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Michael Wolf: Life in Cities

From February 06, 2020 to April 11, 2020
Michael Wolf: Life in Cities
49 Geary Street 5th Floor
San Francisco, CA 94108
The Robert Koch Gallery is proud to present Michael Wolf: Life in Cities, a survey celebrating Michael Wolf's life and work. For over four decades Wolf examined the layered urban landscape, addressing juxtapositions of public and private space, and anonymity and individuality in relation to history and modern development. Michael Wolf’s work on life in cities was always driven by a profound concern for the people living in these environments and for the consequences of massive urbanization on contemporary civilization. This commitment and engagement remained central throughout his career. The Robert Koch Gallery was the first gallery to represent Michael Wolf, and did so exclusively for many years, presenting Wolf's first exhibition of his breakthrough project Architecture of Density in 2005 and later the first gallery exhibition of Transparent City in 2008. Our gallery is honored to have mounted numerous ground-breaking exhibitions of Michael Wolf's work prior to his untimely passing in 2019.

Born in Munich, Germany in 1954, Michael Wolf grew up in the United State and Canada. He studied at UC Berkeley before earning a degree from the University of Essen in Germany as a student of Otto Steinert. His photographs are in the permanent collections at the Metropolitan Museum of Art, New York; The Brooklyn Museum; the Cleveland Museum of Art; the Nelson-Atkins Art Museum, Kansas City; Rijksmuseum, Amsterdam; The Hague Museum of Photography; Museum Folkwang, Essen, Germany; and the Museum of Contemporary Photography, Chicago, among others. His work was included in the Hong Kong Pavilion at the 2010 Venice Biennale for Architecture and has been exhibited at the Victoria and Albert Museum, London; Museum of Contemporary Photography, Chicago; Massachusetts Museum of Contemporary Art; Deutsches Architektur Museum, Frankfurt, Germany; Museum der Arbeit, Hamburg, Germany; Bauhaus Museum, Dessau, Germany; Palazzo Reale, Milan, Italy; and the Royal Museums of Fine Arts of Belgium, Brussels, among others. In 2010 Wolf was shortlisted for the prestigious Prix Pictet award for his Architecture of Density series, and again in 2016 for his Tokyo Compression series.

Michael Wolf's first major retrospective Michael Wolf - Life in Cities premiered in 2017 at the prestigious Rencontres de la Photographie festival in Arles, then travelled to The Hague Museum of Photography, the Fondazione Stelline in Milan, and the Deichtorhallen Hamburg. The Josef Albers Museum in Bottrop, Germany, opened an exhibition of Wolf's early work from the Bottrop-Ebel 76 series in February of 2019 prior to the artist passing. There are numerous monographs published of Michael Wolf's work.
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Exhibitions Closing Soon

Floris Neusüss: 50 Years
Los Angeles, CA
From September 11, 2021 to October 27, 2021
It is with pleasure, tempered by sadness that I announce Von Lintel Gallery's next exhibition, which is dedicated to the work of Floris Neusüss (1937-2020). Floris Neusüss lived and worked in Germany. He sadly passed away last year unexpectedly, and is without doubt, one of the sleeping giants of photography. It has been my great privilege to work with him and his wife and collaborator, Renate Heyne, exhibiting his works for close to a decade, both in New York, and LA. Neusüss has left his indelible mark on the rich history of the Photogram. Recognized as a true pioneer, who ignored conventions of his time, he is widely collected by major institutions like the the Art Institute of Chicago, the Houston Museum of Fine Arts, the Getty Museum, the Los Angeles County Museum of Art, the Museum of Modern Art in New York and the Victoria and Albert Museum in London, amongst many other esteemed institutions. The J Paul Getty Museums entry on their website describes Neusüss's accomplishment perfectly: As an artist, writer, and professor, Floris Neusüss embraced the photogram in the 1960s and never let go for the rest of his career. A camera-less process that brings objects in direct contact with light-sensitive paper, the photogram was first employed by William Henry Fox Talbot in 1835. Neusüss followed in the footsteps of photography pioneers such as Talbot and Anna Atkins, as well as those of twentieth-century artists Christian Schad, Man Ray, and László Moholy-Nagy, injecting new ambition into the process beginning in the 1960s, when he made large-scale, whole-body photograms titled Körperbilder. His 1970s Nudograms series featured the nude forms of women, who appear to be floating in space. Despite the lack of surface detail that makes it impossible to identify distinctive features, these full-scale images convey a sense of intimacy. Neusüss once said, "This intimate physical connection inscribes itself into the paper and this, if you are open to it, is the real fascination of photograms.” When he stepped outside of his studio in 1978 to make