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Warranted to Give Satisfaction: Daguerreotypes by Jeremiah Gurney

From June 12, 2020 to June 06, 2021
Warranted to Give Satisfaction: Daguerreotypes by Jeremiah Gurney
Eighth and F Streets NW
Washington, DC 20001
In 1840, Jeremiah Gurney abandoned his career as a jeweler to establish one of New York City's first daguerreotype studios. Despite vigorous competition from rivals such as Mathew Brady, Gurney soon developed his reputation as a leading camera artist whose works were "nearer to absolute perfection" than those of other daguerreotypists. Widely admired for the beautiful, hand-tinted images produced in his studio, Gurney continued to make daguerreotypes until the latter half of the 1850s, when he began transitioning to paper print photography. This exhibition will feature a selection of daguerreotype portraits by Gurney from the collections of the National Portrait Gallery and the Smithsonian American Art Museum, alongside works from several private collections.

This exhibition is curated by Senior Curator of Photographs Ann Shumard.
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Exhibitions Closing Soon

To Survive on This Shore
Seattle, WA
From January 14, 2021 to April 15, 2021
PCNW is pleased to present To Survive on This Shore, a new photographic exhibition on view January 14–April 15, 2021. This interdisciplinary project is a collaboration between Jess T. Dugan, photographer, and Vanessa Fabbre, social worker and assistant professor at Washington University in St. Louis, whose research focuses on the intersection of LGBTQ issues and aging. For more than five years, Dugan and Fabbre traveled throughout the United States seeking subjects whose experiences exist within the complex intersections of gender identity, age, race, ethnicity, sexuality, socioeconomic class and geographic location. They traveled from coast to coast, to big cities and small towns, documenting the life stories of this important but largely underrepresented group of older adults. The featured individuals have a wide variety of life narratives spanning the last 90 years, offering an important historical record of transgender experience and activism in the United States. The exhibition will include 22 photographs, each paired with texts illuminating the life narratives of those photographed.
Giuseppe Penone
New York, NY
From March 09, 2021 to April 17, 2021
Marian Goodman Gallery New York is very pleased to announce an exhibition by Giuseppe Penone opening on Tuesday 9 March through Saturday 17 April 2021.The exhibition will feature a series of canvas works titled Leaves of Grass(2013) which are being shown for the first time, alongside individual sculptures made concurrently (2014-2015), and a series of drawings (2014). The canvas works in the North Gallery take as a point of departure Walt Whitman's first edition of Leaves of Grass(1855), currently on loan from The Morgan Library.Penone's Leaves of Grassis comprised of twelve canvases in total which correspond to the twelve original poems of Whitman's first edition. Six of the works are presented here and a selection will be included in a forthcoming exhibition at the Bibliothèque Nationale de France (BNF), Paris in the Fall of 2021. Initially inspired by images from the natural world, Penone found himself drawn to the verdant cover of Whitman's first edition, which was printed, bound and set in type by the young poet in 1855 and has been in contact with Whitman's hands. Penone finds meaning in the correlation of a leaf to a fingerprint; a fingerprint to the surface of a book; and the hue of the book to nature, perceiving green as an equilibrium between light and shadow. Scaling each canvas to a ratioechoing the first edition, he enlarges the work seven times in relation to its original object. Whitman's verses, analogous to a single breath or gesture, create a natural correspondence for Penone: "Words that are breaths, breaths that evoke thoughts, thoughts that are impressed on the mind like the marks left by hand on the surface of things, infinite traces bearing witness to our identity." Each of the canvases in Leaves of Grassis initiated by touch, the principle of cognition and creation, which the artist conceives as a 'sign, order, thaumaturgic gesture, or projection of a thought.'Beginning with an imprint of the finger, he adds another, with every ensuing impression becoming a unique and distinctive mark unlike the previous, akin to Whitman's blade of grass as a uniform hieroglyphic. Multiplying into an infinitude of 70,000 accumulated imprints, the canvas' active surfaces metamorphose into vast landscapes resembling the foliage of trees. Punctuating each vista is a small terracotta sculpture formed from the gesture of clasping a handful of earth, from clay sourced from lands across the United States. Drawingnot only on Whitman's 'hopeful green stuff woven'but earth itself as memory, these fired clay elements reinforce the Penone's sculptural intent and his principle that one needs to touch the earth to activate it. In the North Gallery Viewing Room, Leaves of Grass in the Hands, a 2014 drawing made from graphite rubbing on paper mounted on silk and made from a first edition of Whitman's book, returns Penone to frottage, a process utilized in early and recent canvas works with vegetal pigments. A series of drawings titled Foglie (Leaves)from 2014 reiterate the notion of landscape as an expanse of imprints. Each work on paper traces indexical gestures, imprints in ink and pigment which carry the memory of an action, in dialogue with collaged leaves and vegetal forms. To Penone, the Foglie drawings depict "a drapery of the forest's leaves, each unique, absolute, unrepeatable, which redress the forest's body like skin." In the South Gallery, the 2015 bronze sculpture Artemide (Artemis)bears a twofold identity, being the cast of a real tree and evoking at the same time the female body as the title suggests,implying nature and fertility, interior and exterior, positive and negative forms.Nearby are the Indistinti Confini -Contatto (Indistinct Boundaries -Contact) works from 2015:trees of carved marble which 'hide' a bronze core, theyexplore boundaries between positive and negative as well as the sculptural process itself, the bronze invoking the memory of a wax mold
