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The Future is History: Natascha Seideneck

From February 07, 2020 to February 29, 2020
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The Future is History: Natascha Seideneck
1400 Remington Street
Fort Collins, CO 80524
Informed by science, current events, and philosophy, The Future is History explores experimental processes of image-making and aims to create a dialog about ecological disasters, mediation of the technological lens, and their impact on our environment. Included in the exhibition are excerpts of The Disaster Archive, Horizons, Uncanny Territory, Archeology of Ruin, and Terra Incognita. These works are inspired by the term Anthropocene, which describes our current geological age, where human activity is the dominant influence on the environment and how we are creating the geology of the future.
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Exhibitions Closing Soon

Chemistry and Light: Chuck Kelton and Joseph Minek
Los Angeles, CA
From March 13, 2021 to May 08, 2021
Chemistry and Light brings together the work of Chuck Kelton and Joseph Minek-two artists who practice versions of camera-free photography. They each elect instead to work directly with the raw materials of darkroom practice-paper, chemicals, lightbulbs-generating unique monoprints. Their energetic works carry resonance with abstract painting and natural phenomena. Taken together, each to the other, Kelton and Minek represent in their common philosophies and divergent differences some contours for a genre. In one sense traditionalists-aka being actual darkroom photographers -nevertheless they eschew the fundamental conventions of both camera and film in pursuit of a deconstruction of the medium that is both more pure and more complex. There is a rich legacy in the historical avant-garde, of artists with a soul of scientific inquiry who take this kind of almost anatomical approach to centering the building blocks of their practice. But as each Kelton and Minek take it up, this center vectors off according to the aesthetics and axioms of each one's vision.
Rooms that Resonate with Possibilities
Palm Beach, FL
From March 27, 2021 to May 08, 2021
When we think of rooms most of us draw on mental pictures of predictable spaces that are very familiar and give us a sense of security. We tend to see, and live in a fixed and predictable diurnal environment. But for many photographers rooms or interior spaces have often presented themselves as challenges and invitations to see creatively and not be hemmed in by social conventions. A room, as a subject, can resonate with potential possibilities. It can metaphorically be akin to an artist's palette waiting to be brought to life through a new creation. The photographs of Karen Knorr, Massimo Listri, Sandy Skoglund, Michael Eastman, John Dugdale and Bernard Faucon present new approaches and unique visions to picturing space. When we encourage a child to open up their world and expand their horizons we often tell them to "use their imaginations." This act of conjuring possibilities and freeing themselves from the logical constructs and repetitive norms can be liberating. One attribution often ascribed to a great photographer (or for that matter any creative person) is that they have an active and engaging imagination and can mentally construct vivid images. When we think of rooms most of us draw on mental pictures of predictable spaces that are very familiar and give us a sense of security. We tend to see, and live in a fixed and predictable diurnal environment. But for many photographers rooms or interior spaces have often presented themselves as challenges and invitations to see creatively and not be hemmed in by social conventions. A room, as a subject, can resonate with potential possibilities. It can metaphorically be akin to an artist's palette waiting to be brought to life through a new creation. The photographs of Karen Knorr, Massimo Listri, Sandy Skoglund, Michael Eastman, John Dugdale and Bernard Faucon present new approaches and unique visions to picturing space. Each photographer reaches beyond the mere physical appearance of a room. They are interested in finding an equivalent for the experience of being in a room, and how it makes us feel. A room can be a reservoir for real or imagined memories. Rooms take on less of a descriptive and more of an emotive and subjective function. The shared and individual experiences that each of us experiences, give the photographers and ourselves the basic resources to evaluate these unique spaces. The temporal dimension of picture making is complex. Photographs are created by their makers in the present - but are always presented to the viewer in the past. Something has already been photographed and we are looking at the result of the way a room looked, or the evidence of what occurred in the past. However, the act of looking is always in the present - yet what we remember belongs to the past. This critical distinction often shapes our response to what we are seeing. This temporal exchange can give a nostalgic feel - or can touch on something in our minds and emotions that connect us to the pictures and spaces they represent. We can admire the qualities within, be awed or