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From January 03, 2020 to February 22, 2020
214 West Broad Street
Richmond, VA 23220
Since the mid-1990s, Patty Carroll has been examining female identity, both by way of and through domesticity. Anonymous Women is a series of portraits of shrouded women in exuberant drapery, manifested as homespun vignettes of mannequins, inundated with household objects. Carroll approaches the topic of domesticity through the lens of her own life and through other cultures. With a wry but lighthearted humor, the weight of the accouterments is couched comfortably between absolute suffocation and mere decoration.

Works from Carroll's recent series, Flora and Fauxna will also be on view. Carroll creates ornate still-lifes, styled with ceramics birds camouflaged between colorful fabrics, artificial flowers, and household tchotchkes. The installations are gorgeous, filled with both vibrant color and subtle nuance. When peeled away, each layer recursively reveals excessive materiality, often all consuming.
Our printed edition showcases the winners of AAP Magazine call of entries
All About Photo Magazine
Issue #13
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

Exhibitions Closing Soon

Catherine Opie: Political Landscapes
Berkeley, CA
From September 02, 2020 to November 29, 2020
Born in Sandusky, Ohio, in 1961, Catherine Opie has lived in California for over three decades, and the Golden State has been integral to the artistic vision pictured in her prolific body of photo-based work. Her early photographs garnered her both infamy and high praise, as she portrayed a world that patriarchal culture hoped to render unseen: queer communities and subcultures, including the lesbian leather and sadomasochism scenes. Opie later produced methodical studies of urban environments that documented cultural phenomena as well as the potential to produce counternarratives, as in her California Freeways (1994-95) and Mini-Malls (1997-98) series. Individuals and their relationship to the landscape, whether urban or natural, have been an abiding interest that spans Opie's diverse bodies of work. In the series Political Landscapes, Opie turns her incisive gaze on political protest marches that have taken place in Los Angeles since the early 2000s, in which she has actively participated. For this special presentation, Opie has compiled a selection of photographs that provide a glimpse into civic and social engagement and affirm the collective and individual right to freedom of speech and expression. The subjects range from protests against the war in Iraq and demonstrations for immigration and labor rights to the Women's March in 2017 and more recent Black Lives Matter events. Originally scheduled to screen as part of the exhibition New Time: Art and Feminisms in the 21st Century, which has been postponed to 2021 as a result of the pandemic, Political Landscapes now serves as a vital prologue to New Time. The compilation screens on the hour on BAMPFA's outdoor screen through the end of November.
Gogy Esparza: Can We Talk?
New York, NY
From September 17, 2020 to November 29, 2020
An Esparza frames the poetic dynamics among signage, found objects, passerby, and their urban contexts. Privileging the inner-city, East Coast, Latinx and Black lives and their rituals, Can We Talk? asks for a patient, inquisitive gaze so that one's eyes may respond to the sentimentality, tragedy, and contradiction embedded in everyday visual landscape. Gogy Esparza (b. 1987) is an Ecuadorian-American, New York City-based artist who concentrates in photography and video. His photography project, El Vacîo (2012-14), was published by Dashwood Books and featured in accompanying exhibitions with Comme Des Garçons in Berlin and the Wayward Gallery in London. He has also exhibited at HVW8 Los Angeles; HVW8 Berlin; SO1 Gallery, DOMICILE, and Just Another Gallery in Tokyo; La Pierre in Paris; The Aishti Foundation in Beirut; 98 Orchard, No Romance Gallery, Magic Gallery, and Know-Wave Gallery in New York; Auto Body in New York and Miami; Good Taste in Miami; and Test Gallery in Copenhagen. Esparza has collaborated with brands such as Supreme, Comme Des Garçons, Nike, Adidas, Converse and Vans, and his work has been featured in publications including ARTFORUM, Purple Diary, The New York Times, Vogue, Interview, Richardson Magazine, Cultured, VICE, i-D, Office, Dazed, GRIND, Ollie, Eyescream, Highsnobiety, Hypebeast and Studio Magazine (published by the Studio Museum in Harlem).
