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Revelations: Recent Photography Acquisitions

From March 14, 2020 to September 27, 2020
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Revelations: Recent Photography Acquisitions
925 Camp St
New Orleans, LA 70130
Revelations: Recent Photography Acquisitions features a selection of photographs made from the early 20th century to the present and added to the Ogden's Museum of Southern Art's permanent collection over the last decade.

With over 70 photographs featured, Revelations represents a wide range of processes and techniques made by a diverse group of 39 photographers.

Revelations celebrates regional identity in parallel with the South's ongoing contributions to a global conversation on photography in the visual arts.

Photographers included in the exhibition: Keith Calhoun, William Christenberry, Lee Deigaard, Walker Evans, Debbie Fleming Caffrey, Aaron Hardin, Lewis W. Hine, Birney Imes, Dorthea Lange, Sally Mann, Andrew Moore, Chandra McCormick, RaMell Ross, Ernest Withers and more.
Our printed edition showcases the winners of AAP Magazine call of entries
All About Photo Magazine
Issue #9
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

Exhibitions Closing Soon

Ellie Davies: Stars
Ketchum, ID
From January 28, 2020 to February 27, 2020
There is magic in British photographer Ellie Davies forest images. In her series “Stars” dense forests of the United Kingdom twinkle with overlaid images from the Hubble Telescope of the Milky Way, and other celestial phenomena evoke folktales of fairies and woodland creatures. I have been working in UK forests for the past nine years, making work which explores the complex interrelationship between the landscape and the individual. Our understanding of landscape can be seen as a construction in which layers of meaning that reflect our own cultural preoccupations and anxieties obscure the reality of the land, veiling it, and transforming the natural world into an idealization. UK forests have been shaped by human processes over thousands of years and include ancient woodlands, timber forestry, wildlife reserves and protected Areas of Outstanding Natural. As such, the forest represents the confluence of nature, culture, and human activity. Forests are potent symbols in folklore, fairy tale and myth, places of enchantment and magic as well as of danger and mystery. In more recent history they have come to be associated with psychological states relating to the unconscious. Against this backdrop my work explores the ways in which identity is formed by the landscapes we live and grow up in. Making a variety of temporary and non-invasive interventions in the forest, my work places the viewer in the gap between reality and fantasy, creating spaces which encourage the viewer to re-evaluate the way in which their own relationship with the landscape is formed, the extent to which it is a product of cultural heritage or personal experience, and how this has been instrumental in their own identity. Throughout my practice small acts of engagement respond to the landscape using a variety of strategies, such as making and building, creating pools of light, suspending smoke within the space, or using craft materials such as paint and pigment. The final images are the culmination of these interventions. The forest becomes a studio, forming a backdrop to contextualize the work, so that each piece draws on its location, a golden tree introduced into a thicket shimmers in the darkness, painted paths snake through the undergrowth, and strands of wool are woven between trees mirroring colours and formal elements within the space. These altered landscapes operate on a number of levels. They are a reflection of my personal relationship with the forest, a meditation on universal themes relating to the psyche and call into question the concept of landscape as a social and cultural construct. Most importantly they draw the viewer into the forest space, asking the them to consider how their own identity is shaped by the landscapes they live in.
A History of Photography: Selections from the Museum’s Collection
Houston, TX
From October 03, 2019 to February 28, 2020
A History of Photography: Selections from the Museum's Collection comprises a series of installations that trace the course of photography from its invention to the present day, showcasing important new acquisitions and treasured masterpieces. Every six months, a new selection of photographs, drawn from the rich collection the Museum has built over the past half century, presents the medium's history in a slightly different light. In this way, an increasingly complex picture of photographic history emerges, encouraging visitors to look closely, move slowly, and return for more. Each new installation also includes a focused look at the work of a single artist or theme held in depth by the Museum, plus a selection of photographically illustrated books highlighting the key role that publications have played in the development of the medium. This installation showcases photographs by artists including Berenice Abbott, Charles Aubry, Walker Evans, Heinrich Kühn, László Moholy-Nagy, Patrick Nagatani, Kiki Smith, Carleton E. Watkins, and Ishimoto Yasuhiro. Also on view is a selection of photographs by Josef Sudek, along with Czech and Slovak photo books.