humbled by their structures, or feel pathos for an unknown, but imagined, life that has disappeared. Our deepest connections are always complex and involve several senses - they are seldom limited to the visual. Spaces contain histories - we know some of the histories, but some, created by artists, are potential vessels of imagined or recreated experiences. Photographers such as Massimo Listri and Michael Eastman - photograph a room as they see it. Their selection and criteria for what is worthy of being photographed is based on a location that they find special - or memorable. For Listri, it will have formal elements of architecture like repeating patterns of column, arches, tiles, or objects such as books and a color palette that he finds appealing. His photographs often evoke a cultural entity and depict wealth based on privilege and learning. He is drawn to spaces that have grandeur as well as spaces that have been eroded due to the ravishes of time and use. For Michael Eastman, rooms or spaces need to have a patina produced by time and use. Spaces must be 'lived in" and convey a feeling that someone has just left of is about to enter a room. He is always interested in the human dimension of a room - without an actual person being present. The economic splendor that is projected within a space holds little interest for Eastman - it is the breadth of human experience that is key. He is careful to leave spaces exactly as he sees them and his fascination is with the textures, colors and degradation of a building that happens over time. John Dugdale is a 20th century photographer smitten with the 19th century. He finds comfort in imagined ancestral connections. His is a world seemingly inhabited by spirits. The photographs are hand made and rely on older techniques, such as albumen, cyanotype and platinum printing. These are organic processes that give each print a unique quality. His pictures have a cool reserve and often include friends or family members. There is little in them to suggest a postmodern world or concern - and Dugdale is drawn to basic, essential values and organic objects. His photographs, whether portraits, landscapes or still lives are designed to be authentic experiences and most have been created in one of his two antique homes. Sandy Skoglund, Karen Knorr, and Bernard Faucon create rooms and spaces that suggest narratives, and give a visual substance to ideas they have, memories they wish to share, and objects, animals and people they desire to bring together. They create fictions that are based on ideas the artists' choose to explore. Bernard Faucon creates rooms as equivalent visual poems. A room can be lined in gold, bathed in milk, or covered in snow or sawdust. His subject is often the fleeting memories and joys of childhood - and the inescapable passage of time. His pictures were all made in the South of France with their special interest in nature, light, landscape and the memories specific to his youth. In his photographs, Faucon recreates imagined narratives for the viewer in which we are suspended in a very unique time and space. Karen Knorr builds a world of impossibilities. She explores grand spaces that are full of architectural richness, verdant light, and are steeped in history. Within these spaces she introduces animals that resist domestication. They are shot separately by her in game parks or are taxidermies. The animals inhabitants these spaces - but become entrapped by them. The rooms cannot logically house and nurture the wildness in these beautiful specimens. Just as beautiful cultural structures are steeped in regulated codified social behavior - our individual freedoms are often sacrificed when we inhabit them. The animals become anthropomorphic. For Knorr a room is a metaphor for a kind of socialized control that gives us the comfort of being part of a specific group or culture but also takes away our independence and individuality. Sandy Skoglund painstakingly constructs rooms to contain objects and people that investigate the signifiers of how we live, think, and what we value. She often populates rooms with inanimate objects such as popcorn, Cheetos, tables, chairs, leaves, turf, and sculpts models of foxes, snakes, goldfish, dogs, cats, as well as humans. The pictures are built as life size dioramas that question, on a psychological level, our fears and fascination to things. Her pictures are full of visual non-sequiturs in which there seem to be an infinite repetition of objects, or animals that fill a space. It is always a mystery as to why they are in these spaces in the first place. Added to the repetition of forms and shapes, Skoglund often unifies the color of many of the elements to the larger environment giving a surreal aspect to this puzzling interaction between people and the objects that populate the rooms. Rooms, in the largest sense, become visual constructs where these photographers have realized their dreams, desires, fears and observations. If as Shakespeare quotes, "All the world is a stage," and "All the men and women merely players" the rooms become the theater in which the dramas unfold. They hold the mysteries and beauty that we see first with our eyes and then, over time, they create deeper connections into our larger psyches.
