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Hearts Road by Colin Finlay

From November 12, 2019 to February 29, 2020
Hearts Road by Colin Finlay
1200 W. International Speedway Blvd
Daytona Beach, FL 32114
Hearts Road was photographed in 95 countries and produced over a period of 30 years. It represents one man's journey of evolution, his deep spiritual growth and ultimately his return to the seat of his soul. Transformative and prodigal, it also becomes a journey for every one of us. Take your innermost mind and, through his eyes, and his lens, discover a world that few have ever seen. Through some of the darkest and brightest times in our history, his photographs take us through a portal, exploring disappearing traditions, the path of religious pilgrims, war in the Middle East, Apartheid in South Africa, Antarctica, the Arctic Circle, Alberta Tar Sands, Mountaintop Removal, the Grizzly Bears of the Brooks Range, and literally dozens of other amazing experiences. Colin Finlay seamlessly stitches together the common links that unite us all in our struggle to comprehend both the staggering beauty of nature and the plight of our common humanity.
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Exhibitions Closing Soon

Fragile Landscapes: Sophie Delaporte
New York, NY
From May 01, 2020 to June 05, 2020
Sous Les Etoiles Gallery is pleased to present "Fragile Landscapes," featuring the work of French artist and photographer Sophie Delaporte. "Fragile Landscapes" is Delaporte's fourth solo exhibition at Sous Les Etoiles Gallery, and will be an exclusive online exhibition on view May 1st through June 5th, 2020. The series "Fragile Landscapes" has received the "Grand Prix Photography & Sustainability" in 2019 organized by Eyes and Talent and Paris good Fashion. Since the early 90s, when the artist began her formative collaborations with cutting-edge British magazine I-D, Sophie Delaporte has remained dedicated to the "play" in photography and fashion in its most straightforward definition, emphasizing freedom and theatricality. Today, with her specific touch of color and the grace of her poetic illusion, she evokes her concern about the fragility of our landscapes, exploring a new relationship between shapes and colors: suspended aerial silhouettes and chromatic improvisations reveal a poetic abstraction. The backgrounds, invariably united, plunge us into the vastness of the sky, or perhaps of the sea. The very lively tones used by Delaporte and the strong contrasts on which she relies make her compositions very bright. Combining light blue, radiant yellow, intense purple and vibrant vermillion, Delaporte invents fluid landscapes and rhythms that allow a universe of freshness and movement that resonate with Henri Matisse and his series of cut-outs. There is no discontinuity between her approach to fashion and cut-outs, just a new allegorical language to express the fragile harmony of earth and the place of human beings in nature. With an ever-refreshing perspective, Delaporte positions her work in the realm of surrealism, promising nothing but the surprise and delight of the imagination. Sophie Delaporte, b. 1971, is living and working between Paris and New York. The depth of color, staging and gestures of her imagery evoke the world of storytelling. Delaporte likes to imagine situations that do not exist, creating a photographic language where sweetness balances innocence and concerns. Sophie Delaporte's work is frequently featured in numerous books and publications such as Vogue Italy, Vogue Germany, Vogue Japan and independent magazines such as I-D Magazine. Sophie Delaporte studied photography and film at Ecole Nationale Supérieure Louis-Lumière.
Going Viral
Wellesley, MA
From February 06, 2020 to June 07, 2020
Today, we use the phrase going viral to describe the rapid reception and reproduction of media on the Internet. However, since the dawn of amateur photography in the late-nineteenth century, critics have warned of a "universal snapping psychosis." Long before the age of the selfie, the craze for candid cameras spawned innumerable tropes that snapshooters found irresistible. This exhibition of early-twentieth-century American snapshots considers our everyday relationship to photography: the ways in which we mediate, understand, and narrate our lives through the snapping and sharing of photographs, and how and why certain types of images become socially infectious. In addition to serving as personal mementos, snapshots are objects of material culture produced in accordance with social norms and public expectations. The happy couple is documented cutting the cake on their wedding day, a family commemorates a trip to Paris with a photo in front of the Eiffel Tower, or a little girl twirls in her new dress for the camera. Mined from the Peter J. Cohen Collection gift of nearly 1,000 anonymous snapshots, the exhibition is organized into eleven sections that explore various performances, rituals, and gestures that have gone viral via photography: Viewing Vistas, Monuments Men, Showing Skirts, Fake Fighting, Cross Dressing, Snapping Shadows, Pyromania, "Me," The Ends, Costumes & Caricatures, and Pictures of People Taking Pictures. The texts for each section provide micro-histories of these diverse social phenomena and demonstrate how vernacular photographs might function as affective historical documents. A single image of two men, fists aimed at each other in a classic pugilist pose, cannot tell us much about the circumstances under which the exact photograph was snapped. But hundreds of examples that depict variations on the same theme? They promise rich rewards for the imaginative historian, anthropologist, or sociologist. In addition to the 123 snapshots on view, the exhibition will also showcase an Original Kodak camera, early amateur photography manuals, Kodak 1s and 2s, twentieth-century album pages, and six photo albums. The exhibition concludes with the latest from Kodak-the Printomatic-which will allow visitors to shoot and print their own snapshots in the gallery.
