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Signs of the Times

From February 15, 2020 to May 02, 2020
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Signs of the Times
154 Glass St. #104
Dallas, TX 75207
This thoughtful group exhibition began with a long-ago conversation between Gallery Director, Burt Finger, and the late Ilona Albok Vitarius, daughter of John Albok. While looking through John Albok's vintage photographs together, Ilona thought of an exhibition featuring signs. Of course John Albok created many great images of Manhattan that included an eclectic number of signs. Ilona even named the show, Signs of the Times.

The discussion between Burt and Ilona spawned many ideas regarding the significance of signs in Albok's photographs, and other street photographers. The signage bears fruit, giving us references of the era, the market, design, cultural messaging, political advertising messages, etc. These signs can be considered time capsules.

This exhibition consists of many John Albok photographs that Ilona selected from her father's archive, mainly dated from the 1930's – 1940's.

Additional photographs in this show include PDNB Gallery artists. David Graham's signature image, Really, Really Good, has a nostalgic, minimal, tongue-in-cheek sensibility. Elliott Erwitt's, North Carolina, 1950, definitely gives us a measure of the times in the South. The artist, Lucienne Bloch, chose to photograph her friends, Frida and Diego, seated underneath a very informative sign. The signage calls attention to the couple's political leanings.

John Albok's charming Fruit Faces, from 1940, gives us not only pricing information, but you also see the shop keeper's added talent for catching the eye of a passer-by. Albok's war-time era parade photograph, Remember Pearl Harbor, 1943, highlights a patriotic banner that keenly illustrates both man and woman ringing the bell of freedom.

Other artists include Earlie Hudnall, Jr., William Greiner, Bill Kennedy, Morris Engel, Jeffrey Silverthorne and more.
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Exhibitions Closing Soon

