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The New Woman Behind the Camera at the MET

From July 02, 2021 to October 03, 2021
The New Woman Behind the Camera at the MET
1000 Fifth Avenue (at 82nd Street)
New York, NY 10028
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.
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Issue #19
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Exhibitions Closing Soon

Dos Mundos: (Re)Constructing Narratives
Stony Brook, NY
From September 12, 2020 to October 16, 2021
En Foco's fellowship recipients continue the work of the twelve Puerto Rican photographers of the 1973 Dos Mundos exhibition by offering fresh visions of existing discriminatory mainstream cultural perspectives and policies. Evolving to contemporary circumstances and inequities exacerbated by the pandemic, they maintain their commitments to their communities and individual photographic processes. Many of them are also leaders, nurturing other artists of color across the diaspora, in the South, the Bronx, classrooms, and beyond. Dos Mundos: (Re)Constructing Narratives features artists that center stories at the fringe of public attention: hidden sanctuaries, subcultures, painful identities, far-away homes, spirituality, transcendence, broken promises, and all too easily ignored social ecologies.Cinthya Santos Briones, Danny Peralta, Damarys Alvarez, Aaron Turner, Antonio Pulgarin, Tau Battice, Laylah Amatullah Barrayn, Erika Morillo, Daesha Harris, Roger Richardson, Yu-Chen Chiu, Anthony Hamboussi
Tapestries by Stephen Wilkes
New York, NY
From September 09, 2021 to October 16, 2021
Wilkes began this project 8 years ago, while working on his series, Day to Night™. Photographing in Italy he visited the Vatican Museum and became fascinated by the extraordinary tapestries which hung on the walls. He was inspired by the layering of imagery, the narrative storytelling and color that appears throughout the woven texture of the yarn. He began to consider if he could create a similar effect, incorporating multiple exposures, in a single image. Experimenting with various Apps on his iPhone which allowed him to create layered imagery, so began Wilkes's exploration of the Tapestries series. Each image is taken over the course of 4-8 seconds. Everything captured is in camera, and provides Wilkes a new examination of time. In this case one that is fractional, compared to Day to Night™, whereby he photographs for upwards of 12 to 36 hours. "It's been quite an exciting project and has allowed for a new way of seeing. Although I had been doing these images over an 8 year period, I hadn't shared these photographs until recently. I saw them almost as sketches. However, with the advent of new digital technologies, I realized that they were more than sketches." Tapestries is comprised of a mixture of both city and nature imagery as viewed through the lens of ever-changing textures. Intent on capturing a feeling and an emotion, Wilkes is keenly aware of the essence of what he's experiencing in a few seconds. Be it the surface quality of water, the crisp white snow on a cold winter morning, the graceful gesture of a tree, or the scent of spring flowers. At once both elegant yet simplistic, Wilkes has captured the essence of seasonal shifts. Furthering the rich photographic history of collage and multiple exposures, be it Lázló Moholy-Nagy, Duane Michals, Philippe Halsman and more recently Abelardo Morell, so too do Wilkes Tapestries series expound upon this time honored technique. Stephen Wilkes' work is included in the collections of the George Eastman Museum, Houston Museum of Fine Arts, Jewish Museum of NY, Library of Congress, Museum of the City of New York, 9/11 Memorial Museum and many more. His editorial work has appeared in The New York Times Magazine, Vanity Fair, Time, Fortune, National Geographic, and Sports Illustrated among others. Wilkes awards and honors include the Alfred Eisenstaedt Award for Magazine Photography and TIME Magazine Top 10 Photographs of 2012, Sony World Photography Professional Award 2012, Adobe Breakthrough Photography Award 2012, Prix Pictet, Consumption 2014.