Texture
New York, NY
From November 21, 2019 to February 29, 2020
Nailya Alexander Gallery is pleased to present TEXTURE, on view Thursday 21 November 2019 through Saturday 29 February 2020. TEXTURE focuses on photographs as unique art objects whose visual, material, and emotional qualities are brought to life by the distinctive philosophy and hand of the artist. On view are photographs by Albarrán Cabrera (b. 1969, Barcelona and Seville), Denis Brihat (b. 1928, Paris), Ingar Krauss (b. 1965, East Berlin), Ann Rhoney (b. 1953, Niagara Falls), Marcia Lippman (b. 1944, New York), Christopher Burkett (b. 1951, Pacific Northwest), Pentti Sammallahti (b. 1950, Helsinki), Lynn Stern (b. 1945, New York), and Alexey Titarenko (b. 1962, Leningrad). For some, texture is profoundly physical and tactile; for others, texture is a visual phenomenon, closely tied to the experience of light and color. Yet for all of these artists, texture is a vital dimension in our appreciation of their work. Denis Brihat's gold-toned gelatin-silver print of the thin, wrinkled skin of an onion is luminous; while in Albarrán Cabrera's prints, the combination of gold leaf, handmade Japanese gampi paper, and swathes of rich, amber light imbue the viewer with a sense of insight and tranquility. Other artists bring forth the texture of the past: Marcia Lippman uses works of the Old Masters to explore beauty and the passage of time by drawing attention to the cracks in the surface of a painting, and Lynn Stern finds echoes of ancient sculpture in the taut muscle and ivory skin of the human torso. The animating force of texture is present in the prints of Ann Rhoney and Ingar Krauss, both of whom apply oil paint to the surface of their gelatin-silver prints. Rhoney's portrayals of intimate, everyday scenes transport us into warm interiors or to an outdoor table on the streets of Paris; her Silk Dress evokes the masterfully rendered fabrics of Renaissance paintings, with folds and hues of lavender and peach. Krauss's meticulously painted hare seems ready to jump out of its frame. Alexey Titarenko's winter scenes from New York and St. Petersburg show the city streets awash in snow and rain, suffused with moisture and silvery light, while Pentti Sammallahti's prints shine with the light and depth of the lakes of Finland and Japan. Christopher Burkett, a master in Cibachrome printing, depicts a mass of green veratrum in Alaska, whose curling leaves and striking green, yellow, and purple hues create movement and an intricate palette.
Tim Greathouse: Albeit
New York, NY
From January 09, 2020 to February 29, 2020
Daniel Cooney Fine Art is honored to present a solo exhibition of drawings, paintings and photographs by Tim Greathouse. Greathouse was a celebrated figure in the East Village art scene of the 1980's as both an artist and gallerist. Greathouse studied art at West Liberty State College in West Virginia, and maintained a studio at the Boston Center for the Arts before moving to New York in 1977. Greathouse first showed his photographs of his commrades on the Lower East Side in an exhibition titled "Work Prints" at Gracie Mansion Gallery, Loo Division in 1982. That exhibition, held in the tiny water closet of Mansion's East Village apartment garnered him a review in the Village Voice. The review was the very first bit of press for the storied Gracie Mansion Gallery. He opened his own gallery dedicated to photography, Oggi Domani, in a storefront on East 11th Street in 1984. In 1986 he moved to a larger space on the north side of Tompkins Square Park, renamed the gallery T. Greathouse and showed sculpture in addition to photography. He then moved the gallery to the northeast corner of the park and continued to expand his oeuvre to painting and drawing. Artists to whom he gave first or early shows include Kathe Burkhart, Anne Messner, Andrew Masullo, Zoe Leonard, Ken Schless, Jimmy de Sana, Paul Smith and Hope Sandrow. Greathouse closed his gallery in 1988 when the East Village boom ended and worked as an art consultant and graphic designer. Greathouse died on October 18, 1998 at the age of 48 from complications of AIDS. While many people knew Greathouse as an art dealer and later as a graphic designer, even some of his closest confidants did not know he continued to make photographs. Since Greathouse's death his artwork has been archived with great care with the hope that it would one day be exhibited. Almost all of the work in this exhibition has never been seen publicly. This will be the most inclusive exhibition of Greathouse's work to date. As Greathouse seems to have been ignored in most historical reconciling of the East Village's art scene during the 1980's this exhibition hopes to correct that omission and share the important contributions of one of the most prolific figures of that time.
