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Lewis Hine: The WPA National Research Project Photographs, 1936-37

From April 15, 2021 to July 02, 2021
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 Lewis Hine: The WPA National Research Project Photographs, 1936-37
41 East 57th Street
New York, NY 10022
A tale of two Americas, told through iconic photographs from the 1930s, will be the subject of dual exhibitions at Howard Greenberg Gallery from March 19 through May 9, 2020. One Third of a Nation: The Photographs of the Farm Security Administration depicts the challenges impoverished families were enduring with photographs by Dorothea Lange, Walker Evans, and Gordon Parks, among others, while Lewis Hine: The WPA National Research Project Photographs, 1936-37 portrays the workers and the innovations that spurred the nation's economic growth. Together the exhibitions demonstrate the extraordinary power of photography to define an era and inspire social change.

As the consequences of the Great Depression, unemployment, poverty and the effects of the Dust Bowl ravaged the country in the 1930s, government programs such as the Farm Security Administration (FSA) were established. American photographers were employed to document the dire conditions. At the same time, Lewis Hine was hired by the Works Progress Administration's (WPA) National Research Project (NRP) to show the modernizing accomplishments of the nation's factories, in the years prior to WWII. His efforts focused on the country's reorganized workplace that fueled industrial growth and drove out the Depression. The powerful work of these photographers under President Franklin Delano Roosevelt's New Deal programs ushered in an unprecedented new era for the medium: across the entire nation photography was communicating what words could not.

Imbued in the nation's social consciousness, the images that illustrate the history of the Great Depression originated in presidential action. In his second inaugural address, Roosevelt poignantly stated, "I see one-third of a nation ill-housed, ill-clad, ill-nourished. The test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little."

In establishing the Resettlement Administration in 1935 - later renamed the Farm Security Administration in 1937 - Roosevelt created a robust response to help America's poor farmers, sharecroppers, and migrant workers. Roy Stryker, an economist, was hired to document the situation and quickly developed an extraordinary roster of young photographers.

One Third of a Nation: The Photographs of the Farm Security Administration presents more than 50 photographs by Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Gordon Parks, David Robbins, Arthur Rothstein, Peter Sekaer, Ben Shahn, and Marion Post Wolcott. From 1935 to 1943, the photographers of the FSA shot nearly 80,000 photographs traveling the country on assignments that could last for months at a time. Their touching portraits of children, concerned parents, struggling workers, and difficult living situations are regarded as some of the finest examples of modern documentary photography. The images proved in no uncertain terms that the nation needed to act.

While the FSA photographers were working across the country, so too was Lewis Hine for a dynamic "think tank," which included several passionate young people, who would oversee assessing the economy's future. Established in 1935, the goal of the National Research Project was to investigate new industrial technologies and their effects on employment. As a pre-eminent pioneer of American photography, Hine was known for chronicling the unfair social conditions of his day, which led to the passage of the National Child Labor Law.

Eager to depict these new facets of technology, Hine set off to photograph factory workers in textiles, furniture, cabinet making, radio manufacturing, construction, and mining, among others, in New Hampshire, Massachusetts, New York, New Jersey, Pennsylvania, North Carolina, and West Virginia. Fueled by his belief that labor was the soul of America, Hines's portraits depict the dignity and industriousness of the worker, offering an evocative record of America's innovative response to the groundbreaking technologies of the time.

Lewis Hine: The WPA National Research Project Photographs, 1936-37 presents more than 70 images. It is the most comprehensive exhibition ever mounted of Hine's NRP photographs. The exhibition was inspired by the research of photographic historian Judith Mara Gutman. She writes in her 2017 book Lewis Hine: When Innovation Was King (Steidl/Howard Greenberg Library) that "Hine produced a cross-section of American working life….[and] imbued his photographs with a singular importance that elevated them beyond the generally accepted role of photographs as illustration to text."

More than 80 years later, the photographs from the New Deal programs of the FSA and NRP share a remarkable ability to capture the human spirit whether in spite of intolerable conditions, or in depicting ingenuity and dignity in the workaday world. Together these two exhibitions show how the medium of photography changed the trajectory of both social documentation and photographic history.
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Exhibitions Closing Soon

