaginable splendor. scott b. davis (b. 1971, Silver Spring, MD) is one of these artists drawn to such settings, bearing witness to nature's beauty and its nuances. His ongoing search for remote places is what sets his work apart. As he states, "I became interested in photography in the early 1990's and was soon drawn to unremarkable wilderness corridors—the places where maps offered little if any information. These spaces demand research to learn what, if anything, one might find there, and generally benefit those who learn the history of its use in earlier times. Today, my interest in history and place drives the work I do with photography and encourages my taking an active role as a traveler in the landscape." scott b. davis works with large format cameras and 19th c. printing processes (palladium paper negatives and platinum/palladium positive prints) to create one-of-a-kind photographs that are as gentle and meditative as the places in which he photographs. Whether focusing his camera on the copper mountains in Arizona, a small crevasse in a distant peak, a sandbar in the Anza-Borrego Desert, or brittlebush seeds scattered on the ground, scott b. davis's artwork captures the simple, subtle pleasures of silence. In a world full of immense noise and countless distractions, it's important to be reminded of the calm that exists when one takes the road less traveled. scott b. davis has exhibited in numerous galleries and museums throughout the country. His work can be seen in the permanent collections of the Los Angeles County Museum of Art (Los Angeles, CA), George Eastman Museum (Rochester, NY), The J. Paul Getty Museum (Los Angeles, CA), Kiyosato Museum of Photographic Arts (Kiyosato, Japan), and the Nelson-Atkins Museum of Art (Kansas City, MO) among others. He currently resides in San Diego, CA.
André Kertész: Seven Decades
Gainesville, FL
From November 26, 2019 to November 01, 2020
André Kertész (1894-1985) led the Modernist movement in photography, and determined photography's experimental joie de vivre for the 20th century. Kertész's unique vision and curiosity set the standard for the new, handheld 35mm camera. He knew how to be in the right place at the right time, anticipating, then capturing, images of grace, intrigue, and surrealist wit. During his years in Paris, Kertész was a mentor to Brassai and Henri Cartier-Bresson, showing them how to work and “see" as street photographers - a novel practice in the late 1920s. Cartier-Bresson said, "Whatever we have done, Kertész did first!" The 52 photographs in this exhibition cover seven decades of Kertész's prolific career, beginning in 1915 and concluding in 1984. Some are well known, others are examples of his experimentation with form and light. The photographs were a gift to the Harn Museum in 2018 through the generosity of three private collectors.
Andrea Torres Balaguer
Atlanta, GA
From October 16, 2020 to November 05, 2020
Andrea Torres Balaguer's passion for photography remains deeply rooted in her preoccupation with the mystery and ambiguity the medium oftentimes provides. Looking to masters like Duane Michals, Sally Mann and Annie Leibovitz, Torres has developed a distinct quality to her works that alludes to a dark and moody aesthetic while pushing the boundaries of portrait photography beyond its traditional limitations. Working as a fashion photographer in Barcelona, Torres intersects this aesthetic with elements of couture in the series' The Unknown and Hivernacle. The self portraits are photographed in natural light, and draped in provocative silks, lace, and velvets. Torres' execution of the composition creates a painterly portrait that triggers all of the senses - so rich in texture and their brilliant, jewel-toned colors. The narrative is pushed one step further with the unique brushstroke that is applied across the subject's face post-production, making each image slightly different from the others in its small edition. The viewer is left to create their own interpretation and decipher for themselves what is reality and what is fiction.Online Exhibition.