Bill Brandt: Perspective of Nudes
New York, NY
From March 12, 2021 to May 08, 2021
Marlborough New York is pleased to present Bill Brandt: Perspective of Nudes, an exhibition of groundbreaking nude photographs spanning the career of German-born British photographer Bill Brandt (1904-1983). Composed of thirty-five photographs, the exhibition explores Brandt's longitudinal study of the nude feminine form between 1945-79. The exhibition will remain on view through Saturday, May 8, 2021, on the second floor of 545 West 25th Street, New York. The accompanying gallery publication will feature an essay by Martina Droth, deputy director and chief curator at the Yale Center for British Art, and Paul Messier, head of the Lens Media Lab at the Institute for the Preservation of Cultural Heritage at Yale University, New Haven, Connecticut.
New York responds
New York, NY
From December 18, 2020 to May 09, 2021
Opening Friday, December 18, New York Responds: The First Six Months looks at the still-unfolding events of 2020 through the eyes of over 100 New Yorkers. This crowd-sourced exhibition presents objects, photographs, videos, and other artworks that document and interpret the COVID pandemic, the racial justice uprisings, and the responses of New Yorkers as they fought to cope, survive, and forge a better future. A jury of a dozen New Yorkers representing many walks of life helped to make the selection from among tens of thousands of submissions received from individual artists and from partner institutions. On July 23, the Museum unveiled the first phase of this exhibition, an outdoor installation featuring 14 images that had been submitted as part of our ongoing collecting efforts. Together, these powerful artifacts and artworks speak to the dramatic effects of these unprecedented months on the city, its residents, and the dynamics of urban life itself.
2021 Members Juried Exhibition
Carmel, CA
From April 10, 2021 to May 09, 2021
The Center of Photographic Arts maintains a special place within my heart, as it was the first organization to exhibit my work in a juried group show many years ago. Thank you to Ann Jastrab and The CPA for allowing my journey to come full circle by inviting me to jury the 2021 Members Exhibition. It was a great honor and privilege. As an educator, I start my initial classes by asking students how they define what makes a great photograph. The beauty to that question is that there is no definitive answer. Yet there is one attribute I consider a constant, which is that a great photograph is a search for meaning. It starts by asking a question and then proceeds to ask more and more. Regardless of genre, a successful image communicates an authenticity that allows viewers to experience, consider and connect with personally. Consequently, that was the narrow measure used when selecting final images. The selected images for the 2021 Members Exhibition represent a diverse snapshot of current approaches to image making: from the earliest of historical processes to the latest in digital technology. But what they unanimously realize is the ability to connect, surprise, contemplate and at times provide a much-needed laugh. Selecting from approximately 2000 images is an immense responsibility that I do not take lightly since it was just fifteen years ago that I was one of the lucky few selected to exhibit at the CPA. With space for only 45 artists in the physical exhibition and 50 artists in the online exhibit, I deliberated over each and every image for days. In the end, I was deeply torn by not being able to include countless submissions I admired. I applaud every photographer who submitted and I thank each of you for your courage to share your vision. I congratulate the selected exhibitors and I thank each one of you for sharing your unique and inspired vision. - Susan Burnstine
Richard Tuschman: My Childhood Reassembled
New York, NY
From February 18, 2021 to May 13, 2021
Klompching Gallery is delighted to present a viewing room and virtual exhibition, of new work by Richard Tuschman. Four years in the making, My Childhood Reassembled explores the artist's childhood in the American suburban Midwest of the early 1960s. Following on from his previous successful projects, Hopper Meditations and Once Upon A Time Kazimierz, Tuschman continues to develop a strong visual oeuvre-working with a combination of miniature dioramas and digital collaging of live models-in the staging of complex narratives. Here, the artist has invoked, what he describes as the "stubbornly esthetically mute" interiors of the family home of his formative years; a nondescript red-brick two-family home built in 1955. This is contrasted with the expert use of highly expressive lighting, and performative expressions and body language of the 'family stand-ins', to convey the range of moods embedded in the artist's memories of times past.