large-scale photograms of subjects in situ, he focused on a latticed window at Talbot's home, Laycock Abbey in Wiltshire, England. In the 1980s Neusüss began the series Nachtbilder, for which he placed photo-sensitized paper face-side down in a woodland or garden at night, allowing ambient light to expose the paper. At times, lightning storms would create bursts of light that both captured and transformed flora, fauna, and figures. "Photograms never allow you to see through them. The 'space' in them comes from the viewer's imagination,” Neusüss once explained. "Perspective and horizon are absent from photograms, so the space is theoretically unending." The Von Lintel Gallery exhibition features work spanning 50 years, including his early experimental photography of the late 50's and early 60's when he was a student at the Bavarian State School of Photography in Munich followed by his studies with Heinz Hajek Halke at the Academy of Fine Arts in Berlin. We will of course also show a selection of his iconic Nudograms-Körperbilder-from the 1960s and 70s that were made by exposing the human figure directly onto photographic paper. The proximity of the model to the paper influenced the sharpness of the contours and the amount of light dispensed affected the intensity of the tones. Movement-either accidental or intentional-dissolved and fractured the silhouettes into transcendent forms removed from any sense of time or place. Despite the subject's absence, a palpable intimacy-or, presence-is felt. Such is the magic of a photogram. A similar phenomena transpired when Neusüss applied the photogram to portraiture. He and Robert Heinecken were friends and collaborators. The Getty Museum owns Dinner for Heinecken-a Neusüss photogram exposed during a dinner that used light-sensitive paper in lieu of a table cloth. During another work session, Floris exposed Heinecken's full body on profile. The work- included in the show-does not reveal any surface details and yet the expressive body language and attitude of the subject is uncannily recognizable. As Neusüss says, "If you knew Robert Heinecken, when you look at his portrait photogram, you automatically feel close to him.” Nachtbilder, a series produced by placing photo paper emulsion side down into a woodland or garden at night will also be featured. At times created during a thunderstorm, lightning would expose the paper from all directions, catching gusts of impressions from below and above. A sense of movement and chaos transformed the familiar into something much more arresting; an aesthetic echoed throughout Neusüss' career.
Jill Freedman: Street Cops 1978-1981
New York, NY
From September 17, 2021 to October 30, 2021
Daniel Cooney Fine Art is pleased to announce a solo exhibition by Jill Freedman titled "Jill Freedman: Street Cops 1978-1981" Featuring never-before-exhibited images from the artist's most significant body of work, Jill Freedman: Street Cops 1978-1981 features 50 vintage prints that document NYPD officers on patrol during one of the city's most turbulent eras. A true believer, Jill Freedman (1939-2019) was the last of a dying breed who gave her life to create art above all things, sacrificing money, fame, and status in the pursuit of beauty, honor, and truth. She died at 79 in New York City, her adopted hometown of 55 years, which she photographed throughout her singular career, amassing an unparalleled archive of street life. A self-taught photographer inspired by the work of W. Eugene Smith and André Kertész, Freedman understood the power of photography lay in human relationships. But unlike the traditional photojournalist, Freedman was not an "objective" outsider bearing witness to a foreign world; she threw herself wholeheartedly into her work, creating bonds with the people she photographed to forge a deeper emotional connection with her subjects. Hailing from Philadelphia, Freeman graduated from the University of Pittsburgh where she studied sociology before traveling to Israel to live on a Kibbutz. She sang cabaret in Paris and worked on a television variety show in London before moving to New York City in 1964 to work as an advertising copywriter. In 1968, after Dr. Martin Luther King Jr. was assassinated, Freedman quit her job to join the Poor People's Campaign on the National Mall in Washington D.C., bearing witness from start to finish of "The Last Crusade." Equal parts artist and activist, Freedman lived inside the shantytown, making photographs that were published two years later in her first book, Old News: Resurrection City. After a stint documenting the circus as it traveled up and down the East Coast, Freedman returned to New York with renewed vigor, recognizing history unfolding outside her front door. The city crumbled under the weight of the Nixon White House's policy of "benign neglect," which systemically denied government services to Black and Latino communities nationwide. As New York's infrastructure collapsed, the middle class fled en masse to the suburbs in an exodus known as "white flight," while landlords hired arsonists to set fire to their buildings