Neil Winokur: Produce
New York, NY
From September 11, 2021 to October 20, 2021
Janet Borden, Inc. is pleased to announce NEIL WINOKUR: PRODUCE, a new exhibition of photographs by this master of the irreducible. Winokur, who is known for his deadpan studies of objects, humans, and dogs, has turned his attention to fruits and vegetables. Begun during quarantine, these are luscious portraits of humble forms. Although free of irony, the images evince a playfulness as well. They are seductive without being sentimental, illustrative not metaphorical. Each print bursts with hyper-saturated color. Fennel fronds are gently articulated against an acid-yellow background; a simple garlic clove discloses a variety of purple shades. While the objects chosen are of an elementary nature, their visual impact is complex. Winokur's signature style of isolating objects against vibrant colors, elevates these mundane items to celebrity status. NEIL WINOKUR Born in New York, New York, in 1945, Neil Winokur studied math and physics, at Hunter College of the City University of New York. His work has been exhibited widely since 1982, when it was prominently included in the important book, "Lichtbildnisse: Das Portrat in der Fotografie," from the Rheinisches Landesmuseum, Bonn, Germany. Other important exhibitions include The Museum of Modern Art's "Pleasures and Terrors of Domestic Comfort," from 1991; "The Photography of Invention," The National Museum of American Art, Smithsonian Institution, Washington, DC, 1989; “Likeness: Portraits of Artists by Other Artists," ICA, Boston, 2005. A three-volume monograph [Neil Winokur: Portraits, Objects, Dogs] of his work was published by Matte Editions in 2019. It is available directly from the gallery. His commissions have ranged from children to dogs to bagels.
Dawoud Bey:  In This Here Place
New York, NY
From September 10, 2021 to October 23, 2021
Sean Kelly is delighted to present In This Here Place, Dawoud Bey's inaugural exhibition at the gallery. Bey's new body of work focuses on plantations in Louisiana, continuing the artist's ongoing examination of African American history and his efforts to make the Black past resonant in the contemporary moment. Widely heralded for his compelling portraits depicting communities and histories that have largely remained underrepresented, these new large-scale photographs visualize the landscape and built environment where the relationship between African Americans and America was formed. The exhibition also marks the debut of Evergreen, a three-channel video, which continues Bey's visual investigation of memory and place within the Black imagination. In This Here Place is the third project in Dawoud Bey's history series. Working his way back in time, Bey's first series, The Birmingham Project, (2012), paid tribute to the victims of the 16th Street Baptist Church bombing in Birmingham, Alabama. The second series, Night Coming Tenderly, Black (2017), departed from figuration as Bey made the landscape his subject with photographs of real and imagined locations along the Underground Railroad. This third, new body of work portrays the physical sites of the forced labor of enslavement. Taken at sites with an unfathomably traumatic past, this series represents a deep witnessing and rich visual description, evoking the past in now unpopulated landscapes. The photographs were all made in Louisiana, along the west banks of the Mississippi River and at the Evergreen, Destrehan, Laura, Oak Alley, and Whitney Plantations. With the exception of Evergreen, all of the plantations have been significantly altered over time. For all of their historical horror, these sites present themselves mutely, and the scale of the narratives they witnessed can now only be suggested. Spending time at each location and creating this series brought Bey face to face with the challenge of conveying this moment in history. Bey questions how to visualize and make resonant the history of Black bodies in captivity and the heightened emotions that linger throughout these haunted landscapes and buildings. Through shifts in scale from intimate to vast, a heightened formal language and a descriptive materiality, the narratives of these spaces are evoked within the two-dimensional space of the black and white photographs. Bey's three-channel video Evergreen is a poetic examination of the landscape of Evergreen Plantation. Imani Uzuri’s vocals create a sonic landscape adding a moving and human presence to the unpopulated film. Evergreen and eight photographs from In This Here Place will be exhibited as part of Prospect.5 Yesterday We Said Tomorrow in New Orleans, October 2021. In 2017 Dawoud Bey was awarded the MacArthur Foundation "Genius" Fellowship. He is also the recipient of fellowships from United States Artists, the John Simon Guggenheim Memorial Foundation, and the National Endowment for the Arts, amongst other honors. His work is currently the subject of a major career exhibition Dawoud Bey: An American Project, organized by the San Francisco Museum of Modern Art and the Whitney Museum of American Art, that also traveled to the High Museum of Art, Atlanta. Bey's work is the subject of numerous monographs and publications, including Class Pictures (Aperture, 2007), Harlem, USA (Yale University Press, 2012), Picturing People (Renaissance Society at the University of Chicago, 2012), and Dawoud Bey: The Birmingham Project (Birmingham Museum of Art, 2013). In 2018 a major forty-year retrospective publication, Dawoud Bey: Seeing Deeply, was published by the University of Texas Press, and in 2020, Dawoud Bey: Two American Projects was be published by Yale University Press and SFMOMA. In addition, Dawoud Bey's work has been featured in important solo and group exhibitions worldwide. It is included in the permanent collections of the Addison Gallery of American Art, the Art Institute of Chicago, the Brooklyn Museum, the Detroit Institute of Arts, the Fogg Art Museum at Harvard University, the High Museum of Art, the J. Paul Getty Museum, the Museum of Contemporary Art Chicago, the Museum of Contemporary Photography, the Museum of Modern Art, NY, the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, the Studio Museum in Harlem, the Tate Modern, and the Whitney Museum of American Art amongst others.