2020 Vision: Photographs, 1840s-1860s
New York, NY
From December 02, 2019 to June 10, 2020
In celebration of The Met's 150th anniversary in 2020, the Department of Photographs will highlight the important role of gifts in developing its collection. This will be the first of a two-part presentation that features recent and new gifts, many offered in honor of the sesquicentennial celebration and exhibited at The Met for the first time. This first part of the exhibition will focus on nineteenth-century photographs from the 1840s through the 1860s, all made in the three decades before the Museum's founding in 1870. The second part will move forward a century, bringing together works from the 1940s through the 1960s. Playing on the association of 2020 with perfect vision, the exhibition will present photography as a dynamic medium through which to view the world, while also honoring the far-sighted collectors and patrons who made this presentation possible.
Beyond the Harlem Renaissance
New York, NY
From April 09, 2020 to June 12, 2020
Keith de Lellis Gallery celebrates the portraiture of Carl Van Vechten (American, 1880-1964) in its spring exhibition. Van Vechten moved to New York City from Chicago in 1906 to pursue a writing career (he would become the first American critic of modern dance while contributing to the New York Times) before dedicating himself to photography. Van Vechten had a lifelong interest in African American culture and was committed to promoting black artists. In the early 1920s, Van Vechten sought out NAACP leader Walter White, who would introduce him to his colleague James Weldon Johnson. Johnson in turn facilitated introductions between Van Vechten and countless key figures in the rising Harlem Renaissance. Van Vechten became a familiar sight in predominantly black spaces, attending formal NAACP banquets as well as Harlem nightclubs and speakeasies. The artist wrote a number of articles championing black writers and performers that would be published in popular publications such as Vanity Fair and the New York Herald Tribune. Upon Van Vechten's influence, Langston Hughes was taken on by Van Vechten's publisher, Alfred A. Knopf, to publish his first set of poems in 1926. Rudoph P. Byrd wrote, "In an age of rising nativism, Van Vechten was one of a small group of European American intellectuals who recognized the uniqueness, depth, and far-reaching significance of African American culture" (Generations in Black & White, University of Georgia Press, 1993). While he initially wrote in response to his experiences with New York's black community, he later turned to photography to elevate both established and emerging artists. He assembled a home studio and darkroom in his West 55th Street apartment and invited sitters of all sorts "to show young people of all races how many distinguished Negroes there are in the world" (Bruce Kellner, Keep A-Inchin Along, Praeger, 1979). His subjects included Pearl Bailey, Amiri Baraka, Ruby Dee, Billie Holiday, Langston Hughes, Leontyne Price, Bessie Smith, Ethel Waters, and many more. Van Vechten's commitment to documenting remarkable black figures lasted far beyond the period known as the Harlem Renaissance, and in fact continued until his death in 1964. The personalities of Van Vechten's subjects are effectively communicated through their pose and expression combined with the photographer's nuanced composition, backgrounds, and lighting. These dramatic portraits convey in equal measure the subject's dedication to their craft and Van Vechten's reverence for the artist. Some lively (joyous Bill "Bojangles" Robinson dancing across the frame), others quiet (a contemplative Bessie Smith with downcast eyes), the photographs capture a range of emotions, aesthetics, and talents. Van Vechten's photographs were exhibited at the Museum of the City of New York and the Philadelphia Museum of Art during his lifetime. He established collections at a number of universities and museums, including Yale University, Howard University, the Museum of Modern Art, the New York Public Library, Princeton University, and more.
CELL SIGNALS: Reframing and Resisting Mass Incarceration
San Francisco, CA
From April 09, 2020 to June 13, 2020
Curated by writer and educator Pete Brook, Cell Signals brings together visions from within U.S. prisons and jails to address the role of images in our understanding of incarceration in America. Through visitation hacks, repurposed archive reels, collaborative portraiture, cellphone pics and prison newspaper coverage, Cell Signals peers upon the growing and changing uses of both artistic gesture and networked, image-technologies within American security, prisons, and homeland culture.