Destiny Mata: La Vida en Loisaida (Life on the Lower East Side)
New York, NY
From September 17, 2020 to November 29, 2020
Destiny Mata is a documentary photographer dedicated to capturing the Lower East Side. In response to the rapid gentrification of the community, she began to use portraiture as a way to photograph her friends and neighbors, many of whom are residents of the Lillian Wald Houses where she grew up. For Mata, NYCHA buildings like Lillian Wald are the heart and soul of New York City, and the backdrops of her portraits often prominently feature the iconic brick exterior of Lower East Side public housing developments. Taken between 2009 and 2020, La Vida en Loisaida (Life on the Lower East Side) amplifies the pride of longtime LES residents in the wake of the neighborhood"s rapid and difficult changes. Destiny Mata is a Mexican American photographer and filmmaker based in her native New York City focusing on issues of subculture and community. After studying photojournalism at La Guardia Community College and San Antonio College, she spent two years as Director of Photography Programs at the Lower East Side Girls Club Mata and has had work published and featured in Teen Vogue, Vice"s Noisey, Vibe Magazine, The Source Magazine, Mass Appeal, and Frank151. Mata has recently taken part in a group exhibition at the Museum of Reclaimed Urban Space, Political Punk 2018, Mexic- Arte Museum, Young Latino Artists 21: Amexican@ 2016, and in 2014 she exhibited photographs of the aftermath of Hurricane Sandy at the Museum of New York City"s, Rising Waters: Photographs of Sandy exhibition. She is currently preparing a series of documentary works continuing her exploration of the fabric of the communities around her.
The Meaning of Green
Oakland, CA
From October 11, 2019 to November 30, 2020
Gray Loft Gallery presents The Meaning of Green, our 3rd annual color themed photography show selected by Ann M. Jastrab, independent curator, photography consultant, editor, writer; and Jan Watten, founder of Gray Loft Gallery. Due to the world-wide pandemic, this exhibit is a virtual online exhibit of green inspired images from a wide array of traditional and alternative photographic processes – including pinhole photography, images made with plastic cameras, cyanotypes, collage, and other photo-based works by Bay Area photographers. We believe that art is essential component in our lives, and our intention was to create an exhibit that could be a visual antidote to the current climate of our world. In the words of juror Ann Jastrab "Maybe this selection of images is an antidote to the pandemic too. I want to fly high over a green pond, or see fireworks again exploding against a night sky, or walk into rooms painted the coolest shades of green. Or really, just walk into a room that is unfamiliar, what would that be like? It would be like visiting this show." Participating Artists: Francis Baker - Christina Bauer - Ingrid Becker - Roy Berkowitz - Jayne Biehn - Rose Borden - Maria Budner - Janis Burger - Sena Cakiroglu - Mima Cataldo - Virginia Chabre - Marna Clarke - Steven Condiotti - Gregory D'Agostino - Tamara Danoyan - Michael Dawson - Anthony Delgado - Fairlight de Michele - Mary DeShaw - Andi Benet - Gene Dominique - Marie Durquet - Richard Dweck - Ariel Epstein-Norris - Laura Epstein-Norris - Jennifer Freck - Dan Fenstermacher - David Gardner - Alexis Gerard - JM Golding - Steve & Ellen Goldband - John Greenleigh - Marsha Guggenheim - Susan Hillyard - Geoffrey House - Eleonore Hockabout - Edie Hoffman - Judi Iranyi - Becky Jaffe - Candice Jacobus - Drew Klausner - Sonia Melnikova-Raich - Deborah O'Grady - Eben Ostby - Marie Plakos - Steven Raskin - Charles Reilly - Gabrielle Rondell - Philip Sager - Neo Serafimidis - Brian Z. Shapiro - Elizabeth Sher - Morgan Shidler - Douglas G Stinson - Nathalie Strand - Styrous - Michael Teresko - Carol Thomas - George Tomberlin - Jeff Weston - Sally Weber - Susan West - Stephanie Williamson - Nick Winkworth - Beverly Tharp - Mitsu Yoshikawa - Yelena Zhavoronkova Art is essential - now more than ever - and we hope you enjoy this exhibit that celebrates the importance of art in our lives. Your support of the arts is so important as we navigate this uncertain time in our lives. Please share this with anyone you think might like to savor and contemplate the beauty of the images in the show.