Christopher Makos: Dirty
New York, NY
From September 17, 2020 to November 07, 2020
Daniel Cooney Fine Art is pleased to announce a solo exhibition by Christopher Makos titled "Dirty." A career overview featuring mostly unseen work from every stage of the artist's life, Dirty features a selection of 40 vintage photographs, collages, and assemblages that celebrate the daring, decadent, and delectable moments of life with equal panache. Reveling in the spirit of freedom, innovation, and creativity that has defined Makos's oeuvre for half a century, Dirty features photographs of Andy Warhol, Jean-Michel Basquiat, Keith Haring, Debbie Harry, Patti Smith, Iggy Pop, Richard Hell, Liza Minnelli, and John Lennon alongside a swath of sumptuous male nudes and figurative studies. This is in addition to original contact sheets, vintage Polaroids, silver oxide prints, gelatin silver prints and collages. The works featured in Dirty reflect the advice Makos received while apprenticing with Man Ray in Fregene, Italy, at the outset of his artistic journey in 1976 - "Obey your instinct." Possessed with the innate gift to fuse art and cultural artifact in a singular work, Makos came to the notice of kindred spirit, Andy Warhol, and the two quickly became lifelong collaborators and confidantes. Makos taught Warhol photography; Warhol taught Makos the business of art. Together the dynamic duo would travel the globe, enjoying the pleasures of mutual camaraderie. Dirty illustrates the many facets of their storied relationship, and Makos's role as an independent artist in the Factory. Whether photographing Warhol and Christopher Reeve in conversation, or sharing a more intimate moment with Warhol lying face down on the studio floor while receiving a full body massage, Makos is the consummate insider, recording history as it unfolds before his very eyes. Among the most significant works on view is Andy in Black Wig Contact Sheet (1981), a remarkable series of portraits of Warhol wrapped in a white sheet and donning a vivacious bobbed wig, embracing the experience of posing and being gazed upon while exploring notions of gender, a project he did exclusively with Makos. Sexy but not sensational, Dirty is a love letter reminding us of all the exquisite pleasure of love, life, and art. Makos is the author of 17 books including White Trash (1977), Warhol/Makos In Context (2007), Christopher Makos Polaroids (2009) and Everything: The Black and White Monograph (2014). His work has been published in Interview, Rolling Stone, House & Garden, Connoisseur, New York Magazine, Esquire, Genre and People. His works have been exhibited at the Tate Modern, London, The Whitney Museum of American Art, New York, The Metropolitan Museum of Art, New York, The National Gallery, Washington, D.C., and The Guggenheim Museum, Bilbao.
Home on the Range
Santa Fe, NM
From September 11, 2020 to November 07, 2020
Obscura Gallery and Brant Mackley Gallery present our jointly curated in-gallery exhibition Home on the Range, an artistic exploration of cowboys in the American West from 19th-21st Century through photographs and objects. The exhibition will feature a selection of photographs from Obscura Gallery's contemporary photographers William Albert Allard and his legendary Vanishing Breed cowboy book, Kurt Markus’s poignant After Barbered Wire cowboy photographs, Joan Myers’ recently published Where the Buffalo Roamed photographs of the ‘new’ West, and Manuello Paganelli’s photographs of African American cowboys in the West. In addition, the exhibition will be accompanied by legendary 19th Century ranching photographer Laton Alton (LA) Huffman from Montana, as well as images from one of the first female ranching photographers, Elsa Spear Edwards Byron. Brant Mackley Gallery will be exhibiting a selection of Navajo saddle blankets and Northern Plains Indian beadwork from the late 19th through early 20th Century as well as other related material.