Members Welcome Back Exhibit
Hopewell, NJ
From September 18, 2021 to October 24, 2021
After being closed for a year and a half, Gallery 14 Fine Art Photography in Hopewell New Jersey is ready to reopen with its first exhibit of the year. This exhibit will include the full range of photographic possibilities by all the member artists. Gallery 14 will also be offering an ongoing series of exhibits throughout the year featuring individual members as well as guest artists.
Being and There: Joseph Lawton
Santa Fe, NM
From September 23, 2021 to October 24, 2021
Aurelia Gallery, is pleased to present Being and There, a photography exhibit by New York-based Photographer Joseph Lawton, September 23rd– October 24th. Opening Night Reception: Friday, September 24th, from 5 pm to 7 pm. Artist will be in attendance. Being and There features early black and white photographs from India, China, Indonesia, Russia, France, El Salvador, Guatemala, and Mexico. The photographs have a transparent formal ease that makes his subjects appear accessible to anyone willing to get up and go for a long walk. The work shows the world colored with a sense of romance that stirs a yearning to get out of the country. It is a travel resume that has provided a string of adventures and anecdotes that should certainly satisfy the curiosity of a boy from Upstate. Joe's pictures address something more personal than their foreign settings. His images of distant locations blend easily with pictures from the streets of New York, or his beloved New York State Fair. The heart of the work is that no matter how far afield Joe travels, he always brings back little pieces of himself. The pictures reveal much more about Joe and his travels than the stamps in his passport, or the stories he may tell later over drinks. - Carl Gunhouse in the afterword of Lawton's book Plain Sight. About Joseph Lawton Joseph Lawton has taught photography at Fordham University for over thirty-five years, and served as the Director of the Visual Arts Department at Fordham. He has also taught at Hunter College, Pratt Institute, and the School of Visual Arts. The recipient of the Light Works and the Southeast Center for Photography grants, his work has been published in the New York Times, and in Life and Time magazines, and is included in public and private collections, including Bibliothèque Nationale. Exhibitions include PS1, Canton Museum, and OK Harris Gallery. A catalogue of his photographs from the New York State Fair is available through Light Works, Syracuse University, and his recent book, Plain Sight, was published by waal-boght press.