Charles Mason: Denali through Collodion
Anchorage, AL
From April 30, 2021 to September 26, 2021
Denali has long captivated photographers, including explorer Bradford Washburn (1911-2007), who pioneered aerial photography while surveying the mountain in the 1930s, and renowned landscape photographer Ansel Adams (1902-1984), who snapped one of the most iconic images of the mountain in 1948. Contemporary Alaska photographer Charles Mason captures present-day Denali National Park through images made with a 19th-century photographic technique called the collodion process. Using his Westfalia van as a traveling darkroom, Mason prepares and develops images in the field on glass plates (also known as wet plate photography). He values the technique for its unpredictability - how anomalies in exposure and development often create unexpected dramatic and compelling visual images. The large-scale images he produced for this exhibition offer a new way to see this iconic landscape. This exhibition is presented as part of the Patricia B. Wolf Solo Exhibition Series with support from the Alaska State Council on the Arts and the National Endowment for the Arts.
From Margins to Mainstays
St. Petersburg, FL
From April 24, 2021 to September 26, 2021
This exhibition will feature masterworks from the photography collection that were made by artists whose careers and personal lives were sidelined, ignored, or impacted by their gender, race, sexuality, or nationality. From Margins to Mainstays will illustrate how the canon of photography has changed since the medium first began being shown in museums in the 1940s, with particular emphasis on rectifying the small percentage of women and artists of color historically acquired by and displayed in public collections. The exhibition will include works by Berenice Abbott, Lotte Jacobi, Carrie Mae Weems, Lee Miller, Cornelius Marion Battey, James Van Der Zee, and Manuel Álvarez Bravo.
Jeff Whetstone:  Batture Ritual
Tampa, FL
From January 01, 2021 to September 30, 2021
Jeff Whetstone's photographs and videos explore the micro- and macro-economies and ecologies along the Mississippi River's batture near New Orleans, Louisiana. "Batture" is the French-creole term for the thin strip of weeds, trees, and mud between the water's edge of the Mississippi River and the tall, hardened levees that contain its floods.
Bremner Benedict: Hidden Waters, Desert Springs, Uncertain Future
Tampa, FL
From January 01, 2021 to September 30, 2021
Bremner Benedict's project is an artistic investigation, part art, part research, into the springs of the Sonoran, Chihuahaun, Mojave, Great Basin deserts and the Colorado Plateau. The critical importance of these waters and their ecologies in the face of climate change and population pressures is under-recognized making their survival precarious. By visually interpreting the science her intent is to raise public awareness to the potential of water scarcity.
The New Woman Behind the Camera at the MET
New York, NY
From July 02, 2021 to October 03, 2021
The New Woman of the 1920s was a powerful expression of modernity, a global phenomenon that embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, this groundbreaking exhibition explores the work of the diverse "new" women who embraced photography as a mode of professional and artistic expression from the 1920s through the 1950s. During this tumultuous period shaped by two world wars, women stood at the forefront of experimentation with the camera, and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era. The exhibition is the first to take an international approach to the subject, highlighting female photographers' innovative work in studio portraiture, fashion and advertising, artistic experimentation, street photography, ethnography, and photojournalism. Among the photographers featured are Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Florestine Perrault Collins, Imogen Cunningham, Madame d'Ora, Florence Henri, Elizaveta Ignatovich, Consuelo Kanaga, Germaine Krull, Dorothea Lange, Dora Maar, Tina Modotti, Niu Weiyu, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla. Inspired by the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.
An American Project: Dawoud Bey
New York, NY
From April 27, 2021 to October 03, 2021
Since the mid-1970s, Dawoud Bey (b. 1953) has worked to expand upon what photography can and should be. Insisting that it is an ethical practice requiring collaboration with his subjects, he creates poignant meditations on visibility, power, and race. Bey chronicles communities and histories that have been largely underrepresented or even unseen, and his work lends renewed urgency to an enduring conversation about what it means to represent America with a camera. Spanning from his earliest street portraits in Harlem to his most recent series imagining an escape from slavery on the Underground Railroad, Dawoud Bey: An American Project attests to the artist's profound engagement with the Black subject. He is deeply committed to the craft of photography, drawing on the medium's specific tools, processes, and materials to amplify the formal, aesthetic, and conceptual goals of each body of work. Bey views photography not only as a form of personal expression but as an act of political responsibility, emphasizing the necessary and ongoing work of artists and institutions to break down obstacles to access, convene communities, and open dialogues. Dawoud Bey: An American Project is co-organized by the Whitney Museum of American Art and the San Francisco Museum of Modern Art. The exhibition is co-curated by Elisabeth Sherman, assistant curator at the Whitney, and Corey Keller, curator of photography at SFMOMA.
Golden Hour
Asheville, NC
From July 09, 2021 to October 04, 2021