in order to collect insurance payouts, transforming once vibrant neighborhoods into devastated landscapes. As the city teetered along the edge of bankruptcy, New Yorkers persevered, continuously adapting themselves to ever-changing landscape with a distinctive mix of creativity and resilience. Now among her own, Freedman gravitated towards the spirit of brotherhood as it manifested among firefighters and police officers — the city workers spending their days and nights on the frontlines of an undeclared war waged against the people by their own government. After publishing Firehouse in 1977, Freedman began working on Street Cops, getting unfettered access to the harrowing world of crime and punishment. Like Weegee before her, Freedman had a front row view of the perpetrators and victims, bearing witness to the role police played in the fracas. Unabashedly pro-cop, Freedman wasn't without empathy for the alleged criminals, many of whom faced the wrath of racist policing policies. Despite her impressive bodies of work, Freedman never achieved the acclaim of her male contemporaries during her life. Like her work, Freedman was forthright, contentious, and proud, never one to shrink herself or go along with the crowd. Her behavior, both common and admirable in male photojournalists, was well ahead of the curve for women working in a notoriously biased industry. But Freedman was also vulnerable, sensitive, and intense, unafraid of the gory viscera of life. "A chain smoker who liked to drink," John Leland wrote in her New York Times obituary, "she found her stride in New York when the city was still mostly seedy, living her life and work as if she were auditioning for a role in one of her photos. A police siren, she said, meant that someone was playing her song." With Street Cops, Freeman set out to deglamorize violence and show the sleazy, the ugly, the tender, and the compassionate in equal measure. "Sometimes it's better not to know too much. Sometimes it isn't. This story wasn't easy," Freedman wrote in the introduction to Street Cops, which was published in 1981. "I wanted to show…. moments of gentleness, good times as well as bad. That's why I love photography. I can catch a moment, print it, and share it with you. Jill Freedman (1939-2019) was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others. Freedman is the author of seven books including Old News: Resurrection City, Circus Days, Firehouse, Street Cops; A Time That Was: Irish Moments, Jill's Dogs, Ireland Ever, and Resurrection City 1968.
Nick Brandt: The Day May Break
Los Angeles, CA
From September 09, 2021 to October 30, 2021
The Fahey/Klein Gallery is pleased to present Nick Brandt: The Day May Break, an exhibition of new works, made in 2020, as part of the first in a global series of images portraying people and animals that have been impacted by environmental degradation and destruction. The photographs from The Day May Break were taken at five sanctuaries & conservancies in Kenya and Zimbabwe. The animals featured in this series are almost all long-term rescues, victims of everything from the poaching of their parents, to habitat destruction and poisoning. The human subjects have all been badly affected by climate change - some displaced by cyclones that destroyed their homes, others displaced and impoverished by years-long severe droughts. Both subjects share the same space and are shot together in the same frame - at the same time. The images from The Day May Break, as with all of Brandt's works, are an investigation into and a plea for the conservation of the natural world. ...the times in which we now live are no longer about proverbial canaries in coal mines; we are in the middle of a liminal epoch that is groaning to the soundtrack of a most unsettled earth. - Yvonne Adhiambo Owuor, essay excerpt from The Day May Break. In the works on display both animal and human subjects from Brandt's exhibition are displaced “veterans of the planet's unruly rumblings.” Crafted using light and fog, there is a nearly disorienting visual aesthetic. The images portray a quiet, almost enchanted, sense of tragedy and loss. However, in spite of their loss, these people and animals are the survivors. And therein lies possibility and hope. The Day May Break . . . and the world may shatter. Or perhaps . . . The Day May Break . . . and the dawn still come. Humanity's choice. Our choice. - Nick Brandt, essay excerpt from The Day May Break. Born in England, Nick Brandt studied film and painting at St. Martin's School of Art in London. He turned to photography in 2001 with his trilogy On This Earth, A Shadow Falls, Across the Ravaged Land - to be followed up by Inherit the Dust and This Empty World. Nick Brandt co-founded Big Life Foundation with one of the most respected conservationists in East Africa, Richard Bonham. The new book, The Day May Break (Hatje Cantz, 2021; 168 pages) contains 60 photographs and essays by authors Yvonne Adhiambo Owuor and Percival Everett, along with an essay by Nick Brandt - and is available for purchase through the gallery (while supplies last) for $65.