The City Within
New York, NY
From March 07, 2020 to April 18, 2021
Before it became part of New York City in 1898, Brooklyn was a city of its own-the fourth largest in the nation. Even today, as New York's most populous borough, Brooklyn remains a "city within the city," three times the size of Manhattan. It is from this point of inspiration that The City Within: Brooklyn Photographs by Alex Webb & Rebecca Norris Webb presents more than thirty images by celebrated photographers Alex Webb and Rebecca Norris Webb. Alex Webb has sought to canvass Brooklyn with an emphasis on exploring its tremendous cultural diversity, from Mexican and Caribbean Brooklyn to Chinese Brooklyn. By contrast, Rebecca Norris Webb has photographed the green heart of Brooklyn, its parks and gardens, as the contemplative core for this body of work. Through the work of Alex Webb and Rebecca Norris Webb we come to see the complex beauty of the borough-its people, its urban landscape, and its verdant green spaces.
Fieldworks: Beyond Measure
Oklahoma City, OK
From December 17, 2020 to April 19, 2021
Beyond Measure features works produced by Fieldworks project collaborators Todd Stewart and Robert Bailey. Professors Stewart and Bailey initiated this program at the University of Oklahoma in 2015. The interdisciplinary residency invites artists, scholars and students to artistically respond to the presence of humans in the American Southwest. Each summer, they visit sites where people have left traces on the land. Participants study each place as deposits of knowledge and creativity. Beyond Measure presents a selection from the Fieldworks project's diverse archive of objects, photographs, texts, videos and more. Clusters of photographs by Stewart immerse the viewer within the landscapes they depict. Text by Bailey excavates layers of meaning throughout the display, suggesting more complex relationships between artworks. Together, they deepen our understanding on the various ways people locate themselves within their environments. Themes explored include the human role in ecology, the origins of different measurement/recording practices and the limits of movement across the land. The mixed-scale objects and texts invite each visitor to construct their own experience and make their own unique set of connections between the works presented. Beyond Measure's visual array of artefacts and art showcases how people relate to the expanse between Oklahoma City and Los Angeles. Coinciding with Ed Ruscha: OKLA in the main gallery, Beyond Measure encourages audiences to consider ways that overlooked surroundings can be reframed through the lens of contemporary art practice.
Gary Burnley In the Language of My Captor
New York, NY
From February 24, 2021 to April 24, 2021
On view at Elizabeth Houston Gallery from February 24 through April 24, 2021, Gary Burnley's eponymous series In the Language of My Captor recasts the venerable tradition of 18th- and 19th-century European portraiture, carving out a space for alternate narratives whose central figures were not afforded the commensurate stature of the grand manner of painting. The discipline of portraiture has historically been a grasping at social status and economic power, giving permanence to the idealized visions of beauty it describes. But Burnley imbues the medium with a doubly disruptive capacity, juxtaposing and overlapping imagery from different periods and sources, and softening their discrepancies with circular cutouts. Reframing an Ingres, Courbet, or Coypel, he populates their canvases with those who have been left outside the art historical canon, centering the lives of Black women, men, and children at the core of cultural dialogue. Through the bricolage and universal appeal of the circle as symbol of unity and timelessness, he retells old tales in new inflections. So it is with Burnley's often conflicting and contradictory representations, brought together seamlessly under the auspices of collage. Portraits of Marie Antonette, of the artist's grandmother and preschool classmates, of Mona Lisa and Emmett Till-whose murder sparked the civil rights movement and struck fear into the hearts of generations-of family picnics, unknowns, and the artist himself, are intricately interwoven in his work, upending habitual interpretations. His Knock, Knock (2019) transforms Seymour Joseph Guy's Story of Golden Locks (ca. 1870), a genre painting of Guy's children reading the fable, through the insertion of the silhouette Flora (1796) as the elder daughter's shadow on the bedroom wall. In 1796, there were two options for recording one's likeness: the expensive portrait, and the 25-cent silhouette, a profile tracing made by candlelight in a matter of minutes. Flora is one of the few known images of an enslaved person in 18th-century America, accompanying a bill of sale for the 19-year-old woman for 25 pounds sterling in Fairfield County, CT. The contradictions, embedded squarely within the space of Burnley's collaged portrait, raise profound questions. As Burnley explains it, it is not so much that Black Americans inhabit a different world from their white counterparts, but that they "live in the same world differently." Compelling new "collaborations" between 18th-century paintings and 20th-century school yearbooks, between family photos and found imagery, he subverts art historical traditions and generates new, more inclusive readings through amalgamation. If portraits have been used historically to depict power and wealth, to solidify conceptions of virtue, beauty, and taste, they are equally capable of disrupting the meanings they establish. Gary Burnley's work does not jettison the language of portraiture altogether, but rather reconstructs it beyond recognition, making it fit to tell different stories.