Gail Albert Halaban:  Italian Views
Atlanta, GA
From January 31, 2020 to April 11, 2020
Gail Albert Halaban is a fine art photographer born in 1970 in Washington, DC. She attended the Rhode Island School of Design, Brown University, and Yale University, from which she received a Master of Fine Arts in Photography. Gail Albert Halaban's photography is characterized by large-scale pieces of women and landscapes of inner cities. Her photography has been published in The Huffington Post, The New York Times Magazine, and Le Monde. Gail Albert Halaban's photography has been exhibited extensively in solo and group shows including an upcoming solo 2018 exhibit at the George Eastman Museum in Rochester, New York. She has published two monographs with a third one due out in 2018. Gail Albert Halaban lives in New York City.
Michael Wolf: Life in Cities
San Francisco, CA
From February 06, 2020 to April 11, 2020
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.
30 Years of Women
Atlanta, GA
From February 07, 2020 to April 11, 2020
30 Years of Women, curated by gallery founder Jane Jackson and current owner Anna Walker Skillman, draws from Jackson Fine Art's thirty-year history of showing the most distinguished voices in 20th and 21st century photography. Jackson and Skillman have selected works illustrative of the gallery's evolving vision and the strong relationships that have defined Jackson Fine Art through the years. In the viewing room, Skillman looks forward with a selection of photographs from some of the most important artists of our contemporary moment.
Elger Esser: Inherent Time
New York, NY
From February 27, 2020 to April 11, 2020
Bruce Silverstein is very proud to announce its first solo exhibition with Elger Esser titled Inherent Time. The exhibition will run from February 27 - April 11, 2020. Esser is most widely recognized for his distinct approach to the genre of landscape photography. in his production of eternal images imbued with the sensitive vision of a Romantic. Rendered both in large-format and more intimately-scaled compositions, his serene, verdant photographs depict moments rooted historically, yet also in the present. Esser's work builds upon a rich tradition of 19th century photography characterized by the grand Realist landscapes of French masters Gustave Le Gray and Édouard Baldus, as well as the great chronicler of the American west, Carleton Watkins. Whereas the approach of these forbearers realized still photographs entwined to their respective eras, Esser's timeless images are detached from such specificity, evoking the everlasting. The pastoral glow cast from the artist's diffuse lighting is a hallmark of Esser's bucolic photographs. His pictures capture the essence of a dream-state, a space which only poetry or prose can accurately describe. In many ways, Esser's photographs share an emphasis on the atmospheric language found in the Pictorialist masterworks of Peter Henry Emerson. Like Emerson, Esser's work involves a manipulation of what could otherwise be a straightforward photograph as a means of creating a picture rather than strictly recording nature. This characteristic is especially underscored in Esser's most recent body of work, in which an elaborate hand-coating process is employed. The artist carefully applies layers of silver onto sensitized copper plates crystallizing the photographic image, which is then further enhanced by brushstrokes of shellac creating a distinctive surface sheen. The resulting objets d'art are luminous and precious, holding the viewer's gaze and leading them into a time and place both distant yet familiar. Esser's formal education has been the study of landscape photography. As a student of Bernd Becher at the Düsseldorf School of Photography in the 1990s, his concerted practice does encompass aspects of the documentary method promoted by his instructor; however, Esser's work departs from Becher as well as that of his fellow students in his fruitful endeavors to encapsulate the tenor and fundamental mood of a landscape. His resulting efforts feel less starkly categorical, and undoubtedly share more in common with the sensibility of 17 th century Dutch landscape painters and English Romanticist JMW Turner. Inspired also by the prosaic literary descriptions of nature expressed between Flaubert and Maupassant, Esser's photographs are almost exclusively devoid of human presence. Fascinated with postcards since childhood, Esser's work is often imbued with the experience of travel and exploration. He seeks forgotten stretches of the European countryside, capturing pungent views along the Seine and in the fertile Loire valley, creating illuminated souvenirs which embody his enchantment with the landscape and unique romantic vision. Born in Stuttgart, Germany in 1967, Esser spent the majority of his childhood in Rome, Italy. He moved to Düsseldorf in 1986 and attended the Kunstakademie Düsseldorf under Bernd Becher from 1991 to 1997. The artist continues to live and work in Düsseldorf. Esser has had countless solo exhibitions worldwide and participated in numerous biennials and group exhibitions, namely ILEANA SONNABEND, AN ITALIAN PORTRAIT at the Peggy Guggenheim Collection in Venice in 2011. His works are represented widely in notable private collections and within international institutions including the Solomon R. Guggenheim Museum, New York, The Metropolitan Museum of Art, New York, Stedelijk Museum, Amsterdam, Stiftung Museum Kunstpalast, Düsseldorf, and Centre Georges Pompidou, Paris.
PROOF: Photography in the Era of the Contact Sheet
Cleveland, OH
From February 07, 2020 to April 12, 2020
For much of the 20th century, contact sheets (also called proof sheets) were vital to the practice of photography. The rising popularity of roll film encouraged more and more exposures; the best frame would be chosen later. The photographer first saw positive images on the contact sheet, which was marked up for printing and served as a lasting reference. Digital technology has put an end to that era: the photographer now sees the image instantly, and systems of storage, retrieval, and editing have become increasingly sophisticated. As photography proliferated in galleries and museums in the 1970s, photographers occasionally printed all the images from one roll of film together and presented the result as a finished work of art. Typically, however, the contact sheet remained within the working process, out of public view. That is why it is remarkable that the late Cleveland collector Mark Schwartz was able to build a comprehensive collection of contact sheets. The collection opens a fascinating window on the aims and methods of a broad range of photographers at work during the second half of the 20th century. PROOF features 150 works from the collection, notably by Diane Arbus, Richard Avedon, Harry Benson, Harry Callahan, Robert Frank, Philippe Halsman, and Irving Penn, as well as by Schwartz's friends Arnold Newman, Larry Fink, and Emmet Gowin. CONTACT SHEET: After a roll of film was developed, the negatives were cut into strips and printed by contact. The 36 exposures of a roll of 35 mm film or the 12 exposures of 2¼-inch film fit comfortably on an 8-x-10-inch sheet of paper. With an 8-x-10-inch enlarger, the same array of negatives could produce a so-called enlarged contact, often measuring 16 x 20 or 20 x 24 inches.