Spin Club Tapestry by Astrid Rwischwitz
San Diego, CA
From November 01, 2020 to November 30, 2020
All About Photo is thrilled to present Spin Club Tapestry by the German photographer Astrid Reischwitz. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of November 2020 and includes nineteen photographs from the project Spin Club Tapestry which showcase archival pigment print with unique embroidery by Astrid Reischwitz. Ann Jastrab, the Executive Director at the Center for Photographic Art (CPA) in Carmel, California. was the curator for this month exhibition. Spin Club Tapestry An exploration of memory "I grew up in a small farming village in Northern Germany. A village that is bound to its history and that stands out through its traditions even today. Long ago, village women met regularly in "Spinneklumps" (Spin Clubs) to spin wool, embroider, and stitch fabrics for their homes. I imagine their conversations as they worked, the beautiful stories that lifted their spirits, as well as the stories of sadness, sorrow and loss. In modern times, village women continued to meet in this tradition, but shared stories over coffee and cake instead of needlework. These close-knit groups of women often stayed together until their death. In this series, my composite images take the form of tapestries, combining images of embroidered Spin Club fabrics with new and old photographs from the village. I connect the present and the past by re-creating and re-imagining pieces of the embroidery. Spin Club tablecloths, napkins and wall hangings (some dating back to 1799) have been passed down from generation to generation. By following the stitches in these fabrics, I follow a path through the lives of my ancestors - their layout of a perfect pattern and the mistakes they made. Along the way, I add my own mistakes. The fabrics also reveal the passage of time, stained and distorted after sometimes decades of use. The patterns I have stitched myself into the paper are only abstractions of the original Spin Club designs, fragments of memory. After all, memory is fleeting, and changed forever in the act of recollection. Sometimes the stitching is incomplete, creating an invitation for future generations. Every decision we make is influenced by our history, our environment, and the society we live in. The tapestry of my life belongs to me but is stitched through with the beauty and heartache of past generations." - Astrid Reischwittz In this moment of great uncertainty and turmoil, these online Solo Exhibitions aim to continue to connect audiences and artists, building on our beliefs that access to art and culture is a right and not a privilege and that artists' voices should be heard. It is a platform to help photographers pursue their visions, their dreams and their projects. With our new online showroom space, we've placed All About Photo's role as a supporter and amplifier of creative ideas.
In Sharp Focus: Charles ’Teenie’ Harris
Pittsburgh, PA
From January 25, 2020 to December 01, 2020
CMOA is thrilled to announce the creation of a dedicated gallery for the works of photographer Charles 'Teenie' Harris. This exhibition features iconic examples of Harris's photographs and will host a number of educational programs and community events inspired by this world-renowned collection. Harris-who was a photographer for The Pittsburgh Courier, one of the nation's most influential black newspapers-created an unparalleled chronicle of African American history and culture during the mid-twentieth century. As both a member and documentarian of the black community, Harris remains an iconic figure in Pittsburgh to this day. With this installation, the museum celebrates Harris's legacy and looks forward to creating opportunities for creative collaboration with local partners.
Twenty Five Icons of America by Jean Pierre Laffont
New York, NY
From November 02, 2020 to December 02, 2020
Sous Les Etoiles Gallery is pleased to present a collection of twenty-five photographs from photojournalist Jean Pierre Laffont, represented exclusively in United States by the gallery. This exclusive online program will be on display from November 2nd until December 2nd, 2020. In 2020, French-American photographer Jean-Pierre Laffont received The Lucie Award for Achievement in Photojournalism and The Visa D'Or Award of the Figaro Magazine for Lifetime Achievement. To celebrate those achievements, Sous Les Etoiles Gallery is pleased to present a collection of photographs that represent the twenty five icons of his long carrier as a photo journalist in United States from November 3rd to December 12th, 2020. For more than three decades, starting in 1964, Jean-Pierre Laffont travelled all fifty states seeking to document as wide of a range of compelling American stories, and he also photographed celebrities both French and American along with all the politicians of the times. He spent eight years at the White House as a foreign correspondent and photographed several presidents. He produced in-depth photo essays of the rise of the World Trade Center, the gangs in the Bronx, and the violence on 42nd Street. When I look back at the individual photographs I took during this quarter-century period,comments Jean-Pierre Laffont, the images at first seem to depict a ball of confusion… riots, demonstrations, disintegration, collapse and conflict. Taken together, the images show the chaotic, often painful, birth of the country where we live in today: 21st-century America. They do what photographs do best: freeze decisive moments in time for future examination. These photographs form a personal and historical portrait of a country I have always viewed critically but affectionately, and to which I bear immense gratitude."