Tom Zetterstrom: Moving Point of View
La Jolla, CA
From September 29, 2020 to November 07, 2020
Tom Zetterstrom, Moving Point of View. 1972-1985 Joseph Bellows Gallery is pleased to present Tom Zetterstrom's long-running series, "Moving Point of View." The show will be on view in the gallery from September 29 to November 7, 2020. Raising questions about established photographic realities, Tom Zetterstrom's silver prints, made throughout the 1970s and 80s, synthesize traditional landscape photography with a cinematic sweep of motion. Shot from a car, a train, or airplane, the unique combination of elements that results - some adrift, some still - makes the viewer acutely aware of his lagging eyes and mind when confronted with the more efficient oculus of the camera. Going to considerable lengths to facilitate his artistic fiction, including wiring strobe lights to the front of his car and carefully setting the camera tripod in the center of the front seat, Zetterstrom reveals the beauty and surprise inherent in his photographic portrayal of movement. "Moving Point of View... consists of images that hurdle by, a mass of streaks and whorls, or that hang as if caught in the middle of a seismic shudder, they are as desolate as any painted by Caspar David Fredrich." - Vivien Raynor, New York Times "Initially, I was interested in the lateral, frontal, and curved motion captured by the careening car-camera. Gradually, however, I was drawn toward a more complex concept; the tenuous interaction between these machines and the passing landscape. These photographs interrupt the flow of time and motion; they capture the essence of a glance. In doing so, they hold onto evasive reality, revealing the precarious balance between the intangible and the actual." "From his photographs [the photographer] learned that the appearance of the world was richer and less simple than his mind would have guessed. He discovered that his pictures could reveal not only the clarity but the obscurity of these things, and that these mysterious and evasive images could also, in their own terms, seem ordered and meaningful." - John Szarkowski Tom Zetterstrom (b. 1945) lives in Connecticut. He has photographed trees extensively and is an activist in their protection. His work is represented in the permanent collections of the Addison Gallery of American Art; Fogg Museum, The Museum of Fine Arts, Houston; The High Museum of Art; George Eastman Museum; The Library of Congress; The Museum of Modern Art, New York; Philadelphia Museum of Art; and the Saint Louis Museum of Art, among others.
Photographs as Letters
Tucson, AZ
From June 27, 2020 to November 07, 2020
Photographs as Letters explores the exchange of photographic materials sent through postal mail among twentieth-century American photographic communities. Drawn primarily from the Center for Creative Photography Archive the exhibition presents a range of photographic correspondence that lends insight into the working processes and networks of some of the United States' most significant photographers. From finished fine prints to intentionally altered working materials, from postcards to print scraps and other darkroom castoffs, Photographs as Letters will afford visitors an opportunity to see the ways that members of American photographic communities have communicated and collaborated through postal mail.
Hugh Holland: Silver. Skate. Seventies.
Los Angeles, CA
From October 19, 2019 to November 09, 2020
M+B Photo is pleased to announce Silver. Skate. Seventies., an exhibition of black and white photographs by Hugh Holland on the occasion of the release of his latest monograph published by Chronicle Chroma Books. The exhibition includes never-before-seen photographs from Holland's archives, including some of his earliest photographs documenting the rise of the Southern California skateboard revolution in the 70s. The exhibition runs from October 19 to November 9, 2019, with an opening reception and book signing at M+B, 612 North Almont Drive, on Saturday, October 19 from 4 to 7 pm. Having spread from its roots as a small counter-culture activity, skateboarding has now permeated society, leaving its footprint on global culture. Initially considered an anarchic form of self-expression practiced by a small band of outcasts, skateboarding exploded on the west coast of America in the late 70s and 80s coinciding with the emergence of US punk rock. Beginning in 1975, photographer Hugh Holland masterfully captured the burgeoning culture of skateboarding against a sometimes harsh, but always sunny Southern California landscape. These iconic images were first inspired on a late afternoon when Holland drove up Laurel Canyon Boulevard and encountered skateboarders carving up the drainage ditches along the side of the canyon. From suburban backyard haunts to the asphalt streets that connected them, Los Angeles was the place the birthplace of the legendary Dogtown and Z-Boys skateboarders. With their requisite bleached-blond hair, tanned bodies, tube socks and Vans, these young outsiders evoke the sometimes reckless, but always exhilarating origins of skateboarding culture. In Silver. Skate. Seventies., Hugh Holland presents a raw, spontaneous understanding to his well-known color photographs of the 1970's skating scene. Holland shot these negatives while experimenting with new ideas, and often, for his own enjoyment. These early black and white images were in many ways the genesis for his later color works—providing us with a rare glimpse behind the creative curtain.
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