FRESH 2021
New York, NY
From September 15, 2021 to October 30, 2021
The FRESH 2021 Annual Photography Exhibition is co-curated by Darren Ching and Debra Klomp Ching. Finalists are selected on the basis of having demonstrated a strong vision, excellence in craftsmanship, and potential to expand and grow their creative practice. Of the photographers, some are already known, whilst others are just beginning to carve out their place within the contemporary art scene. Well-resolved projects sit beside those that are just beginning to be fleshed out. Wherever they are in their state of production, each Finalist's creative practice shows great promise for adding substantially to the dialogue of contemporary photographic practice. The exhibition at the Klompching Gallery features work by five photographers, selected from the 20 FRESH Finalists. Each exhibiting artist is represented with a selection of photographs, from the single body of work that was submitted to the open call.
Chain Reaction: The Photography of Patrick Nagatani
Greenwich, CT
From June 27, 2021 to October 31, 2021
The Bruce Museum will present the exhibition, Patrick Nagatani: Chain Reaction, on view from May 1, 2021 through August 1, 2021. The exhibition will feature the entire Nuclear Enchantment series, a powerful body of work made between 1988 and 1993, which deals with the history of nuclear weapons development in New Mexico, as well as the effects of this industry on the people and places there. As a Japanese-American, this was a particularly resonant subject for Nagatani, whose parents were both put in internment camps during WWII, and whose father's family hailed from outside of Hiroshima. Originally planned for August 2020, the exhibition was intended to coincide with the 75thanniversary of the U.S. bombings of the Japanese cities of Hiroshima and Nagasaki, but was delayed due to the Covid-19 pandemic. Consisting of 40 photographs, the series presents a politicized intervention as Nagatani constructs multilayered and wildly imaginative images that unsettle our understanding of this complex time and place in U.S. history. The jarring juxtaposition of ancient symbols and figures from Japanese and Native American culture alongside uranium mining facilities and contaminated deposit sites creates a visual discord that speaks to this complexity. At once harrowing and humorous, these artworks participate in the ever-relevant debate weighing the benefits of scientific and technological progress against the preservation of cultural history and the natural world. The exhibition will also feature artifacts from the Bruce Museum historical collection, including Native American objects, as well as a Soviet-issued gas mask and Geiger counter, echoing the dissonance that the photographs create, and enhancing the exhibition experience for museum visitors. The exhibition is curated by Stephanie Guyet, an independent curator and former Zvi Grunberg Resident Fellow for the Bruce Museum. The Bruce Museum is grateful for exhibition support from the Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts.
Rania Matar: SHE
Santa Fe, NM
From August 25, 2021 to October 31, 2021
Obscura Gallery proudly presents a photographic exhibition by Lebanese-born American artist Rania Matar entitled SHE which focuses on young women in the US and the Middle East who are leaving the cocoon of home and entering adulthood, highlighting how female subjectivity develops in parallel forms across cultural lines. The Obscura Gallery exhibition is in conjunction with the Radius Books release of the same name and celebrates an opening reception with the artist on Wednesday, August 25 at Obscura Gallery from 5-7pm. As a Lebanese-born American artist and mother, Rania Matar's cross-cultural experiences inform her art. She has dedicated her art work to exploring issues of personal and collective identity through photographs of female adolescence and womanhood- both in the United States where she lives, and in the Middle East where she is from. In 2017, Rania was awarded a residency at Kenyon College, Ohio for academic year. Never having been to the Midwest or having seen the landscape and the particularities of the winter there, she found herself inspired by this new landscape she was discovering-and the young women she saw moving through it. Matar's career had already been devoted to photographing young women, mainly her daughters, in the transition between girlhood and womanhood-and in Ohio during the residency, unsure of what form her work would take, she began a series of portraits of young women she'd recently met. The series, now having come to be known as She, then continued after Matar left Ohio and traveled back to Lebanon, and throughout the U.S. Together with the women she photographs, Matar's images are a window into a precipitous moment in the lives of young women from around the world. Focusing on women in their late teens and early twenties who are leaving the cocoon of home, entering adulthood and facing a new reality, the project highlights how female subjectivity develops in parallel forms across cultural lines. Each young woman being photographed becomes an active participant in the imagemaking process, presiding over the environment and making it her own. Matar portrays the raw beauty of her subjects-their age, individuality, physicality, and mystery-and photographs them the way she, a woman and a mother, sees them: beautiful, alive.