Patty Carroll: Collapse and Calamity
Houston, TX
From November 07, 2020 to December 05, 2020
Catherine Couturier Gallery is delighted to present Collapse and Calamity, an exhibition of new work by gallery artist Patty Carroll. The exhibition features new work from Patty Carroll's series "Anonymous Women: Domestic Demise". Works including Staired Down, Cleaned Out, and Flagged Down feel particularly relevant to the tumultuous and exhausting past year. "Anonymous Women" is 3-part series of studio installations made for the camera, addressing women and their complicated relationships with domesticity. By camouflaging the figure in drapery and/or domestic objects, Carroll creates a dark and humorous game of hide-and-seek between her viewers and the Anonymous Woman. Aint-Bad Books recently published a new monograph of her work Anonymous Women: Domestic Demise, which is available to purchase at the gallery. Patty Carroll received her BFA from the University of Illinois, Champaign-Urbana in Graphic Design, and her Master of Science (MS) in Photography from the Institute of Design at IIT, Chicago. Since 2010, Carroll has shown at the White Box Museum in Beijing, (2011), Shanghai University Gallery (2010), the Cultural Center in Chicago (2012), Zhejiang Art Museum (2015), as well a several other University galleries and museums. Carroll was the recipient of an Artist Fellowship Grant from the Illinois Arts Council in 2003 and 2020.
Jane Hambleton: One Day
Mill Valley, CA
From November 03, 2020 to December 06, 2020
Jane Hambleton is a Berkeley-based artist working in multiple mediums with an emphasis on graphite drawing. Her work spans the world of painting, drawing and collage with equal agility. Whether focused on the figure or the natural world around us, her highly detailed and layered pieces explore the ephemerality of life asking us to pause, be present and look more deeply. Each of the drawings in the exhibition are large-scale and are mostly taken from walks around the artist's neighborhood. The title of the exhibition, One Day refers to "now", a particular point in time. "It is all part of my practice of trying to be present in my life," said the artist. "It happens to me most successfully when I am on my walks. I am trying to really look, to really see and to let that be all that I am doing - to observe in stillness." Hambleton works on Stonehenge paper with a full range of the B (softer) graphite pencils. Layering the drawing to get the exact tonal elements, she often draws each leaf and detail of the drawing seven or more times to refine the image, working carefully so as not to damage the tooth of the paper. It is a patient and reverential process. She then coats the drawing with acrylic gel medium and applies an oil paint mixture that she removes with a cloth giving it a patina of time and allowing for imperfections in the surface that give each work its own particular character while also strengthening the paper. Symbolic of the "One Day," theme is March 17, 2020, an image of the artist's hand holding a single fallen leaf. That singular day was the day after the "shelter in place" order for Californians. On that particular day at a that particular time, Hambleton took a walk and picked up that particular fallen leaf. There is the moment. "Our place on this planet is so small." said Hambleton. She is interested in what the Japanese call "mono no aware," literally "the pathos of things." It is the Japanese term for the awareness of the impermanence of things and refers to the ephemeral nature of beauty - the quietly elated bittersweet feeling of being witness to all of the up and down moments of life, balanced by the awareness that none of it can last.