Floris Neusüss: 50 Years
Los Angeles, CA
From September 11, 2021 to October 27, 2021
It is with pleasure, tempered by sadness that I announce Von Lintel Gallery's next exhibition, which is dedicated to the work of Floris Neusüss (1937-2020). Floris Neusüss lived and worked in Germany. He sadly passed away last year unexpectedly, and is without doubt, one of the sleeping giants of photography. It has been my great privilege to work with him and his wife and collaborator, Renate Heyne, exhibiting his works for close to a decade, both in New York, and LA. Neusüss has left his indelible mark on the rich history of the Photogram. Recognized as a true pioneer, who ignored conventions of his time, he is widely collected by major institutions like the the Art Institute of Chicago, the Houston Museum of Fine Arts, the Getty Museum, the Los Angeles County Museum of Art, the Museum of Modern Art in New York and the Victoria and Albert Museum in London, amongst many other esteemed institutions. The J Paul Getty Museums entry on their website describes Neusüss's accomplishment perfectly: As an artist, writer, and professor, Floris Neusüss embraced the photogram in the 1960s and never let go for the rest of his career. A camera-less process that brings objects in direct contact with light-sensitive paper, the photogram was first employed by William Henry Fox Talbot in 1835. Neusüss followed in the footsteps of photography pioneers such as Talbot and Anna Atkins, as well as those of twentieth-century artists Christian Schad, Man Ray, and László Moholy-Nagy, injecting new ambition into the process beginning in the 1960s, when he made large-scale, whole-body photograms titled Körperbilder. His 1970s Nudograms series featured the nude forms of women, who appear to be floating in space. Despite the lack of surface detail that makes it impossible to identify distinctive features, these full-scale images convey a sense of intimacy. Neusüss once said, "This intimate physical connection inscribes itself into the paper and this, if you are open to it, is the real fascination of photograms.” When he stepped outside of his studio in 1978 to make large-scale photograms of subjects in situ, he focused on a latticed window at Talbot's home, Laycock Abbey in Wiltshire, England. In the 1980s Neusüss began the series Nachtbilder, for which he placed photo-sensitized paper face-side down in a woodland or garden at night, allowing ambient light to expose the paper. At times, lightning storms would create bursts of light that both captured and transformed flora, fauna, and figures. "Photograms never allow you to see through them. The 'space' in them comes from the viewer's imagination,” Neusüss once explained. "Perspective and horizon are absent from photograms, so the space is theoretically unending." The Von Lintel Gallery exhibition features work spanning 50 years, including his early experimental photography of the late 50's and early 60's when he was a student at the Bavarian State School of Photography in Munich followed by his studies with Heinz Hajek Halke at the Academy of Fine Arts in Berlin. We will of course also show a selection of his iconic Nudograms-Körperbilder-from the 1960s and 70s that were made by exposing the human figure directly onto photographic paper. The proximity of the model to the paper influenced the sharpness of the contours and the amount of light dispensed affected the intensity of the tones. Movement-either accidental or intentional-dissolved and fractured the silhouettes into transcendent forms removed from any sense of time or place. Despite the subject's absence, a palpable intimacy-or, presence-is felt. Such is the magic of a photogram. A similar phenomena transpired when Neusüss applied the photogram to portraiture. He and Robert Heinecken were friends and collaborators. The Getty Museum owns Dinner for Heinecken-a Neusüss photogram exposed during a dinner that used light-sensitive paper in lieu of a table cloth. During another work session, Floris exposed Heinecken's full body on profile. The work- included in the show-does not reveal any surface details and yet the expressive body language and attitude of the subject is uncannily recognizable. As Neusüss says, "If you knew Robert Heinecken, when you look at his portrait photogram, you automatically feel close to him.” Nachtbilder, a series produced by placing photo paper emulsion side down into a woodland or garden at night will also be featured. At times created during a thunderstorm, lightning would expose the paper from all directions, catching gusts of impressions from below and above. A sense of movement and chaos transformed the familiar into something much more arresting; an aesthetic echoed throughout Neusüss' career.