Bea Nettles: Harvest of Memory
Rochester, NY
From January 31, 2020 to June 14, 2020
Bea Nettles explores the narrative potential of photography through constructed images often made with alternative photographic processes. The first large-scale retrospective of her fifty-year career, Bea Nettles: Harvest of Memory demonstrates this celebrated artist's experimental approaches to art-making. Combining craft and photography, Nettles's work makes use of wide-ranging tools and materials, including fabric and stitching, instamatic cameras, the book format, manually applied color, and hand‐coated photographic emulsions. Her imagery evokes metaphors that reference key stages in the lives of women, often with autobiographic undertones, and her key motifs draw upon mythology, family, motherhood, place, landscape, dreams, aging, and the passage of time. Nettles is a tremendously productive artist whose work has become part of museum permanent collections from coast to coast. Now, Bea Nettles: Harvest of Memory provides a comprehensive look at the work of an artist who profoundly illuminates our inner worlds.
Past Presence
Lawrence, KS
From February 08, 2020 to June 21, 2020
Past Presence will explore the diverse ways that artists since around 1970 have engaged with past events in their work. Some of the artists included in this exhibition explore familial histories, some excavate personal memories, and others seek to understand larger historical conditions. Their art reckons with, reflects on, clarifies, deconstructs, resurrects, and re-imagines history. The works in this exhibition draw connections between the past and the present, offering insights about the ways that historical events and the stories that we tell about them shape our current realities.
The Polaroid Project: At the Intersection of Art and Technology
Cambridge, MA
From October 11, 2019 to June 21, 2020
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.
Elsa Dorfman: Me and My Camera
Boston, MA
From February 08, 2020 to June 21, 2020
This exhibition is the first to explore autobiography in the work of Elsa Dorfman (b. 1937), a beloved Cambridge photographer known for her large-format commissioned portraits. Working with a 200-pound, 20 x 24 Polaroid camera, one of only a few in existence, Dorfman has photographed friends, artists, and celebrities, all with disarming informality. Though many of her portraits are of others, Dorfman's self-portraiture is integral to her entire practice. "Being comfortable with the camera on myself affected how I felt in taking pictures of others," she once said. "I really had in my mind that this was helping me, in some magical way, to take portraits, because people would sense I did it to myself, too." Bringing together a selection of 20 x 24 self-portraits made since 1980, "Elsa Dorfman: Me and My Camera" looks at the artist's life through her work. Intimate photographs of Dorfman with her son, Isaac, and her husband, lawyer Harvey Silverglate, reveal the family's close bond. Self-portraits of the artist with her camera show the delight she takes in the medium. Some of the photographs show the artist with a bundle of black balloons. These works, taken on Dorfman's birthday, form an ironic chronicle of the process of aging. The exhibition also includes a group of smaller black-and-white photographs from the landmark 1974 photobook Elsa's Housebook: A Woman's Photojournal. These images celebrate the circle of friends who visited Dorfman at her home near Harvard Square in the 1970s, including Allen Ginsberg and a host of other writers. Like all of Dorfman's work, the photographs in this exhibition radiate warmth, inviting visitors into the intimate moments of an extraordinary life.
LIFE Magazine and the Power of Photography
Princeton, NJ
From February 22, 2020 to June 21, 2020
From the Great Depression to the Vietnam War, the vast majority of the photographs printed and consumed in the United States appeared on the pages of illustrated magazines. Offering an in-depth look at the photography featured in Life magazine throughout its weekly run from 1936 to 1972, this exhibition examines how the magazine's use of images fundamentally shaped the modern idea of photography in the United States. The work of photographers such as Margaret Bourke-White, Larry Burrows, Henri Cartier-Bresson, Frank Dandridge, Gordon Parks, and W. Eugene Smith is explored in the context of the creative and editorial structures at Life. Drawing on unprecedented access to Life magazine's picture and paper archives, as well as photographers' archives, the exhibition presents an array of materials, including caption files, contact sheets, and shooting scripts, that shed new light on the collaborative process behind many now-iconic images and photo-essays.