Hearts Road by Colin Finlay
Daytona Beach, FL
From November 12, 2019 to February 29, 2020
Hearts Road was photographed in 95 countries and produced over a period of 30 years. It represents one man's journey of evolution, his deep spiritual growth and ultimately his return to the seat of his soul. Transformative and prodigal, it also becomes a journey for every one of us. Take your innermost mind and, through his eyes, and his lens, discover a world that few have ever seen. Through some of the darkest and brightest times in our history, his photographs take us through a portal, exploring disappearing traditions, the path of religious pilgrims, war in the Middle East, Apartheid in South Africa, Antarctica, the Arctic Circle, Alberta Tar Sands, Mountaintop Removal, the Grizzly Bears of the Brooks Range, and literally dozens of other amazing experiences. Colin Finlay seamlessly stitches together the common links that unite us all in our struggle to comprehend both the staggering beauty of nature and the plight of our common humanity.
The Path of Darryl Curran: from the 1960s - the present
Los Angeles, CA
From January 11, 2020 to February 29, 2020
dnj Gallery is pleased to announce its upcoming exhibition, 'The Path of DarrylCurran: from the 1960s - the present (and the Origins of Conceptual Photography).' Darryl J. Curran is one of the major conceptualists of Southern California photography, and this exhibition recognizes his place at the forefront of the movement. He introduced the word conceptualism to our vocabulary, allowing an intellectual type of reasoning to be included in our art making. Borrowing from current trends and developments, he offers further, affectedassociations with cultural icons. Curran's artwork demonstrates seeing and vision, capturing the ideas in the process-- in the midst of their expression. Hecombines images andfound pictures, presents relationships and memories, and creates juxtapositions that encourage reflection and ask consequential questions. As a result, his pieces are not only visually pleasing, but thought provoking and timeless as well. For the past fifty years DarrylCurran has sought to expand the definition of 'photography' to include experiments of the medium in its many forms, including camera and film, light as subject, camera-less image-making, obsolete photographic printing processes and scanner as camera.His work is about the act of discovery."Creating photographs in this manner encourages inaccuracy and serendipity," as Curran explains. His photographic tests explore both commercial and historical processes, as well as an unorthodox approach to image, size, color and content. For instance, Curran's exploration withcolor separation is noteworthy. He began thesesearches in the late 1970's by focusing on shadows cast on white surfaces and photographing them sequentially through red, blue and green filters on black and white film. The resulting photograph revealed gray shadows produced from the main printing colors, cyan, magenta and yellow.In "Sun: Shadows," he describes the process, "I was interested in how they would be represented in the elapsed time of the three camera exposures. White surfaces are not always available. I used an old portable projection screen to pose as shadow catcher and metaphor for 'showing slides.' I wrapped white fabric around tree trunks as a visual foil to the projection screen while investigating the diagonal compositional device." The final resolution took a pause while the advancement of technology caught up: "negatives have been stored from 1982 until 2012. New technology rescued them." Recombined, scanned, and digitally printed, the old black and white negatives gained new life and potential through this process.
Paul  Caponigro: Sixty Years
Santa Fe, NM
From January 10, 2020 to February 29, 2020
Obscura Gallery is honored to announce a solo retrospective photographic exhibition of landscapes and still lifes by Paul Caponigro, one of the world's most significant master photographers still working today. The nearly 50 black and white images in the exhibition include work from as early as 1957and encompasshis extensive career photographing in the Southwest, California, and New England, as well as Irelandand England.The show includesa selection of Paul’s most iconic images as well as images that have never before been exhibited. Paul Caponigro was born in Boston in 1932 and spent a good portion of his young life in the creative arts. At the age of thirteen he became interested in photography, while also developing a strong passion for music. At the age of 18, he studied at the Boston University College of Music before deciding to focus on photography on the opposite coast at the California School of Fine Art, where Ansel Adams had established one of the first photography programs in the United States. Despite this shift from music to photography early in his artistic career, Caponigro remains a dedicated piano player who believes that his musical training and insight influences his photographic imagery. When asked in what way, he replied, “The patterns of thefrost on a window give me the same feeling as musical notes when played on the piano...to this day my images of frost on windows continue to be my favorites for this reason.” One of the earliest prints we have in the exhibition is of frost on a window takenin 1957 in Ipswich, Massachusetts and reflects the emotion Paul speaks of. Caponigro is best known for spiritual renditions that occur in natural forms, landscapes, and still lifes. His thirst for majestic subject matter has taken him to Stonehenge and other Celtic megaliths of England and Ireland; the temples, shrines and sacred gardens of Japan; the deep mystical woodlands of New England, and the coastal and grand landscapes of California. These subjects have culminated into over a dozen books by the artist published throughout the span of his career.