Jill Freedman: Street Cops 1978-1981
New York, NY
From September 17, 2021 to October 30, 2021
Daniel Cooney Fine Art is pleased to announce a solo exhibition by Jill Freedman titled "Jill Freedman: Street Cops 1978-1981" Featuring never-before-exhibited images from the artist's most significant body of work, Jill Freedman: Street Cops 1978-1981 features 50 vintage prints that document NYPD officers on patrol during one of the city's most turbulent eras. A true believer, Jill Freedman (1939-2019) was the last of a dying breed who gave her life to create art above all things, sacrificing money, fame, and status in the pursuit of beauty, honor, and truth. She died at 79 in New York City, her adopted hometown of 55 years, which she photographed throughout her singular career, amassing an unparalleled archive of street life. A self-taught photographer inspired by the work of W. Eugene Smith and André Kertész, Freedman understood the power of photography lay in human relationships. But unlike the traditional photojournalist, Freedman was not an "objective" outsider bearing witness to a foreign world; she threw herself wholeheartedly into her work, creating bonds with the people she photographed to forge a deeper emotional connection with her subjects. Hailing from Philadelphia, Freeman graduated from the University of Pittsburgh where she studied sociology before traveling to Israel to live on a Kibbutz. She sang cabaret in Paris and worked on a television variety show in London before moving to New York City in 1964 to work as an advertising copywriter. In 1968, after Dr. Martin Luther King Jr. was assassinated, Freedman quit her job to join the Poor People's Campaign on the National Mall in Washington D.C., bearing witness from start to finish of "The Last Crusade." Equal parts artist and activist, Freedman lived inside the shantytown, making photographs that were published two years later in her first book, Old News: Resurrection City. After a stint documenting the circus as it traveled up and down the East Coast, Freedman returned to New York with renewed vigor, recognizing history unfolding outside her front door. The city crumbled under the weight of the Nixon White House's policy of "benign neglect," which systemically denied government services to Black and Latino communities nationwide. As New York's infrastructure collapsed, the middle class fled en masse to the suburbs in an exodus known as "white flight," while landlords hired arsonists to set fire to their buildings in order to collect insurance payouts, transforming once vibrant neighborhoods into devastated landscapes. As the city teetered along the edge of bankruptcy, New Yorkers persevered, continuously adapting themselves to ever-changing landscape with a distinctive mix of creativity and resilience. Now among her own, Freedman gravitated towards the spirit of brotherhood as it manifested among firefighters and police officers — the city workers spending their days and nights on the frontlines of an undeclared war waged against the people by their own government. After publishing Firehouse in 1977, Freedman began working on Street Cops, getting unfettered access to the harrowing world of crime and punishment. Like Weegee before her, Freedman had a front row view of the perpetrators and victims, bearing witness to the role police played in the fracas. Unabashedly pro-cop, Freedman wasn't without empathy for the alleged criminals, many of whom faced the wrath of racist policing policies. Despite her impressive bodies of work, Freedman never achieved the acclaim of her male contemporaries during her life. Like her work, Freedman was forthright, contentious, and proud, never one to shrink herself or go along with the crowd. Her behavior, both common and admirable in male photojournalists, was well ahead of the curve for women working in a notoriously biased industry. But Freedman was also vulnerable, sensitive, and intense, unafraid of the gory viscera of life. "A chain smoker who liked to drink," John Leland wrote in her New York Times obituary, "she found her stride in New York when the city was still mostly seedy, living her life and work as if she were auditioning for a role in one of her photos. A police siren, she said, meant that someone was playing her song." With Street Cops, Freeman set out to deglamorize violence and show the sleazy, the ugly, the tender, and the compassionate in equal measure. "Sometimes it's better not to know too much. Sometimes it isn't. This story wasn't easy," Freedman wrote in the introduction to Street Cops, which was published in 1981. "I wanted to show…. moments of gentleness, good times as well as bad. That's why I love photography. I can catch a moment, print it, and share it with you. Jill Freedman (1939-2019) was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others. Freedman is the author of seven books including Old News: Resurrection City, Circus Days, Firehouse, Street Cops; A Time That Was: Irish Moments, Jill's Dogs, Ireland Ever, and Resurrection City 1968.