Oakland, CA
From October 09, 2021 to November 06, 2021
California is home to the largest population of individuals of Asian descent in the U.S. From the galleon ships that brought sailors to the Americas from the Philippines in the 16th century to the contract laborers who arrived from China in the 1850s, many groups from Asia immigrated to escape hardship, war, or colonization, only to endure policies of exclusion, indentured servitude, racist policies, and negative stereotyping in their new home. Today, violence and prejudice continues in the form of scapegoating around the COVID-19 pandemic. Ctrl+Alt+Yellow convenes Bay Artist artists with Asian lineage who imagine alternative modes of existence. They employ radical modes of narration, exemplifying how communities can take charge of their own stories to re-construct their own understanding of the past, the realities of the present, and future possibilities. Through media spanning video installation, print, and photography, six contemporary artists conceptualize Asian American identity through humor, movement, and intergenerational dialogue. Theresa Hak Kyung Cha employs language and mythology to examine the discomfort of one's own “foreign” language(s). Zihan Jia explores a script created by Qing women—the only known language created and used exclusively by women. Genevieve Quick employs science fiction narratives while Taro Hattori invites people of Asian descent to share their stories and experiences to foster understanding. For You Performance Collective engages AAPI elders to amplify their voices and stories, and Vasudhaa Narayanan's work meditates on what it means to build durational relationships with family and self. Ctr+Alt+Yellow is an apexart International Open Call exhibition. For the latest information on the exhibition and related events, visit or contact
Hindsight: American Documentary Photography, 1930-1950
Minneapolis, MN
From May 13, 2021 to November 07, 2021
Hindsight presents a case for the decisive impact of women upon the history of documentary photography through a selection of prints drawn from Mia's collection as well as that of Dan Shogren and Susan Meyer. Centering the work of six American photographers - Margaret Bourke-White, Esther Bubley, Imogen Cunningham, Dorothea Lange, Genevieve Naylor, and Marion Post Wolcott - the exhibition showcases images that were created for a diverse range of projects, from governmental commissions to editorial assignments. Meant to communicate with audiences increasingly attuned to global social and political movements, these photographs provide insight into lives both everyday and extraordinary: the routines of working people in Brazil; the impact of industrialization upon rural Americans; Black Americans' experiences of racial segregation and economic inequality; the nonviolent political resistance of Mahatma Gandhi against British colonial rule. In these ways, Hindsight reveals each photographer's power in the making of historical memory.
Hassan Hajjaj: VOGUE, The Arab Issue
New York, NY
From March 19, 2021 to November 07, 2021
Vibrant portraiture set inside a world of bold colors, varied textures, and frenzied patterns commands attention in VOGUE, The Arab Issue. Hassan Hajjaj's photography challenges the viewer through an eclectic confrontation of styles, and invites them to re-examine cultural stereotypes and cliches. Alive with color and patterns, this immersive exhibition brings together five important series developed over the past three decades.
Brighton Beach Bliss: The World as it Should Be
Southampton, NY
From October 09, 2021 to November 09, 2021
Brighton Beach Bliss: The World as it Should Be, a photography exhibition of work by Marcia Grostein, will be on view at Heritage Brazil from October 9-November 9, 2021. Grostein's Brighton Beach Bliss beachgoer portraits are a testament of harmonious coexistence between diverse populations. In this series, perfection is not defined by a single perfectly-proportioned body; rather, Grostein asks us to find beauty that can be found in the human gaze, and in a mutual desire to act together within natural and built environments. The unique history of Brighton Beach paved the way for the diversity that Grostein documents within her photographs. In the mid-1970s, the neighborhood became a popular place for Soviet immigrants to settle – particularly for Russian and Ukrainian Jews. Since the 1990s, however, the ethnic demographics of Brighton Beach have begun shifting rapidly. The area, while still home to many Jewish residents, has also become a nexus for Hispanic and Central Asian Muslim immigrants, among others. Today, roughly seventy-five percent of Brighton Beach's inhabitants were born in countries other than the United States. While the individual photos stand as strong images of inter-personal respect and self-care, the series as a whole conflates distinct fields of anthropological investigation – asking us to consider how diverse biologies, cultures, and linguistics can together enact a unified present. Overall, Marcia Grostein's Brighton Beach Bliss series allows for our immersion in a utopia where multiple faiths, sects, races, and appearances are all welcome. About Marcia Grostein Marcia Grostein is a Brazilian-American artist whose practice works across public art, sculpture, painting, video, photography, and portable art/jewelry. Since 1977, the Hamptons have been a big part of Grostein's life. On her first visit to the East End, she met artist Willem de Kooning, who became a mentor, At the same time, she met artist James Rosenquist, whom she often visited in East Hampton. In 1984, she married artist Malcolm Morley and they lived in Watermill. Pieces from her prolific body of work are held in prominent public and private collections including MOMA/PS1, The Metropolitan Museum of Art, MASP (São Paulo Museum of Art,) and MAM (Museum of Art, Rio de Janeiro,) among others
WHEN? A Brief History of the Relationship between Time and Photography
West Palm Beach, FL
From March 01, 2021 to November 12, 2021
From the beginnings of the medium in the 19th century to today, photography has been inextricably linked to time. The photographer's art has been easily conflated with memory and to a moment frozen outside of the temporal flow. But for many artists, the ability to collaborate with time has provided them with new ways to find expression through photography. When? A Brief History of the Relationship between Time and Photography features works by artists from the 19th century to the present including Eadweard Muybridge, Harold Edgerton, Takahiro Sato, Nicholas Kahn & Richard Selesnick, and Jason Salavon.