Pieter Hugo: La Cucaracha
New York, NY
From January 10, 2020 to February 29, 2020
Yossi Milo Gallery is pleased to present an exhibition of new photographs taken in Mexico by South African artist Pieter Hugo. La Cucaracha will open on Friday, January 10 with a reception for the artist and book signing from 6:00-8:00pm and will be on view through February 29. This is the artist's sixth exhibition at the gallery. Known for photographing communities on the periphery of society in Africa, Hugo similarly immersed himself in Mexico City and in regions of Mexico including Hermosillo, Oaxaca de Juárez and Juchitán, during several month-long trips in 2018-19. Prompted to make work in Mexico for an exhibition on the theme of sex and death, the resulting photographs embody Mexican attitudes on the subjects in both deliberately staged vignettes and in raw, vibrantly colored images of everyday people, landscapes and objects. As the artist describes his obsession with the country, "Mexico's anarchic, visceral energy got under my skin and sucked me in". Intimate, powerful portraits of diverse subjects, including a young bride posing with an iguana, a dwarf couple dressed as revolutionaries Emiliano Zapata and Adelita, a police officer disguised as a sex-worker, a local amateur theater troupe, and an older generation of Muxes (Zapotec culture's "third gender", who are male by birth but dress as and fulfill roles more associated with women) are depicted in the candid and direct manner that is Hugo's signature style. Often drawing on Mexican history, cultural icons, art historical and literary references, such as the mural From the Dictatorship of Porfirio Diaz to the Revolution (1957-66) by Communist artist David Alfaro Siqueiros, the literary figure Don Quixote and stories from the Bible, the artist and his subjects collaborate to investigate the culture's complex reconciliation of the celebration of life with the realities of violence and death. Hugo has observed of the Mexican people, "...humor, ritual, a strong sense of community and an embrace of the inevitable make it possible to live with tragic and often unacceptable situations". As a metaphor for the ethos in which the extremes of life and death reside comfortably, Hugo chose to title his series after the Spanish folk song, La Cucaracha, about a cockroach struggling to walk with its two hind legs missing. While the origin of the upbeat song is unknown, it has, over time, been coopted and embellished since the 1800s by groups as diverse as rebels and dictators, marijuana users and Looney Tunes cartoons. The heroic creature ideally symbolizes perseverance in spite of hardship and, along with the many nude portraits in Hugo's new series, reflects the artist's long-standing interest in how history, the environment, and the passage of time inscribe themselves on a culture, and on a physical body via tan lines, scars, tattoos and wrinkles. A book of La Cucaracha, with essays by Ashraf Jamal and Mario Bellatin, will be released by Editorial RM (Mexico and Spain) in March 2020. Hugo's solo exhibition, Between the Devil and the Deep Blue Sea, traveled from 2016 to 2018 to Kunstmuseum Wolfsburg, Germany; Coleção Berardo, Lisbon, Portugal and the Museum für Kunst und Kulturgeschichte, Dortmund, Germany. Prior solo exhibitions include the Rijksmuseum, Amsterdam; National Gallery of Art, London; Fondation Henri Cartier-Bresson, Paris; Ludwig Museum, Budapest; Fotografiska, Stockholm; Fundação Calouste Gulbenkian, Lisbon; Musée de l'Elysée, Lausanne, Switzerland; Hague Museum of Photography, The Netherlands; and MAXXI, Rome. His work is held in the collections of museums worldwide, including The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art; Centre Pompidou, Paris; Victoria & Albert Museum, London; Huis Marseille, Amsterdam; National Gallery of Victoria, Melbourne; and the South African National Gallery, Cape Town, among others. The artist's previous books include Looking Aside: South African Studio Portraits 2003-2006 (2006), Messina/Musina (2007) both published by Punctum; The Hyena & Other Men (2007), Nollywood (2009), Permanent Error (2011) and This Must Be the Place (2012) and 1994 (2016) all published by Prestel; There's a Place in Hell for Me and My Friends (2012) published by oodee, London; Kin (2015) by Aperture Foundation. Pieter Hugo was born in South Africa in 1976 and currently lives in Cape Town.