Nick Brandt: The Day May Break
Los Angeles, CA
From September 09, 2021 to October 30, 2021
The Fahey/Klein Gallery is pleased to present Nick Brandt: The Day May Break, an exhibition of new works, made in 2020, as part of the first in a global series of images portraying people and animals that have been impacted by environmental degradation and destruction. The photographs from The Day May Break were taken at five sanctuaries & conservancies in Kenya and Zimbabwe. The animals featured in this series are almost all long-term rescues, victims of everything from the poaching of their parents, to habitat destruction and poisoning. The human subjects have all been badly affected by climate change - some displaced by cyclones that destroyed their homes, others displaced and impoverished by years-long severe droughts. Both subjects share the same space and are shot together in the same frame - at the same time. The images from The Day May Break, as with all of Brandt's works, are an investigation into and a plea for the conservation of the natural world. ...the times in which we now live are no longer about proverbial canaries in coal mines; we are in the middle of a liminal epoch that is groaning to the soundtrack of a most unsettled earth. - Yvonne Adhiambo Owuor, essay excerpt from The Day May Break. In the works on display both animal and human subjects from Brandt's exhibition are displaced “veterans of the planet's unruly rumblings.” Crafted using light and fog, there is a nearly disorienting visual aesthetic. The images portray a quiet, almost enchanted, sense of tragedy and loss. However, in spite of their loss, these people and animals are the survivors. And therein lies possibility and hope. The Day May Break . . . and the world may shatter. Or perhaps . . . The Day May Break . . . and the dawn still come. Humanity's choice. Our choice. - Nick Brandt, essay excerpt from The Day May Break. Born in England, Nick Brandt studied film and painting at St. Martin's School of Art in London. He turned to photography in 2001 with his trilogy On This Earth, A Shadow Falls, Across the Ravaged Land - to be followed up by Inherit the Dust and This Empty World. Nick Brandt co-founded Big Life Foundation with one of the most respected conservationists in East Africa, Richard Bonham. The new book, The Day May Break (Hatje Cantz, 2021; 168 pages) contains 60 photographs and essays by authors Yvonne Adhiambo Owuor and Percival Everett, along with an essay by Nick Brandt - and is available for purchase through the gallery (while supplies last) for $65.
FRESH 2021
New York, NY
From September 15, 2021 to October 30, 2021
The FRESH 2021 Annual Photography Exhibition is co-curated by Darren Ching and Debra Klomp Ching. Finalists are selected on the basis of having demonstrated a strong vision, excellence in craftsmanship, and potential to expand and grow their creative practice. Of the photographers, some are already known, whilst others are just beginning to carve out their place within the contemporary art scene. Well-resolved projects sit beside those that are just beginning to be fleshed out. Wherever they are in their state of production, each Finalist's creative practice shows great promise for adding substantially to the dialogue of contemporary photographic practice. The exhibition at the Klompching Gallery features work by five photographers, selected from the 20 FRESH Finalists. Each exhibiting artist is represented with a selection of photographs, from the single body of work that was submitted to the open call.
Several Exceptional Women Photographers 1919 - 1970
New York, NY
From September 13, 2021 to October 30, 2021
Inspired by exhibition: The New Women Behind The Camera, the current exhibition at the Metropolitan Museum of Art jointly curated with the National Gallery of Art, How She Sees: Several Exceptional Women Photographers 1919 - 1970, seeks to highlight several female artists that all made significant contributions to the field of fine art photography and the art world as a whole. With works ranging from the early 1900's up to the 1960's, each of these women created compelling bodies of work: some revolutionary in changing the often predictable aesthetics of their time, while others opened doors and inspired many artists who came after them. Margaret Watkins was a pivotal figure in the early 20th century art world in transitioning away from Pictorialism and ushering in modernist-design. As an artist, a commercial photographer and a teacher at the Clarence White School of Photography in 1910's - 1920's, Watkins transformed the genre of domestic still lives typically associated with women photographers of the time into dynamic geometric modernist works. Images such as her iconic Domestic Symphony influenced so many artists thereafter, both male and female, and it had a profound impact on the advertising world as well. A more recent discovery, Elisabeth Hase's six decades of extraordinary work is only now coming to light. Her early genre bending and role-playing imagery of the 1920's and 1930's is just one body of work that historians and curators are recognizing as one of the earliest explorations of its kind in photography. Hase left a dense and rich archive of work that included quasi-surreal portraits of children and dolls, documentation of pre and post war Germany, landscapes, cityscapes, still lives and more. Ellen Auerbach and Grete Stern, both students of the Bauhaus, formed the German avant grade duo ringl+pit, a commercial graphic and photo design studio in Berlin in 1930. Together they challenged the conventional perceptions of how to present consumer objects through their striking and carefully choreographed compositions. After fleeing Germany and settling in New York and Argentina respectively, both continued in the field and went on to create significant bodies of work. Born in Vienna, Lisette Model began her photography career in the late 1930's. Shooting with a 35-millimeter camera, Model's best known series captures people on the Promenade des Anglais in Nice and on the streets of New York City's Lower East Side. Her honest portrayals of various “characters” in current society changed the direction of documentary photography in America and opened the door for others to follow, some taking this direction further, most notably her student Diane Arbus. Diane Arbus's intimate portraits of people on the fringe of society taken during the 1960's completely transformed photography and the role it has played thereafter. Arbus's passionate commitment to document marginalized groups and present them as acceptable members of society still stands today as one of the most compelling and innovative bodies of work. We are pleased to introduce the work of Anne Treer. Leaving behind a very small collection of photographs taken in and around New York City during the 1950's and 1960's, Treer's work is moody, atmospheric and sensitive. Her self-taught print making skills rendered beautifully rich and sumptuous prints. Treer studied photography under Sid Grossman and David Vestal and was an adjunct member of the New York Photo League. Her work was exhibited at MoMA and the Art Institute Chicago.