Cig Harvey: Eat Flowers
Atlanta, GA
From March 12, 2021 to May 15, 2021
Jackson Fine Artis excited to celebrate the welcome approach of spring with Eat Flowers and Persephone, exhibitions of new work from Cig Harvey and Angela West. Both series are lush explorations of the changing seasons and celebrations of emotional rebirth from two of the most innovative female photographers working today. This is the gallery's first exhibition of Cig Harvey's work, and our fifth exhibition of Angela West, the first since 2010's Trigger. > On Saturday, March 13th, we'll be accepting special opening weekend appointments from 11am –4pm, with Angela West in attendance from12-2pm. Appointments may be made by visiting our website. On Saturday, May 8th, Cig Harvey will give a closing artist talk, followed by questions and a book signing in celebration of Harvey's forthcoming monograph, Blue Violet. Cig's previous books You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra, You a Bomb have all sold out and have won numerous awards. Eat Flowers, an exhibition of recent work by Cig Harvey, is a multi-sensory installation of photography and text that celebrates the artists' unique and contemplative approach to finding beauty in even the most mundane. Combining letterpress text, straight photography, and sculpture, Harvey provides an experience mirroring her celebrated photobooks, in which she offers viewers a glimpse into her artistic process through drawings, writings, and references. In Persephone, an exhibition of new large-scale mixed media pieces from Angela West, the artist draws from her extensive archives, reimagining works from my 33rd Spring, a body of work she first presented 17 years ago following her MFA program at Yale. As the world stood still in 2020, West returned to these photographs, layering paint on top of her original landscapes to create a series of unique paintings that celebrate rebirth and the reemergence of West as a force in the photographic community.
Angela West: Persephone
Atlanta, GA
From March 12, 2021 to May 15, 2021
Jackson Fine Artis excited to celebrate the welcome approach of spring with Eat Flowers and Persephone, exhibitions of new work from Cig Harvey and Angela West. Both series are lush explorations of the changing seasons and celebrations of emotional rebirth from two of the most innovative female photographers working today. This is the gallery's first exhibition of Cig Harvey's work, and our fifth exhibition of Angela West, the first since 2010's Trigger. > On Saturday, March 13th, we'll be accepting special opening weekend appointments from 11am –4pm, with Angela West in attendance from12-2pm. Appointments may be made by visiting our website. On Saturday, May 8th, Cig Harvey will give a closing artist talk, followed by questions and a book signing in celebration of Harvey's forthcoming monograph, Blue Violet. Cig's previous books You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra, You a Bomb have all sold out and have won numerous awards. Eat Flowers, an exhibition of recent work by Cig Harvey, is a multi-sensory installation of photography and text that celebrates the artists' unique and contemplative approach to finding beauty in even the most mundane. Combining letterpress text, straight photography, and sculpture, Harvey provides an experience mirroring her celebrated photobooks, in which she offers viewers a glimpse into her artistic process through drawings, writings, and references. In Persephone, an exhibition of new large-scale mixed media pieces from Angela West, the artist draws from her extensive archives, reimagining works from my 33rd Spring, a body of work she first presented 17 years ago following her MFA program at Yale. As the world stood still in 2020, West returned to these photographs, layering paint on top of her original landscapes to create a series of unique paintings that celebrate rebirth and the reemergence of West as a force in the photographic community.
Laurence Salzmann: A Life with Others
Philadelphia, PA
From February 22, 2021 to May 16, 2021
Jason Francisco, Guest Curator A Life with Others is the first comprehensive survey of the work of Laurence Salzmann (American, born 1944), one of Philadelphia's most renowned living photographers. The exhibition explores the major themes of the artist's remarkable and ongoing fifty-year career, the geographic scope of his practice in photography and film, and the intensity of his concerns. Salzmann is a lifelong resident of Philadelphia; he remains today a member of the same synagogue in which he celebrated his bar mitzvah in 1957. But his work has taken him to communities in more than a dozen countries around the globe, his subjects ranging from rural Mexico to urban Turkey, the mountains of Transylvania to the highlands of Peru, New York City to Jerusalem, Cairo to Havana. Trained in visual anthropology, Salzmann is distinct in his conception of art as research, and research as a point of artistic departure. His photographs and films push us to measure our ethical consciousness and to meet his subjects on their own terms, with critical awareness and compassion. They push us to defend those who are vulnerable to ignorance and stereotype, and to transcend cultural and psychological barriers in the protection of human dignity. The exhibition will include over seventy-five works of art, including vintage photographs from all eras of Salzmann's career, as well as films and books. Materials will be lent by the artist himself, and by the University of Pennsylvania, which in 2018 acquired Salzmann's vast archive.