Nick Brandt: This Empty World, Inherit The Dust
New York, NY
From April 02, 2020 to June 21, 2020
Photographer Nick Brandt's most recent works -- "This Empty World" and "Inherit the Dust" -- remind us of the grandeur and fragility of the disappearing natural world. The series calls attention to the degradation of East African landscapes as runaway development threatens both the animals and people who live there. The cinematic and emotional images are an important and timely call to conservation. The exhibition, open April 2 through June 21 at Fotografiska New York, places Brandt's most recent series alongside behind-the-scenes images of his unique process. The photographs in "This Empty World" are a combination of two moments in time, captured on the exact same location. A partial set was built and lit on unprotected, populated community land in Kenya. In the following weeks, the animals of the region acclimated to the sets and eventually wandered in. Once the animals were captured on camera, the full sets were built. In all but a few of the photos, the camera remained fixed in place throughout. A second sequence was then photographed with complete set, and a cast of people drawn from local communities and beyond. The final, large-scale prints placed the subjects alongside each other, questioning the devastating consequences of unbridled development. The sets were created and removed with almost zero waste, leaving no impact on the landscape. For "Inherit the Dust," Brandt printed life-size versions of his unreleased portraits of animals and glued them to large panels. The panels were placed in locations where these animals used to roam but, as a result of human development, no longer do. The humans in this series go about their lives, oblivious to the ghost-like portraits of the animals that used to share the same land. The images never portray the people in the images as the aggressors. Poor rural people are the most affected by environmental degradation, often helplessly swept along by relentless waves of "progress" as natural resources on which they rely are exhausted. Brandt hopes this work raises awareness of the ongoing destruction of ecosystems and inspires viewers to act. He believes it is still possible to mitigate the worst of what humankind is doing. With that in mind, in 2010, Brandt co-founded the non-profit organization, Big Life Foundation, which operates in Kenya and Tanzania, in the area where "This Empty World" was photographed. Today, the organization employs almost 500 local people, including 300+ rangers who protect 1.6 million acres of wildland. Their presence has dramatically reduced the killing of elephants and all other animals in the ecosystem. For more information, visit:
Nasreen Mohamedi: Pull with a Direction
New York, NY
From February 29, 2020 to June 27, 2020
Talwar Gallery is delighted to present Pull with a Direction, an exhibition of work by Nasreen Mohamedi. Pull with a Direction will include drawings, prints, photographs and paintings. A selection of works, some of which are being exhibited for the first time, date from the late 1950s until the 1970s, offering a rare glimpse of Mohamedi's working process in its incipient form. Registered here are the paths of the artist's early explorations, wide-ranging but rarely meandering - emerging from landscapes, gestural ink drawings, experimentation in photography, paint on canvas and eventually arriving at her grid drawings. In a significant canvas floating overlapping squares form horizontals that are dissected by a gently curving vertical, a dynamism and structural groundwork for the later body of Mohamedi's works. In contrast, in an earlier painting from the 1960s, Mohamedi employs the brush like a pen, rendering the canvas more akin to a painted drawing. There are several clear lines of continuity throughout Pull with a Direction. In the drawings on view Mohamedi reveals an early investment in line as she carefully delineates the contours of a landscape while attempting to reconcile the perception of nature with the two-dimensionality of the plane of the paper - an inquiry that would sustain her interest in years that follow and profoundly permeate her oeuvre. In Pull with a Direction, even when discernable form slowly disappears from the works, nature remains an anchor and a sustaining point of inspiration for Mohamedi. In prints, created while Mohamedi was in Paris in the early 1960s, we see her move incrementally away from mimetic representation - orchestrating a sense of depth more through the saturation and density of ink than through the depiction of natural forms. Later drawings from the 1960s mark a further development, possibly registering the experience of the desert that Mohamedi witnessed in her travels to Bahrain, Kuwait, Iran and Turkey during this period. The drawings' sharp lines and softer washes of ink create a contrast that is echoed in the play between spindly desert bush and shadow in a vintage photograph from the same moment. Her paintings work in a similar way, overlaying, but not obscuring, their origin in the natural world with a system of abstracted line. Clearly ordered and without excess, they nevertheless retain an elegant potency that is Mohamedi's untold legacy - encapsulating the dynamism and structure within nature. Pull with a Direction presents a crucial new chapter in a career that has come to renewed critical and public attention in the past decade. Considered a pioneer of geometric and linear abstraction, Mohamedi gained recognition for the singularity of her artistic vocabulary, which evolved ceaselessly throughout her career. She created an oeuvre known for its unique vision and precise, austere form. A generous teacher, known for the asceticism and devotion of her style of living as of creating, Nasreen has become a critical figure for the generations of artists who followed her. Nasreen Mohamedi was born in 1937 in Karachi, India and passed away in 1990 in Kihim, India. Since her first solo outside of India at Talwar, New York in 2003, Mohamedi has been featured in numerous museum exhibitions worldwide. Mohamedi was the subject of Solo presentations at The Metropolitan Museum of Art (MET), New York (2016); Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2015); Tate, Liverpool, UK (2014); Kiran Nadar Museum of Art, India (2013) and The Drawing Center, New York (2005). Mohamedi's works have also been on view at Museum of Modern Art (MoMA), New York, NY; Queensland Art Gallery, Brisbane, Australia; Documenta XII, Kassel, Germany; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; Harvard University Art Museum, Cambridge, MA; Institute of Arab and Islamic Art, NY; Fotomuseum, Winterthur, Switzerland; Walker Art Center, Minneapolis, MN; Philadelphia Museum of Art, PA; Nelson-Atkins Museum, Kansas City, MO; and Whitechapel Gallery, London. This is Mohamedi's fourth solo exhibition at Talwar.
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