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Terence Price II: Never Ending Gardens

From January 25, 2020 to April 26, 2020
Terence Price II:  Never Ending Gardens
10975 S.W. 17th Street
Miami, FL 33199
Terence Price II, a self-taught photographer and filmmaker based in Miami, creates work that reflects on the notion of community and captures the intimate relationships formed among family, friends, and neighbors. Keenly aware of the power of place, Price focuses on Carol City (now known more popularly as Miami Gardens). He bears witness to change in his community and documents how individual lives are affected by economic shifts. The exhibition’s title refers to his enduring bond with the community and its residents who raised him and shaped his perspective. Informed by traditions of family photography, he recognizes the need to record the lives of people who make up the cultural fabric of Carol City.

A predominately black community, Carol City has been subject to neglect and it has faced economic decline. Miami experiences rapid gentrification and often choices around neighborhood development neglect to factor in the needs of the most vulnerable among us. Price not only wants to hold on to the past, but he also seeks to reclaim the present and create a narrative that brings dignity to the people and places that make up his community. For Price, his community is beautiful, and he wants his viewers to recognize this as well.

Terence Price: Never Ending Gardens includes new and recent street photography and videos that address familial rites of passage, preserving history, gun violence, and community celebrations. Price recognizes that the history of street photography is often characterized by visual artists who document specific communities and then leave. He embraces the tools of the medium but portrays communities and individuals with whom he forms deep bonds.

The exhibition is part of the Martin Luther King, Jr. Exhibition Series, which addresses issues of race, diversity, social justice, civil rights, and humanity to serve as a catalyst for dialogue and to enrich our community with new perspectives.
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Exhibitions Closing Soon