Helene Schmitz: Thinking Like a Mountain
New York, NY
From December 14, 2019 to April 12, 2020
Schmitz's latest photographic investigations explore humanity's impact on the environment. Her exhibition at Fotografiska New York will feature a selection of work from her series Thinking Like a Mountain (2018) and Kudzu Project (2013). Earlier projects have focused on the aggressive and sometimes fragile relationship between nature and human beings, one that is spiraling out of control. Kudzu Project shows the ongoing destruction that began after a climbing vine (Pueraria lobata) was brought overseas from its native home in Japan. Once planted in the United States, the eponymous plant became an invasive species with dire consequences for industrial and ecological infrastructures in the American South. Thinking Like a Mountain sheds light on the relationship between the ownership and exploitation of natural resources in Sweden and Iceland.
The Painted Villages of Ecuador: Jeffrey Becom
Carmel, CA
From February 15, 2020 to April 12, 2020
The Weston Gallery is pleased to announce "The Painted Villages of Ecuador," and exhibition of Jeffrey Becom's works from Ecuador will be up until April 12, 2020. A book signing and visit with the artist is scheduled for Saturday, March 14th from 5-7pm. The artist's color photographs have been represented by the Weston Gallery for thirty years. For the past four years, Becom took a hiatus from traveling and photographing around the globe to concentrate on his other career in architectural design. Becom's return to photography in 2020 is unveiled through photographs taken in 2016 but not printed and released until now. His training in architecture has always been an underlying influence on his imagery.
Tom Chambers: 15 Years
Ketchum, ID
From March 01, 2020 to April 15, 2020
Tom Chambers is a photographer best known for creating photomontages that move beyond documentation of the present and seek to merge reality and dreams. Chambers considers his photographs to be not so much about taking photos as making them. Each series begins with a sketch of a concept and storyline. He then photographs each element of the piece using a medium format camera, making sure the light intensity and direction are the same in each shot. By photographing separate elements and assembling them into montages enhanced with patina and warmth, Chambers creates scenes that evoke surreal fairytales. His images are imbued with magical realism, legends, mysticism, dreams and symbolism. While Chambers employs contemporary technology to achieve his photomontages, his images have a luminous quality and dramatic compositions reminiscent of Renaissance paintings and Andrew Wyeth landscapes.
Roe Ethridge: Old Fruit
New York, NY
From February 26, 2020 to April 18, 2020
Gagosian is pleased to present Old Fruit, an exhibition of photographs by Roe Ethridge spanning the past twenty years. This is his first solo exhibition with the gallery in New York, following exhibitions in Beverly Hills, Hong Kong, and San Francisco. Since the turn of the century, Ethridge has exercised a significant influence over young artists in particular, yet opportunities to see groupings of his early work have been rare. Old Fruit, which focuses primarily on his output from the early 2000s, offers a valuable chance to revisit many highly regarded and widely reproduced images that embody new ways of understanding the medium of photography in the context of emergent technological and social currents. Expanding on the visual and critical syntaxes of photographers from Paul Outerbridge to Andreas Gursky, Ethridge strategically crisscrosses the zones of artistic, commercial, and vernacular imagery, encouraging the staged and the spontaneous to occupy the same space. Using outtakes from his own commercial and editorial shoots alongside other images, he subverts the residual authority of the portrait, landscape, and still life genres to match his own consciously ambiguous ends. While applying high production values and acknowledging the conventions of picture making, he introduces subtle conceptual twists and formal glitches that destabilize our ingrained faith in the function and authority of these elements. Courting a certain aesthetic discomfort, his interest is in producing images that are, as he puts it, "'right' in their wrongness."
Asymmetric Warfare: Justyna Badach
Denver, CO
From February 21, 2020 to April 18, 2020
Asymmetric Warfare presents the photography of Justyna Badach, a Philadelphia-based artist who creates large-scale prints using gunpowder to explore how modern-day military propaganda shapes our perceptions of war and conflict. The exhibition includes two bodies of work: Land of Epic Battles and Proxy War. In both projects, Badach uses her computer as a camera to capture screen shots from ISIS recruitment films and the devastation resulting from the "War on Terror" waged by American and Russian military forces. Justyna Badach arrived in the US as a refugee in 1980. She received her MFA from the Cranbrook Academy of Art and currently resides in Philadelphia, where she is an artist, educator, and museum professional. Her work has been exhibited extensively throughout the United States and abroad, and is held in many permanent collections. Solo exhibitions include: Light Work Syracuse, White Columns New York, Gallery 339 Philadelphia, Blue Sky Gallery in Portland and Contemporary Art Center in Las Vegas. Badach's images have been included in over 30 group exhibitions, most notably at the Michener Museum, Rick Wester Gallery, Catherine Edelman Gallery and the Australian Center for Photography. She has been awarded an artist residency from Light Work, and grants from the Pennsylvania Council on the Arts, Leeway Foundation and The Independence Foundation.