Photographs from the Collection of Steven Gelston
New York, NY
From January 09, 2020 to February 29, 2020
ClampArt is pleased to present 'Photographs from the Collection of Steven Gelston,' an exhibition of exclusively black-and-white prints of nearly all male figurative imagery collected over the past thirty-five years. Steven Gelston grew up surrounded by art. His parents were intelligent and curious collectors who purchased works by largely living artists of their own generation still within attainable means. The collection came to include pieces by artists such as Josef Albers, Red Grooms, Philip Guston, Barnett Newman, Claes Oldenburg, and Larry Rivers, among many others. Gelston's parents possessed strong aesthetic tastes and enjoyed researching the artists who caught their attention. Gelston's mother led art tours for other women in the community through the museums and galleries of Manhattan. She also organized the annual art show in her town, which included works by often very well-established figures. Eventually she pursued her master's degree in art education at New York University and went on to teach elementary school art classes. After retiring, she worked as a docent at the Whitney Museum of American Art. Gelston's family's appreciation for art and artists rubbed off, and his first purchase of art for himself was an impressive, signed, limited-edition Claes Oldenberg print which he acquired while still an undergraduate at Case Western Reserve University in Cleveland, Ohio. The sophisticated and playful conceptual print graced the walls of his dormitory room. Eventually Gelston began collecting WWI and WWII posters (combing his love for history), but his first acquisition of a photograph would not be until 1985 during a trip to Key West, Florida. There he acquired two prints by an artist named Chuck Pearson, and it was then that his passion was unleashed. Slowly and thoughtfully, Gelston began researching and buying photographs of primarily male subjects by living artists of the day. Not at all a trophy hunter going after the biggest and most recognizable names, Gelston instead followed his eye and purchased works to which he responded personally. After years of assembling his collection of photographs, a friend pointed out the fact that the faces of all of the models were cropped out, turned away, or otherwise obscured. After that time with this in mind, Gelston knowingly acquired a photograph titled "Ivan Ivankov, Gymnast, Belarus" by the then up-and-coming artistic duo Anderson & Low, which pictures a shirtless athlete looking up at the lens of the artists' camera with his arm reaching across just the lower half of his face. Amusingly, Steven Gelston likely will cringe at all of the attention paid to him, but ClampArt's exhibition is meant to honor his true appreciation of art and his ongoing support of young, developing artists who rely on such generous patronage. Gelston is passing on the baton of custodianship for these wonderful works of art, and it is now an opportunity for others to live with and care for the photographs he lovingly singled out for his own enjoyment over the course of many years. The exhibition includes prints by now well-known photographers such as Anderson & Low, Bill Costa, Wouter Deruytter, Jim French, David Halliday, Annie Leibovitz, Harriet Leibowitz, Blake Little, Dianora Niccolini, Len Prince, Karin Rosenthal, and Joe Ziolkowski, in addition to younger practitioners including John Kenny and Sebastian Perinotti.
Maia Flore Flowing in Stillness
San Francisco, CA
From January 11, 2020 to February 29, 2020
For our winter season, Themes+Projects gallery presents, Flowing in Stillness by Maia Flore. Obsessed by the art of dance, Maia uses the camera to record the figure's motion in still photographs at the edge of a transformation. From wrinkles, to the drapes of the garment we wear, our bodies constantly unfold themselves tracing chapters of our passage. As seen in the Birth of Venus, by Sandro Botticelli, Venus stands at the edge of a shell with the wind showering her, she holds a tension in her stillness with grace. This tension in stillness inspires Maia, as she conducts her movements with the figure in mind. In her previous work, colorful costumes has allowed Maia's characters to find their personality. Successively, the red, yellow and green dress tinted this single character of a wacky and absurd gestures in surrealist scenes. With this almost monochromatic palette, the presence of the woman transforms the scenes into a daydream painting that very much recall the impressionist desire for an ideal stimulation of our senses.