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.
The Right to Herself
Fort Collins, CO
From October 20, 2020 to December 12, 2020
The Right To Herself exhibition explores the cultural nuances behind the 19th Amendment-its complicated promise of human rights, liberty and equity-and the search for agency through diverse works of art. The Right To Herself exhibition examines the complexities of the 100th anniversary of the passing of the 19th amendment. Though the law legally prohibited the denial of the right to vote based on sex, many women of diverse backgrounds in the U.S. were unable to exercise that right. In this way, The Right to Herself exhibition and related programs will provide a lens to view works by women artists who self-identify as indigenous, women of color, and/or embody diverse racial, ethnic, and economic identities. They share their various perspectives on the intersections of gender equity, and the influence of women of color on the suffrage and equal rights movement both in contemporary society and in history. The exhibition will reflect on the vote as a promise for agency and voice within society, and its relationship to diverse communities. In featuring these themes, the show will recall, reclaim, and reimagine the power of women from different racial, ethnic, and class-based histories in front of the lens and rectify their lacking presence within photography and art history. Featured Artists: Tya Anthony, Lindsey Beal, Christa Blackwood, Marcella Ernest, Adama Delphine Fawundu, Angela Faz, Karen Ann Hoffman, Ann 'Sole Sister' Johnson, Letitia Huckaby, Gabi Magaly, Pallavi Govindnathan, Renluka Maharaj, Jennifer McClure, Michelle Rogers Pritzl, Pete Sands, Rachelle Mozman Solano, Susan Sponsler-Carstarphen, and Chanell Stone. Co-curated by Lauren Cross, Ph.D, MFA and Hamidah Glasgow, MA, Executive Director and Curator, The Center for Fine Art Photography. The exhibition is split between two locations, October 20 - November 28, 2020, at the Lincoln Center Gallery and October 22 - December 12 at the Clara Hatton Gallery at Colorado State University in Fort Collins, CO, and virtually through the Center for Fine Art Photography’s website. Additionally, the exhibition(s) will feature an accompanying billboard, catalog, and virtual talks and events. Find the additional information on our website. This project is funded in part by a grant from the National Endowment for The Arts and a grant from The City of Fort Collins, Fort Fund Grant.
Where Ravens Cry: Jakob De Boaer
Los Angeles, CA
From November 12, 2020 to December 12, 2020
Marshall Contemporary presents its originally scheduled Paris Photo fair booth at Santa Monica's Bergamot Station; Where Ravens Cry is Dutch-Canadian artist Jakob de Boer's largest body of work to date, made during a two-year period over eight extensive trips to Canada's Pacific Northwest. Prompted by a fascination with its myths, De Boer immersed himself in this world to understand why mythology comparable to that of the Greco-Roman era was birthed out of this corner of the world. The result is a sweeping narrative: an immersive story that unfolds through large-format photographs, revolving around themes of life, death, memory, and transformation, often fused into De Boer's work with motifs from the remote, fog-shrouded world he encountered. Through this series and masterful silver gelatin prints, De Boer examines a world few have seen, at a poignant time when this region faces the logging of ancient forests and the invasion of pipelines. The series' monograph was published by Nazraeli Press in 2019.
Yosemite: Seeking Sublime by Edward Bateman
Santa Fe, NM
From November 14, 2020 to December 12, 2020
photo-eye Gallery is excited to announce Yosemite: Seeking Sublime, an online solo exhibition by Utah-based photographer Edward Bateman. Awe-inspiring, enigmatic, and alluring, Bateman's distinctive prints, created by photographing 3D models, are thoroughly contemporary in their concept and methodology. Produced during the ongoing pandemic and with limited possibility of travel, Bateman crafted the work using geographical data and a 3D printer. The artist's unique process yields captivating, abstract images depicting plastic filaments that explore the concept of the sublime through representations of the majestic landscapes of Yosemite National Park. This thought-provoking exhibition opens Saturday, November 14. It uses photo-eye's revolutionary new VisualServer X website builder and is the second in a series of photo-eye's major online shows. Mountains and nature have long been places of peace and refuge. During this pandemic, due to lockdown and quarantine, they have been denied to us. There are few emotions about places for which adequate single words exist. At the beginning of the eighteenth century, the word sublime arose to describe the feelings that the natural world can evoke. On my kitchen table, I have been photographing the grandeur of Yosemite National Park, long immortalized by photographers from Carleton Watkins to Ansel Adams. Using geographical data from the internet, I used my 3D printer to try to capture something of the sublime in bits of plastic. With clouds from a small fog machine, I create atmospheric perspective. This will have to do until we are once again allowed to travel freely. Until that time, I will continue to explore this imaginary landscape. Edward Bateman
2020 Vision: Photographs, 1840s-1860s
New York, NY
From December 02, 2019 to December 13, 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.
Minneapolis, MN
From November 21, 2020 to December 14, 2020
The photograph's power as a narrative tool is derived from the impression that what is captured within the frame is an accurate representation of what actually occurred at a specific moment in time. As complete or comprehensive as any narrative may appear to be, it will always be subject to a process of including some elements and excluding others. These inclusions and exclusion are a crucial part of what photographic storytelling is all about - What is being presented within the frame to the viewer - and what is being left out or left to the viewer's imagination. Praxis Gallery presents photographic works of art that explore the development of visual narratives through the still image. Stories may take any shape or form; they may be literal or fantasy, documentary or fiction; complex or minimal. Juror: Sandrine Hermand-Grisel
E. J. Bellocq: Storyville Portraits
New York, NY
From February 15, 2020 to December 15, 2020
Deborah Bell Photographs will presentE.J. Bellocq: Storyville Portraitsfrom February 15 -March 28, 2020. Thirty-six printing-out-paper prints, made later by Lee Friedlander from Bellocq's original glass plate negatives, will be on view. A reception will be held on Saturday, February 29 from 4 to 6pm.E.J. Bellocq (American, 1873-1949) remains an ambiguous figure in history.Following his death in 1949, eighty-nineglass plate negatives of portraits of female prostitutes from New Orleans' Storyville district were found in his desk. All of the images were taken circa 1912by Bellocq, who wasa commercial photographer practicing in New Orleans. Photographer Lee Friedlander acquired the plates in 1966 and made contact prints of the 8 x 10-inch negatives on the same gold-toned printing out paper that Bellocq used in his rare prints. Friedlander is credited with salvaging and promoting thesepictures, the only aspect of Bellocq's work known to have survived. The mystery surrounding the photographs and the personality of E.J. Bellocq is furthered by the fact that many of the plates were cracked, scratched, or damaged at the time that Friedlander acquired them.In 1970,The Museum of Modern Art, New York, exhibited a survey of the Bellocq prints made by Friedlander, and published E.J. Bellocq: Storyville Portraits, edited by John Szarkowski and Lee Friedlander. A second monograph, E. J. Bellocq: Photographs from Storyville, The Red Light District of New Orleans, edited by Friedlander and Mark Holborn, was released in 1996
Just Watch
San Francisco, CA
From March 19, 2020 to December 15, 2020
JustWatch@836M, a group exhibition featuring, for their first time in California, five emerging young photographers from around the world. Why JustWatch@836M? In a world where everything is visual, where images keep on flooding your screens or showing up on your Instagram accounts, where you're constantly affronted with visuals in the streets, are we still able to see the real world? We have invited five young photographers to display their work at 836M because we love what their photos capture in the world around them and reveal to their audiences. Artists Silvia Grav (Los Angeles), Wolfgang Bohusch (Vienna), Remy Lagrange (New-York), Myriam Boulos (Beirut), and Yassine Alaoui Ismaili (Casablanca), will all be in attendance at the opening reception.
AAP Solo Exhibition
AAP Solo Exhibition

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