Out of the Shadows: Contemporary Chinese Photography
San Diego, CA
From March 07, 2020 to May 22, 2021
Inspired by the last three decades of China's dynamic development, Out of the Shadows: Contemporary Chinese Photography features Chinese artists who question traditional aesthetics, local and global histories, and the photographic medium. Each featured artist has found his/her artistic voice by not only questioning traditional Chinese aesthetics but also challenging conventional expressions of the photographic medium. The show's selected contemporary Chinese artists, many of whom have never been exhibited in an American museum before, all continue to push the boundaries of photographic art with new technologies and innovative perspectives. The exhibition is curated by Tiffany Wai-Ying Beres, an art historian and Asian art specialist previously based in Beijing for nearly a decade, and who has curated over thirty exhibitions around the world. Artists included in the exhibition are Lang Jingshan (1892-1995), Chu Chu, Hong Lei, Ni Youyu, Shao Wenhuan, Shi Guorui, Wang Ningde, Yang Fudong, and Yang Yongliang. A catalog published by the Museum of Photographic Arts will accompany the exhibition.
Illusion: The Magic of Motion
San Diego, CA
From February 11, 2020 to May 22, 2021
Did you know that the idea for the camera existed 2,000 years before photography was invented? That the Chinese invented eyeglasses 300 years before they appeared in Europe? Or that photographs of a galloping horse captured the stages of motion for the first time? Illusion: The Magic of Motion explores how photography was not suddenly discovered but came about as a result of several centuries of scientific and artistic explorations into light, optics, and perception. Artworks in the exhibition show the invention of cinema, works created through perspective and anamorphosis, the magic of shadow puppets, and how the human eye perceives motion. Artists in the show include historic photographers Eadweard J. Muybridge, Berenice Abbot, Phillip Leonian, and Harold “Doc” Edgerton, and contemporary photographers Ori Gersht, Eric Dyer, and Luis González Palma.
Ernest Knee: Photographs from the Southwest and Mexico 1930 - 1940
Santa Fe, NM
From April 16, 2021 to May 22, 2021
We are thrilled to share an exhibition of vintage photographs by Ernest Knee, a well-known photographer and cultural figure who lived in Santa Fe in the 1930's and 1940's. Knee is best known for his images of northern New Mexico and other southwestern cultural landscapes, Native American dances, and many other profound Southwest locations which reveal a remarkable visual record of the Southwest between 1930-40, comprised into two books: Santa Fe, N.M. (1942, Hastings House) and Ernest Knee in New Mexico (2005, Museum of New Mexico Press). Also included in the exhibition will be a selection of photographs from Mexico of which were published in his book, Mexico - Laredo to Guadalajara (1951, Hastings House). Ernest Knee was born in 1907 in Montreal, Canada. Ernest descended from a long line of boat builders, fishermen, and sea captains and wound up serving in the Canadian marines at 19, also the same time he got his first Eastman folding camera. Ernie had contracted rheumatic fever at age 11 and while he did recover, he felt the long-term effects of the disease throughout his life. A few years later he contracted tuberculosis and after this time he and his mother moved to Tucson so he could recover and gain back strength. Once healed, his mother moved back to Canada and it was at this time, around 1930, that Ernie met his first love and eventual wife, Virginia Shnaufer, who was an artist and nurtured his photography. That following year they moved to Santa Fe, New Mexico, a place in which held a vision for him of something unaffected and pure, where one could live a simpler life. In 1916, Taos became a central hub for artists, where Mabel Dodge Luhan and her husband from Taos Pueblo, Tony Luhan had created an incredible residency of sorts for artists from all disciplines all over the country to visit and create. They hosted writers, artists and musicians such as Mary Austin, Willa Cather, DH Lawrence, George O'Keeffe, Leopold Stokowsky, and photographers including Edward Weston, Paul Strand, and Ansel Adams. Oftentimes Ernie was aided in his quest for pictures by Tony Luhan, who had friends everywhere and often drove Mabel's guests to one pueblo or another as guide and interpreter and he photographed the traditional dances, costumes, and people of the Indian Pueblos. His photos of the Devil Dancers at Zia Pueblo were the first record of their