The Asheville Art Museum is organizing a group of three exhibitions drawn from the Musem's Collection in conjunction with the 2021 Summer Olympics in Tokyo. They will be on view in the Explore Asheville Exhibition Hall from July 9 through October 4, 2021. "With these three exhibitions, the Asheville Art Museum is looking froward to bringing the Olympics to Asheville," says Whitney Richardson, associate curator. "Athletes, sports fanatics, and those who enjoy art that captures the human athletic form will, I hope, all find something valuable in visiting these exhibitions. Some of the artworks are by renowned artists and some depict world-famous athletes, but it all speaks to the importance of the Olympics-and sports in general-in our lives and how we honor our athletes." Golden Hour: Olympians Photographed by Walter Iooss Jr. highlights dozens of photographer Walter Iooss Jr.'s images from the Museum's Collection. Over his 60-year career, Iooss (Temple, TX 1943-Present NY) has captured portraits of hundreds of celebrated American athletes in action, and a select few as they prepared for the 1984 Summer Olympics in Los Angeles. He began his career shooting for Sports Illustrated and has contributed to the magazine for more than 50 years. Artistic Tribute: Representation of the Athlete pays homage to the historic Olympic tradition of including the arts as a competition. Until 1948, the modern Olympics included artistic representations of the athletes in painting and sculpture, among other media, as the ancient Olympics had done. This exhibition features artworks from the Museum's Collection that follow this custom by artists including Robert Rauschenberg (Port Arthur, TX 1925-2008 Captiva, FL), Dox Thrash (Griffin, GA 1893-1965 Philadelphia, PA), Gerald van de Wiele (Detroit, MI 1932-Present New York, NY), Ward H. Nichols (Welch, WV 1930-Present NC), Marvin Lipofsky (Elgin, IL 1938-2016 Berkeley, CA), David Levinthal (San Francisco, CA 1949-Present New York, NY), and more. Precious Medals: Gold, Silver & Bronze highlights works from the Museum's Collection including glass, ceramic, fashion, and sculpture that use the same metals that are given to the top three placing athletes in an Olympic competition. The precious nature of these three metals is examined in relation to the artworks shown. Artists featured in this exhibition include Virginia Scotchie (Portsmouth, VA 1955-Present Columbia, SC), Mark Stanitz (1949-Present Northern California), William Waldo Dodge Jr. (Washington, D.C. 1895-1971 Asheville, NC), Richard Ritter (Detroit, MI 1940-Present Bakersville, NC), Jan Williams (Bucks County, PA-Present Bakersville, NC), and more. These three exhibitions are organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator.
Miles Aldridge: Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020
New York, NY
From May 07, 2021 to October 07, 2021
Fotografiska New York is proud to present Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020, a photographic exhibition by British artist and photographer Miles Aldridge. Opening on Friday, May 7th at Fotografiska New York, the exhibition will be Aldridge's first museum retrospective in the US, comprising 64 works spanning the artist's career. The show draws on Aldridge's highly composed and cinematically inspired tableaus, including his 2015 project (after Cattelan) in which the artist Maurizio Cattelan invited Aldridge to respond to his sculptures over the course of one night together in a Paris museum. Aldridge's unique style is also applied to portraiture and his subjects include Marina Abramović, Gilbert and George, Sophie Turner, Viola Davis, Michael Fassbender, Donatella Versace and David Lynch. An exhilarating ride through Aldridge's universe, the show reflects on three strands of his colorful cosmos. Virgin Mary references the religious paintings by artists such as Caravaggio, who like Aldridge represent experiences in an artificial, almost cinematic manner through their use of dramatic lighting, costuming and staging. Supermarkets are a metaphor the consumer society; the hope of self-improvement through retail therapy. Lastly, Popcorn is a nod to the influence of cinema in Aldridge's work and the many auteur directors such as Hitchcock, Lynch and Fellini, who serve as a source of inspiration for his style and approach. With so many diverse influences coming from the history of cinema, when everything was still shot on analogue film, Aldridge likewise prefers to shoot on film rather than digital. Every print in the exhibition was captured on Kodak Colour Negative. A recurring theme throughout Aldridge's oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy colored telephones, and well-groomed pets denote success. The images of domesticity are often undercut with a bittersweet edge; a personal reflection of Aldridge's childhood memories of his mother after a shattering divorce. Aldridge's work conflates historic and modern motifs and makes subtle reference to the art historical canon. Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial. Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020 is curated by Nadine Barth, barthouse Berlin, in collaboration with Johan Vikner, Director of Global Exhibitions at Fotografiska International. This installment marks the second iteration of the show which debuted at Fotografiska Stockholm in September 2020 and ran till March 2021. The exhibition has been made in close collaboration with the artist and his galleries; Fahey Klein Gallery, Los Angeles, Lyndsey Ingram Gallery, London, Christophe Guye Gallerie, Zurich, Reflex Gallery, Amsterdam, and Casterline Goodman Gallery, Aspen.
CPA’s 8 x 10 Fundraising Exhibition and Auction
Carmel, CA
From September 16, 2021 to October 07, 2021