Standing Together: Jeanine Michna-Bales
Dallas, TX
From August 28, 2021 to November 13, 2021
DNB Gallery artist, Jeanine Michna-Bales, has fortified her activist mission with yet another heavily researched project that plunges into the dark side of American history. As in her previous project, following the undocumented Underground Railroad, Jeanine has recently followed the journey of one American Suffragist, Inez Milholland, on her October 1916 campaign across America to promote Women's right to vote. With the artist's new series, Standing Together, we find the subject very relevant to this era of controversy about validating the 2020 Presidential election and the passing of restrictive voting laws. It is impossible for any problem that confronts the nation today to be decided adequately or justly while half the people are excluded from its consideration. If democracy means anything, it means a right to a voice in government. -Inez Milholland, quoted in the Casper Daily Tribune, Wyoming, October 18, 1916 The struggle for the woman's vote was an arduous and sometimes violent journey. Jeanine illustrates, with her camera, Milholland's 1916 mission, traveling across the country via train and automobile, stopping in cities and towns speaking to crowds of passionate, politically active citizens. Each segment of her October journey becomes more and more difficult, since she tires easily from her illness, pernicious anemia, thought to be a fatal disease at the time. Her doctors prescribed arsenic and strychnine to medicate her, which inevitably killed her when she reached California. The solo exhibition features Jeanine Michna-Bales's photo essay of Inez Milholland's cross-country campaign on behalf of women's suffrage in 1916. The story is told through contemporary images of majestic landscapes encountered along her route, combined with recreated scenes via historic reenactments and still life images. Michna-Bales portrays narrative elements and key locations from Inez's journey - Inez giving a whistlestop speech from the back of a train, a lectern on the stage of an historic auditorium, a hotel's grand staircase, or an interior view of a passenger train car from the period. She also creates symbolic statements with the theme, Standing Together, in mind. The reenacted, still life and symbolic images - separate from the landscapes - are presented in small period reproduction light box frames, created by the artist, that recall the earliest color photographs called "autochromes". The overall impact is similar to Michna-Bales's earlier documentation of the Underground Railroad in Through Darkness to Light…she takes your hand and gives witness to one woman's journey to fight for women's suffrage. All these images can be found in the companion book to this exhibition, Standing Together: Inez Milholland's Final Campaign for Women's Suffrage, published by MW Editions. Jeanine will be signing copies of the book at the opening reception of this show, Saturday, August 28, 2021. Jeanine's project was planned to be released last year, which marked the Centennial celebration of the passing of the 19th Amendment. Because of COVID-19, the book release and exhibition were delayed. Jeanine Michna-Bales's (born 1971, Midland, Michigan) photographs are in major museum collections, including the Phillips Collection, Washington DC, the Museum of Fine Arts Houston, TX, the Harn Museum of Art, University of Florida, Gainesville, FL, the Library of Congress, Washington, DC, Princeton University Art Museum, Princeton, NJ, the Hunter Museum of American Art, Chattanooga, TN, and the Nelson-Atkins Museum of Art, Kansas City, MO.
AAP Magazine #22: Streets
AAP Magazine #22: Streets
Solo Exhibition December 2021
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AAP Magazine #22: Streets
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Solo Exhibition December 2021
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