95th Annual International Competition Solo Exhibitions
Philadelphia, PA
From February 01, 2021 to April 30, 2021
The Print Center announces a full spring season - and offers this preview of our upcoming exhibitions and public programs. With our galleries closed since March 2020, programming has been moved online and into our street-facing window. After successful presentation of our first virtual exhibition, (Un)Making Monuments in fall 2020, we are pleased to offer three online solo exhibitions awarded from the 95th ANNUAL International Competition - Kevin Claiborne: Before I Died I Was Invisible, Dawn Kim: Half Rest and David Rothenberg: Landing Lights Park beginning February 1, 2021. Following these shows, we will present Fit to Print, a thematic group exhibition exploring the use of newsprint in contemporary art, opening online May 1, 2021. Kevin Claiborne: Before I Died I Was Invisible Dawn Kim: Half Rest David Rothenberg: Landing Lights Park
My Childhood Reassembled: Richard Tuschman
Santa Fe, NM
From February 18, 2021 to April 30, 2021
In the beautifully nostalgic, contemplative, and visually captivating new work by Richard Tuschman, the real world fuses with digitally created realms, resulting in seamless images portraying the magical and fluid times of youth. A self-taught model maker and photographer, Tuschman painstakingly crafted miniature sets of his childhood home, photographed them, and then digitally inserted real models into the images to recreate the most significant memories from his early years in emotionally compelling scenes with open-ended narratives. My Childhood Reassembled opens Thursday, February 18. It uses photo-eye's revolutionary new VisualServer X website builder ( and is the third in photo-eye's series of online exhibitions. "I grew up in the American suburban Midwest of the early 1960s. This project reflects my experience in that time and place as a young child trying to make sense out of his world and his family relationships. For this visual memoir, I photographically recreated selected vignettes from my childhood. Based on memory and family snapshots, I constructed a replica of portions of the interior and exterior of my childhood home. I then directed and photographed an ensemble of actor-models who resembled my family members. The title, My Childhood Reassembled, in addition to describing the act of physically reconstructing the environment, also refers to the science that has shown that memories are not static, but are recreated and reassembled each time they are conjured in the human brain. Childhood is as emotionally complex a period as any other stage of life, though as children we lack the ability to put such a wide range of feelings into any coherent perspective. Life then can be at times especially magical, at times mysterious, and at times bewilderingly sad. My hope and my aim has been to create a picture that expresses both the joy and pathos of childhood, as reflected in the fluctuating and ever-changing mirror of my memory." - Richard Tuschman
Celebrating Chip Hooper
New York, NY
From March 03, 2021 to April 30, 2021
Robert Mann Gallery is pleased to announce the upcoming online exhibition, Celebrating Chip Hooper, a collection of early works celebrating our dear friend and artist, Chip Hooper who left this planet way too soon. Before Hooper dove into his seminal series photographing oceans where he captured the delicate and ever changing horizon where sky and water meet, and before he began incorporating elements of abstract expressionism in his large scale color seascapes, Hooper spent years documenting the American western wilderness. In these early works all created prior to 2000, Hooper channels the influence of f64 artists such as Ansel Adams and Edward Weston but quickly reveals a special relationship forming between himself and his subject matter. These technically precise and tactile prints that capture vast areas convey a spiritual solitude that would go on to be an ever-present quality in all of Hooper's subsequent works. We are delighted to present this rare group of early prints. Chip Hooper (1962 - 2016) was born in Miami, and raised in Chicago. His relationship with bodies of water began at an early age, experimenting with photographs of Lake Michigan. He settled in Carmel Valley, California, in 1988 and became a regular visitor to the coast, lured by the majesty and tranquility of the Pacific Ocean. His work is in permanent collections at the Philadelphia Museum of Art, Cleveland Museum of Art, Santa Barbara Museum of Art, Museum of Fine Arts in Boston, Monterey Museum of Art, Portland Museum of Art, Museum of Fine Arts in Houston and the Tokyo Photographic Cultural Center, and has been featured in The New York Times, The New Yorker, ARTnews, The Oregonian, and the San Diego Union-Tribune, among others.