Dennis Hopper: In Dreams
Los Angeles, CA
From January 23, 2020 to February 29, 2020
The Fahey/Klein Gallery is proud to present Dennis Hopper: In Dreams, an exhibition of works that connect Hopper's role as an actor, husband, father and photographer. Our exhibition in conjunction with the newly published book of the same name (by Damiani Publications) affirms the restless energy and curiosity of Hopper's eye, as well as his unique place in the culture of 1960s America. Referencing Roy Orbison's song by the same name, famously featured in David Lynch's film, Blue Velvet, In Dreams includes appearances by famous faces such as Andy Warhol, Peter Fonda, and Wallace Berman, which are intimately interwoven with Hopper's peripatetic life and his daily use of the camera. While Hopper was very much an insider—at ease with the celebrities and artists of his day— this new engagement with his archive reveals that, like many photographers, Hopper was also in some ways an outsider, an observer. Famous himself, but also an observer: it's this unique duality that allowed Hopper to view the world in his distinctive way. Filmmaker, actor and artist Dennis Hopper (1936-2010) first appeared on television in 1954 and spent the next five decades both in front of and behind the camera. In 1969, Hopper co-wrote, directed and acted in the film Easy Rider, forever changing the face of American cinema. During the years leading up to the making of “Easy Rider”, Dennis was photographing at a fanatical pace. Hopper ardently dedicated more than five decades of his life to artistic expression-- exploring the mediums of photography, painting, sculpture, film, and installation. His first show of photographs, which makes up the “Lost Album” today, was held at the Ft. Worth Museum in the early 1970's - and became a legendary exhibition. In the role of artist and collector Hopper worked and socialized with the artistic avant-garde, constantly exchanging ideas and influencing one another's work. As a photographer, his output was particularly concentrated in the 1960s; the Nikon camera his wife Brooke Hayward gifted him hung so prominently around his neck that friends jokingly called him “the tourist.” Before his passing he remarked, “while people will always remember me as an actor and for Easy Rider - I want to be remembered as a photographer, not just as an actor who took pictures”. Since Hopper's passing in May of 2010, his artwork continues to be in demand in the private and public contemporary art realms. Hopper is not only a fixture of the Hollywood landscape his photography captured, but also the essence of the unique Los Angeles cityscape good and bad, raw and glamorous. The new book, Dennis Hopper: In Dreams: Scenes from the Archive (Damiani, 132 pages; $49.95) is available for purchase at the gallery while supplies last.
4.5 billion years a lifetime:  Sean McFarland
San Francisco, CA
From January 11, 2020 to February 29, 2020
Casemore Kirkeby presents Newsroom by Larry Sultan and Mike Mandel, with additional works by Dru Donovan, Jim Goldberg, Hank Willis Thomas and Carmen Winant, on view from September 7, 2019 through November 16, 2019. During Newsroom, a newly produced portfolio of gelatin silver prints made from Sultan and Mandel's original 1983 negatives will be shown for the first time. Also exhibited will be mural sized prints, made from these same 1983 negatives. Larry Sultan and Mike Mandel's Newsroom debuted at University of California at Berkeley and Pacific Film Archive in 1983, curated by Constance Lewallen. Using the museum's Matrix Gallery as their studio, Mandel and Sultan riffed off their previous ten years of collaborative projects, exploring and playing with mass-media imagery. This time, Sultan and Mandel installed AP and UPI wire machines as the source for the nearly 300 images delivered daily to the gallery. Occupying the gallery-studio every day, the two artists found fodder for their installation by scrutinizing these incoming images, not for their assigned meaning or news content, but according to their whims as artists. Finding their way through each day's raft of images from all over the world, they curated an ever-evolving installation on the gallery walls and floor. Images were freed from text, re-photographed and their context reassigned. Some were installed in poetic juxtaposition or enlarged to mural scale, while others were used as evidence for creating visual graphs illustrating made-up data and fake news. Those images not selected to re-photograph were tossed on the gallery floor, creating an ever-growing sea of rejects. Concurrently presented are works by Dru Donovan, Jim Goldberg, Hank Willis Thomas and Carmen Winant. These four artists explore the image isolated from its presumed meaning and expected context. Each artist's work exacts a shift in emphasis away from what is widely understood as assigned meaning, and sheds light on what is frequently unquestioned or unseen. The often anonymous mechanisms by which vast numbers of images are created and distributed, as well as the accustomed formats for consuming information, are also challenged and incorporated in their work.
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