Examining the American Dream
Seattle, WA
From September 24, 2020 to December 10, 2020
The American Dream, the national ethos of the United States, was born from the Declaration of Independence's ideal that "all men are created equal". Not women, not black, brown, or indigenous people, just white men. The ethos embodies the set of ideals determined to be fundamental to humanity—democracy, rights, liberty, opportunity, and equality. It is also the idea that the pursuit of "life, liberty, and happiness" will be rewarded to those willing to work hard. With every president and change in government comes new definitions of what that means. This exhibition is a look at how the American Dream evolves under the influence of technology, war, religion, racism, discrimination, economic disparity, and eternal hope. Out of this, we aim to foster dialogue, question assumptions, illuminate prejudice, and make space for community connection within and beyond American borders. Exhibiting artists: Intisar Abioto, Holly Andres, Julie Blackmon, Kris Graves, Jamil Hellu, Jon Henry, Thomas Kiefer, Mia K. McNeal, Carlos Javier Ortiz, Cinthya Santos-Briones, Hank Willis Thomas, Rodrigo Valenzuela, and Matika Wilbur
Touchstones of the Twentieth Century
Notre Dame, IN
From August 11, 2020 to December 12, 2020
The Snite Museum of Art at the University of Notre Dame is home to a noteworthy collection of photographs, perhaps the finest academic collection in the Midwest. Although the 19th century collection is renowned, the 20th century collection is equally significant but lesser known. This exhibition of one hundred carefully selected American and European photographs is the first presentation of this scope at Notre Dame. It will provide a survey of creative photography through the course of the century, an era when such images were known worldwide, providing touchstones of history and culture. Among this survey are iconic works by Alfred Stieglitz and Lewis Wickes Hine at the dawn of the century, as well as photographs by Sally Mann and John Baldessari in is final decades. In the academic setting, the photographs have been chosen to exemplify major developments in visual culture, historical events, and the stylistic and technical evolution of photography. This dynamic century-marked by two world wars, aesthetic and news pictures, and humans on the Moon-is preserved in the collective memory in photographic images. The installation will unfold in a roughly chronological arrangement over seven galleries. This presentation is meant to guide college students in diverse ways of confronting and understanding works of art. It also provides an introduction to the history of photography. The exhibition will also reveal the scope and caliber of the Museum's collection to the broader national academic community. For the general public the show will provide a rare opportunity to experience a survey of such breadth and quality.
Southern Rites
Baltimore, MD
From September 17, 2020 to December 12, 2020
American photographer Gillian Laub (b. 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. Her work frequently addresses the experiences of adolescents and young adults in transition who struggle to understand their present moment and collective past. In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The Montgomery County residents Laub encountered were warm and polite, both proud of their history and protective of their neighbors. To the photographer, Mount Vernon, a town nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. Yet this idyllic town was also held hostage by a dark past, manifesting in the racial tensions that scar much of American history. Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside-high school homecomings and proms-were still racially segregated. Laub photographed Montgomery County over the following decade, returning even in the face of growing-and eventually violent-resistance on the part of some community members. In 2009, a few months after Barack Obama's first inauguration, Laub's photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of the photographic image served as the catalyst and, for a moment, progress seemed inevitable. Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man-whose segregated high school homecoming Laub had photographed-was shot and killed by a sixty-two-year-old white man. At first, the murder seemed to confirm every assumption about the legacy of inequality and prejudice that the community was struggling to shake. But the truth was more nuanced than a quick headline could telegraph. Disturbed by the entrenched racism and discrimination that she encountered, Laub recognized that a larger story needed to be told. Her project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront painful realities. Relying on her incisive and empathic eye as a photographer, she explored the history of Montgomery County and recorded the stories and lives of its youth. What emerged over the next decade-during which the country witnessed the rise of citizen journalism and a conflagration of racially motivated violence, re-elected its first African American president, and experienced the formation of the Black Lives Matter movement-was a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South. In Southern Rites, Laub engages her skills as a photographer, filmmaker, storyteller, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness. Through her lens and the voices of her subjects we encounter that which some of us do not want to witness, but what is vital for us to see. Southern Rites is a specific story about young people in the twenty-first century from the American South, but it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future? Southern Rites is organized by the International Center of Photography and ICP curator Maya Benton.
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