Windows on Latimer: David Rothenberg
Philadelphia, PA
From March 01, 2021 to April 30, 2021
David Rothenberg, who has lived in New York City for more than 20 years, is inspired by the way people interact with its landscape. In "Roosevelt Station," he turns to his local subway in the Jackson Heights neighborhood of Queens. In the glow of the station's colored-glass concourse, he candidly captures people from all walks of life - from rush hour commuters and students to airport-bound travelers and panhandlers. This installation complements the exhibition David Rothenberg: Landing Lights Park, awarded from our 95th ANNUAL, on view through April 30, 2021. The book Roosevelt Station (Perimeter, 2021) can be purchased online from The Print Center's Gallery Store.
In the Street: An Expression of Faith by Robert Virga
San Diego, CA
From April 01, 2021 to April 30, 2021
All About Photo is pleased to present In the Street: An Expression of Faith by Rpbert Virga. Trevor Cole, is the curator for this month's show. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of April 2021 and includes nineteen photographs from the project In the Street: An Expression of Faith.. IN THE STREET; AN EXPRESSION OF FAITH A humanist portrayal of New York City's social landscape of religious faith. Candid and without comment or sentimentality, unselfconscious in its theatricality and self-presentation. Displaying ourselves with grace and a sense of timelessness. Our lives, in a matter of seconds, are caught in the act... where the obvious and mundane transition into something more powerful and provocative. Though not from a religious background, I couldn't help but notice how much daily, informal faith-based expression took place in the street outside the strictures and formal confines of organized religion…churches, temples and mosques. Despite the inordinate stresses of daily life in a large city, people of all faiths were able to hold on to their deeply held religious beliefs. It is this quality of the human condition I've always attempted to capture in my photography. To paraphrase Dorothea Lange "... We see not only with our eyes but with all that we are and all that our culture is..." While trying not to be too obvious in what I'm photographing... leaving room for the viewer to fill in the blanks, these images were taken at an emotional distance with no interaction with the subject so as not to create a moral position. Photographing people in these intimate moments could be seen as violating seeing them as they never see themselves. In this moment of great uncertainty and turmoil, these online Solo Exhibitions aim to continue to connect audiences and artists, building on our beliefs that access to art and culture is a right and not a privilege and that artists' voices should be heard. It is a platform to help photographers pursue their visions, their dreams and their projects. With our new online showroom space, we've placed All About Photo's role as a supporter and amplifier of creative ideas.
Longing for Amelia, The Historical and Mythological Landscape: Matthew Arnold
Boone, NC
From December 04, 2021 to May 01, 2021
On May 20, 1937, Amelia Earhart and navigator Fred Noonan took off from Oakland, California on the first leg of their historic round-the-world flight. They disappeared 43 days later while trying to locate tiny Howland Island in the remote Pacific. 83 years after Earhart's disappearance her legend survives in the many individuals still searching for evidence of what happened to her on that fateful day in 1937. With this photographic project, Matthew Arnold documents the environs that play host to the many theories which attempt to resolve the mystery of Amelia Earhart's disappearance. The work presented here is from the first stage of Arnold's project-a five-week expedition to the outer reaches of the Northern Mariana and Marshall Islands, photographing the seascapes and landscapes specific to the "Japanese Capture" theory. It is a theory that involves a forced landing in fortified Japanese territory followed by capture, imprisonment, and possible execution at the hands of their Imperial Navy.
Big Little Things
New York, NY
From March 01, 2021 to May 01, 2021
We have all seen, and even lusted after the work of brand-name photographers, eg. Ansel Adams, Edward Weston, Walker Evans, Margaret Bourke-White, Lewis Hine, Julia Margaret Cameron, to name but a few. They have, over the years, burned themselves onto our retinas, to the point whereby we consider them part of our families. We would be bereft without them. Auction houses are complicit in keeping it that way. Season after season auction after auction we are fed a steady diet of the same old same old, and why should this be? Well popularity sells, and that is the bottom line for the auction houses…things have to sell, and what sells is what is known and popular. Offering too many new or "difficult" pieces can ruin a sale, and who wants that?!? But honestly, isn't it a little boring to go to the auction viewings and see that each house has yet 3 more Moonrises, 3 more Chez Mondrians' and of course a passel of Cartier-Bresson's, puddle jumpers, and the proud little boy fetching home the wine bottles. Great work, especially for the first 20 times you see them, but after that you ask, "Is that all there is?" By no means.
Solo Exhibition May 2021
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Call for Entries
AAP Magazine #17: Portrait
Publish your work in our printed magazine and win $1,000 cash prizes