dance and were published in Life magazine in 1937. Good-humored and hospitable, the Knees had many visitors stay with them in their house on Camino Del Monte Sol, among them Edward Weston whom Ernie first met in 1932 through Willard Nash. Weston became a great friend and would use Ernie's darkroom when he was in town. "Ford gave him a car when he worked for them," Ernie said. "We would drive all over the countryside, stop, get out of the car at the same time, and always stand back to back, shooting in opposite directions." Perhaps intrigued and encouraged by Paul Strand and Edward Weston who had gone to Mexico before him, Ernie decided to set off and see some of that great country for himself in 1941. He focused on a route that led from Laredo to Guadalajara, taking in the sights and old settlements of Monterrey and Villagran, then veered southwest through the mountains to the Valley of Mexico, and finally went west through Morelia and Chapala. He noted with pleasure the relaxed pace of life enjoyed by the Mexicans and their attunement with nature, the pyramids of Teotihuacan, and the helpfulness of the people he met, but he frequently had to convince them that he "was not one of those Americanos [who] must get to and from places in a dreadful hurry." These images, nearly 100, were published in the book, Mexico: Laredo to Guadalajara, (Hastings, New York, 1951). Like many of his Anglo contemporaries, Knee was smitten with Santa Fe's distinctive architecture, crafts traditions, and landscape. Knee was part of the Santa Fe artist community that included Gustave Baumann, and Will Shuster and he was friends with many of the artists who visited the area regularly (John Sloan, Edward Weston, Ansel Adams, etc.). Ernie was a great afficionado ofthe Santa Fe fiestas throughout the 1930's, watching Shuster build Zozobra and photographing the process several times. He enjoyed taking pictures and films of the parades, musicians, friends and visitors alike, dressed up in their fiesta finery. Within a few years, his documentary films were also shown by Pathe News in movie theaters and included his photographs made on the Navajo reservationfor the documentary film called Navajoland. His three short documentaries are called; Indian Rhythm (Taos Pueblo dances), Navajo Fair at Shiprock, and Santa Fe Area Celebrations, all of which he donated to the State of New Mexico Photographic Archives. His photographic output was prodigious, with photos in local shows; a touring United States WPA exhibition; many printed in books and magazines, and a couple of his images winning awards in advertising circles. A few exhibitions were financed by the State Department and traveled around South America during 1944-45. In subsequent years, his freelance status with Pathe News kept Ernie going when other financial sources were in short supply. With literally hundreds of photos taken in and around Santa Fe in the previous decade, he gathered the many faces of his adopted hometown, brooding landscapes, area churches, and small town streets, and set them in a small pictorial book entitled Santa Fe, published in 1942. When the war came on, Ernie moved to California and worked for Howard Hughes, creating his photography department, remarrying, and creating a family. It was in 1949 when he moved back to Santa Fe after traveling to Venezuela that he realized the market for photography had come to a standstill. He wound up investing in his wood-working skills and the next twenty years created a wooden door company, Spanish Pueblo Doors, in downtown Santa Fe from 1950-1970 until he sold the business and returned to his passion for photography. By this time, he was almost unknown in the art world. Undeterred, he set up a darkroom and began printing and exhibiting the photographs of his earlier years. Soon he was having shows all over the country with major photographers, including Laura Gilpin (Masters of New Mexico) at the Colorado Photographic Arts Center. His first love had always been photography, and in interviews during this period he was fond of saying his life had never been better. When Ernie died at age 75, twenty-two major museums had exhibited and/or acquired collections of his work including the George Eastman House, Rochester, NY; Museum of Modern Art, NY; Center for Creative Photography, Tucson, AZ; Santa Barbara Museum of Art, CA; Los Angeles County Museum of Art, CA; Princeton University of Art, Princeton, NJ; New Orleans Museum of Art, LA; University of New Mexico, NM; New Mexico Museum of Art, Santa Fe, NM; Chicago Art Institute: among others.
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