Paolo Ventura: An invented World
Los Angeles, CA
From January 18, 2020 to April 18, 2020
Galerie XII Los Angeles is pleased to celebrate its first anniversary with the solo exhibition of world-renowned, Milan-based artist Paolo Ventura. The exhibition of Ventura's magical photographic works, “An Invented World”, spans six series made over the last decade and will provide the most comprehensive overview of the renowned Italian artist's oeuvre on the West Coast to date, including the debut of new works. Paolo Ventura (b. 1968) has been referred to as one of the art scene's most interesting storytellers with his timeless and charmingly enigmatic works. Widely known for his elaborate narrative series acted out by the artist and his family, the whimsical allegories touch upon many facets of the human condition within life-size diorama cityscapes, reminiscent of war-time Italy, which are constructed entirely by the artist. By creating fictional worlds as stage design, the artist is able to physically inhabit the stories of his imagination. The exhibition begins with Ventura's third body of work Behind the Walls (2011), and notably the first in which he began inserting himself into his images. With access to a larger studio in Anghiari, his hometown in Italy, Ventura was able to now construct larger, life-size sets and backgrounds having moved from a Brooklyn apartment where his first two series were made using puppets and small dioramas. The works on view then progress through a selection of his caricatured self-portraits in Short Stories (2012-2015) working with his wife and son in playful serial pieces to more recent large-scale pieces from Collages (2017-2019), which make up a predominant portion of the exhibition. These new works are constructed of multi-panel collages featuring an anonymous cityscape where the character(s) seem to perpetually recede in significance relative to the scene or sometimes are not present at all (La Citta che scende, 2019). Where for most of the decade Ventura had utilized himself to enliven the characters of his imagined history portrayed in straight photographs, the influence of painting and the ambiguous stories of the cities themselves take on more significance in later works on view. The small diorama series Morte e Resurrezione II, 2018 and a unique three-dimensional work from his Paper Sculptures (2014-2016) will have their exhibition debuts as well, giving a further overview of Ventura's expansive and unique practice that has garnered him international critical acclaim.
On the Prowl with David Yarrow
Palm Beach, FL
From March 14, 2020 to April 18, 2020
David Yarrow has cemented his position as one of the most sought-after fine art photographers in the world, accumulating an impressive and growing following by prominent art collectors and celebrities like Tom Brady, Leonardo DiCaprio, Cindy Crawford, Gordon Ramsey, and Cara Delevigne. Yarrow's popularity is not only a result of his fearless approach in capturing wildlife photography but also for his stewardship in helping preserve the magnificence and challenging realities of the planet's global ecosystems. In the pursuit of making his famous shots, through some of the most challenging photographic sessions and throughout the most inaccessible areas on the planet, Yarrow's photographs present the vitality and dignity of the planet's most majestic creatures. As a photographer and a conservationist, Yarrow has been awarded ambassador roles, able to present images showing a dynamic and mesmerizing world. On the flip side, his different body of work shows a creative staging of cinematic influences and often humorous interactions of wild animals with "wild" rugged individuals in bars, cars, open roads, and Western-inspired settings. David Yarrow started his photographic career precociously with an extraordinary moment; in 1986, he captured football legend Diego Maradona raising the FIFA World Cup in a stadium of more than 100,000 spectators. The image was published extensively and made him an accredited and often requested sports photographer who had begun to capture humanity's exciting moments. Yarrow had a highly successful career in the London financial market, and later on, rededicated himself to his first love - photography. Yarrow then shifted to landscape and wildlife photography, maturating as an artist. His desire for fresh, new images in a world flooded with an almost endless image-making drew him to remote locations around the world. The stimulation and prospect of unspoiled places, far from the familiarity of the city, offers new challenges for the photographer. David Yarrow's work ethic is relentless; His pictures are clear and sharp because he gets close. How does Yarrow get so close? Before a shoot, the photographer does extensive research and preparation. When it was not possible to get physically near enough to the animal, he developed a technique with remote-controlled cameras and unorthodox angles to allow a more intimate portraying of his subjects. Yarrow's authenticity requires a complete immersion in the process of the shoot, whether that means encountering bears head-on in Alaska, having his camera carried away by lions, or surviving a plane crash in the Sahara. Yarrow’s work requires access to remote locations. For example, he was permitted by the Chinese government to take pictures of Tigers in Siberia, through his philanthropic relationship with HRH the Duke of Cambridge, who had previously gifted the president of China one of his images on a State visit. For his shooting of a wolf in a bar, he coordinated the photograph after "long conversations with the Montana government…and "access, preparation, homework." His work has taken him around the globe and gaining access, no matter what the difficulties, has been a prerequisite for his success. Most recently, David Yarrow traveled to Australia to document the bush fires that are devastating to the region, stating on his site: >A brutal week of stark realities has inspired him to create a campaign called The #KoalaComeback campaign to try and raise $2 million for WildArk and Global Wildlife Conservation to support the recovery in the field. David Yarrow continues to create work that elevates the genre of wildlife fine art photography, making philanthropy and conservation a central beneficiary of his artistic ideology.
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