Chain Reaction: The Photography of Patrick Nagatani
Greenwich, CT
From June 27, 2021 to October 31, 2021
The Bruce Museum will present the exhibition, Patrick Nagatani: Chain Reaction, on view from May 1, 2021 through August 1, 2021. The exhibition will feature the entire Nuclear Enchantment series, a powerful body of work made between 1988 and 1993, which deals with the history of nuclear weapons development in New Mexico, as well as the effects of this industry on the people and places there. As a Japanese-American, this was a particularly resonant subject for Nagatani, whose parents were both put in internment camps during WWII, and whose father's family hailed from outside of Hiroshima. Originally planned for August 2020, the exhibition was intended to coincide with the 75thanniversary of the U.S. bombings of the Japanese cities of Hiroshima and Nagasaki, but was delayed due to the Covid-19 pandemic. Consisting of 40 photographs, the series presents a politicized intervention as Nagatani constructs multilayered and wildly imaginative images that unsettle our understanding of this complex time and place in U.S. history. The jarring juxtaposition of ancient symbols and figures from Japanese and Native American culture alongside uranium mining facilities and contaminated deposit sites creates a visual discord that speaks to this complexity. At once harrowing and humorous, these artworks participate in the ever-relevant debate weighing the benefits of scientific and technological progress against the preservation of cultural history and the natural world. The exhibition will also feature artifacts from the Bruce Museum historical collection, including Native American objects, as well as a Soviet-issued gas mask and Geiger counter, echoing the dissonance that the photographs create, and enhancing the exhibition experience for museum visitors. The exhibition is curated by Stephanie Guyet, an independent curator and former Zvi Grunberg Resident Fellow for the Bruce Museum. The Bruce Museum is grateful for exhibition support from the Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts.
Solo Exhibition October 2021
PHmuseum 2021 Women Photographers Grant
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All About Photo Presents American Portraits: 1978-2006 by Saul Bromberger
Many years later now that I am 63 years old, I have learned that it was in my early 20's when I had found my voice. It was then that I realized that my point of view had value and that I had something important to say and share with the world. I was capturing poignant scenes in our communities that I felt were significant for how they described the American culture, moments that captured American as well as universal sensibilities. Scenes that captured essential truths about people's hopes and their successes, their challenges and despair, their individuality and their relationships, during their day to day lives in our American communities. Scenes that defined an American way of life for me.
Galerie XII Paris Presents Mona Kuhn: Selected Works
Galerie XII Paris ( is pleased to announce the upcoming solo exhibition of Mona Kuhn: Selected Works, one of the most respected and widely exhibited contemporary art photographers at work in the world today. The exhibition, which runs from September 24 to November 13, 2021, coincides with the launch of Mona Kuhn's first monograph, "Works" (Thames & Hudson), an essential volume for anyone with an interest in the human form in contemporary art. The reader is provided with invaluable insights into Kuhn's creative process and the ways in which she works with her subjects and settings, and achieves the visual signature of her imagery
Ruth Orkin Centenary Celebrated by Hundred+ Heroines
To celebrate the centenary of the American photographer and film maker, Ruth Orkin (1921 - 1985), Hundred+ Heroines will present an online exhibition and talk with Orkin's daughter on her work on 3 September (Orkin's date of birth).
Call for Entries
Solo Exhibition November 2021
Win an Onine Solo Exhibition in November 2021