Our gallery will be filled with a wide-ranging selection of small framed works of art generously donated by our talented community of photographers. We have works by over 100 established and emerging artists, both legendary photographers and rising stars, from California and beyond! Once again, our 8×10 Fundraiser will be an online auction this year instead of a raffle because of this moment in history. Do stop by to see the exhibition on view as we will have special raffle prizes and photographs just for visitors to the gallery. Save this link to see all the amazing images and bid on your favorites.
Jessica Wynne: Do Not Erase
New York, NY
From September 02, 2021 to October 09, 2021
Edwynn Houk Gallery is pleased to announce our inaugural exhibition of artworks by Jessica Wynne (American, b. 1972), on view from 2 September – 9 October 2021. The show includes medium- and large-scale photographs from the artist's newest body of work, images of mathematicians' chalkboards and the formulas scribbled and erased on them. Do Not Erase contemplates the meaning, emotion, and energy of symbols. Her photographs- which can easily be mistaken for three-dimensional chalkboards- illuminate the narrative, linguistic, and visionary elements of these representations, providing timeless meditation on the abstraction and intimacy of visual expression. Wynne studied at the San Francisco Art Institute and Yale University before moving to New York City in 1999. She was first introduced to the beauty of chalkboards through her neighbors Amie Wilkinson and Benson Farb, mathematics professors from the University of Chicago. Intrigued by the imagery she saw on these boards, Wynne directed her focus on capturing-rather than deciphering-the meaning and beauty of these symbols. Reminiscent of Cy Twombly's "blackboard" paintings and Brice Marden's serpentine Letters canvases, Wynne's blackboards illuminate the power of the whirling web of shapes, numbers, and calculations scribbled in the heat of discovery. For Wynne, the poetic and the rational are not mutually exclusive. While the formulas on each board are communicated in highly specialized languages from abstruse subfields such as knot theory, combinatorics, and ergodic theory, Wynne's work embraces the visual sensuality and intuitive impression of these complex calculations, linking them to the timeless lineage of artistry and writing: cave paintings, hieroglyphics, and graffiti. Mathematicians "see images first, not words. They see pictures before meaning," Wynne observes. This relationship between image and thought is one of the primary areas of investigation for her work. It is striking that mathematicians, unlike many scientists, continue to work on chalkboards rather than computers, and Wynne's art explores the aspects of their communication that visual artists have shared throughout time: primal, intimate, and transcendent exchange. Each mystery unravels itself through unique formal qualities. In some of the chalkboards Wynne represents, the black expanse is riddled with Greek letters, punctuation notations, and sinuous scrawls and loops, evocative of a patterned tapestry or calligraphic scroll. Others meditate on a single, pared down shape or orderly sequence of lines. Foggy mists left behind by an eraser provide a recurrent theme throughout the series, the puffs of opaque powder testifying to the rhythmic bursts of thought and explosions of clarity. Despite the formal and intellectual diversity Wynne's work showcases, each of her chalkboards is united through an exploration of the relationship between form and expression. In the spring of 2021, Princeton Press published the artist's first monograph, Do Not Erase, the name of her series inspired by notes that mathematicians often leave on their blackboards. Her work has appeared in The New York Times and National Geographic, amongst other publications, and prints are in the permanent collections of the San Francisco Museum of Modern Art and the Morgan Library in New York City. Wynne is a professor of photography at the Fashion Institute of Technology. Do Not Erase is the artist's inaugural exhibition at Edwynn Houk Gallery. Jessica Wynne lives in New York.
Mario Giacomelli: Figure-Ground and  The Expanded Landscape
Los Angeles, CA
From June 29, 2021 to October 10, 2021
Known for his gritty, black-and-white images, Mario Giacomelli is recognized as one of the foremost Italian photographers of the 20th century. Drawn from the Getty Museum's deep holdings, the exhibition Mario Giacomelli: Figure|Ground features 91 photographs that showcase the raw expressiveness of the artist's style, which echoed many of the concerns of postwar Neorealist film and Existentialist literature. The exhibition is dedicated to the memory of Daniel Greenberg (1941-2021) and was made possible through generous gifts from him and his wife, Susan Steinhauser. As photography collectors for more than two decades and founding members of the Getty Museum Photographs Council, Greenberg and Steinhauser have been generous donors to the Getty. All of the photographs in this exhibition were donated by Greenberg and Steinhauser or purchased in part with funds they provided. A companion exhibition, The Expanded Landscape, presents photographs by 17 contemporary artists guided by aesthetic impulses similar to those of Giacomelli. Both exhibitions will be on view at the Getty Center Museum from June 29 through October 10, 2021.
Photo Flux Unshuttering LA
Los Angeles, CA
From May 25, 2021 to October 10, 2021
Photographs by 35 Los Angeles-based artists challenge ideals of beauty, representation, cultural capital, and objectivity. The artists in this exhibition, primarily people of color, have radically transformed photography to express their own aesthetics, identities, and narratives. Their work is foundational for an emerging generation of artists participating in the Getty Unshuttered program, which engages teens to seek photography as a platform to amplify social topics that resonate in their own lives. Guest curated by jill moniz.
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