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New York responds

From December 18, 2020 to May 09, 2021
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New York responds
1220 5th Avenue
New York, NY 10029
Opening Friday, December 18, New York Responds: The First Six Months looks at the still-unfolding events of 2020 through the eyes of over 100 New Yorkers. This crowd-sourced exhibition presents objects, photographs, videos, and other artworks that document and interpret the COVID pandemic, the racial justice uprisings, and the responses of New Yorkers as they fought to cope, survive, and forge a better future. A jury of a dozen New Yorkers representing many walks of life helped to make the selection from among tens of thousands of submissions received from individual artists and from partner institutions.

On July 23, the Museum unveiled the first phase of this exhibition, an outdoor installation featuring 14 images that had been submitted as part of our ongoing collecting efforts. Together, these powerful artifacts and artworks speak to the dramatic effects of these unprecedented months on the city, its residents, and the dynamics of urban life itself.
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Exhibitions Closing Soon

Heirloom: Weaving Memory with the Now
Jacksonville, FL
From March 26, 2021 to August 01, 2021
This UNF Gallery exhibition features the work of Priya Kambli. Born in India, Kambli moved to the United States in 1993 at the age of eighteen, a few years after the death of her parents, to pursue her education. Carefully stowed within her single, small suitcase was a cache of family photographs which became the basis of Kambli's creative work-a growing body of images exploring migration, transience, and cultural identity. Her lyrical photographic compositions are not only a rich synthesis of light, pattern, and texture, but also a moving testament to the tangible, archival nature of photography.
Underexposed: Women Photographers from the Collection
Atlanta, GA
From April 01, 2021 to August 01, 2021
For nearly all of photography's one hundred eighty-year history, women have shaped the development of the art form and experimented with every aspect of the medium. Conceived in conjunction with the centennial of the passage of the Nineteenth Amendment, which granted suffrage for some women, this exhibition showcases more than one hundred photographs from the High's collection, many of them never before on view, and charts the medium's history from the dawn of the modern period to the present through the work of women photographers. Organized roughly chronologically, each section emphasizes a distinct arena in which women contributed and often led the way. Among the artists featured are pioneers of the medium such as Anna Atkins as well as more recent innovators and avid experimenters, including Betty Hahn, Barbara Kasten, and Meghann Riepenhoff. The exhibition also celebrates the achievements of numerous professional photographers, including Berenice Abbott, Margaret Bourke-White, and Marion Post Wolcott, who worked in photojournalism, advertising, and documentary modes and promoted photography as a discipline. The exhibition also highlights photographers who photograph other women, children, and families, among them Sally Mann, Nan Goldin, and Diane Arbus, and those who interrogate ideals of femininity through self-portraiture. Also on view will be works by contemporary photographers who challenge social constructions of gender, sexuality, and identity, including Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems.
EXTRACTION: Art on the Edge of the Abyss
Carmel, CA
From June 26, 2021 to August 01, 2021
The Center for Photographic Art is thrilled to be part of a worldwide art project, EXTRACTION: Art on the Edge of the Abyss. The project was initiated to engage artists, galleries, curators, art supporters, and public and private art spaces and organizations to bring attention to, in their words: "...the most urgent planetary concern of our time: the social, cultural, and environmental costs of unbridled globalized extractive industry, including the negative effects of climate change; the deterioration of land, water, and air; the devastation and displacement of poor, minority, and indigenous communities; and much else." CPA's response to this important and timely project is our own EXTRACTION exhibition. Participating artists include Tony Bellaver, Mima Cataldo, Sarah Christianson, Steve Dzerigian, David Ellingsen, David Gardner, Paccarik Orue, Jerry Takigawa, DM Witman, and Yelena Zhavoronkova. These artists have addressed the crisis by witnessing and documenting a wide range of evidence through their often personal and always compelling photography. Join with the instigators of the EXTRACTION project who encourage us, "Everyone can be both creator and catalyst. At a time of growing despair and paralysis, people from all backgrounds and levels of experience-from the amateur to the virtuoso-can take action. We invite everyone to join us in creating an international art ruckus."
Our Strength Is Our People
Asheville, NC
From May 07, 2021 to August 02, 2021
This exhibition surveys the life's work of Lewis Wickes Hine (1874-1940), the father of American documentary photography. Consisting entirely of 65 rare vintage prints, it covers the three overarching themes of Hine's three-decade career-the immigrant experience, child labor, and the American worker-and culminates in his magnificent studies of the construction of the Empire State Building. Our Strength Is Our People coincides with the complementary exhibition, Old World/New Soil: Foreign-Born American Artists from the Asheville Art Museum Collection. Our Strength Is Our People is organized by art2art Circulating Exhibitions, LLC. All works are from the private collection of Michael Mattis and Judith Hochberg.
Gallery Artists
New York, NY
From June 03, 2021 to August 07, 2021
Danziger Gallery presents an exhibition of Gallery artists by appointment only.
Gianni Berengo Gardin
Los Angeles, CA
From June 08, 2021 to August 07, 2021
We are excited to announce the first ever West Coast exhibition of Master Italian photographer Gianni Berengo Gardin's work. Gianni Berengo Gardin is an Italian photographer who has worked for Le Figaro and Time Magazine. Considered an artistic heir to Henri Cartier-Bresson, like Bresson he has long used and admired Leica rangefinders. His work has been published in more than 200 photographic books and shown in the most prestigious galleries and museums around the world, including the Museum of Modern Art in New York. Now in his 90's, Gardin boasts a personal archive of more than a million pictures.
Paul Fusco: RFK Funeral Train
Los Angeles, CA
From June 08, 2021 to August 07, 2021
This month we are pleased to open the first Los Angeles exhibition of the master set of Paul Fusco's iconic "RFK Funeral Train" photographs. In the years since they were taken these photographs have become an iconic series in photography. While in some ways they represent the end of the dreams of the sixties, at the same time they celebrate the idealism and diversity of America. Hastily arranged, Robert Kennedy's funeral train took place on June 8th - a sweltering early summer day. Paul Fusco, then on staff for LOOK Magazine, was given a place on the train taking RFK's body from New York to Washington, where he was to buried at Arlington next to his brother. Along the tracks hundreds of thousands of mourners came out to pay their final respects and for the eight hours it took for the train to make the usually four-hour journey Fusco never put down his camera except to reload film shooting approximately 2,000 pictures. The resulting images are one of the most powerful and affecting series of photographs ever taken. Shot on Kodachrome film - a film with a particularly vibrant palette favored at the time by photojournalists - Fusco's pictures blend the spontaneous look of snapshots with artistic precision of the decisive moment. Each photograph carries its own weight and tells its own story, but cumulatively the series is an epic vision of America.
John Edmonds: A Sidelong Glance
New York, NY
From October 23, 2020 to August 08, 2021
John Edmonds: A Sidelong Glance is presented as part of the inaugural UOVO Prize for an emerging Brooklyn artist. John Edmonds is best known for his use of photography and video to create sensitive portraits and still lifes that center Black queer experiences and reimagine art historical precedents. This is the artist's first solo museum exhibition and features new and recent photographic portraits and still lifes of Central and West African sculptures alongside friends and acquaintances from Edmonds's creative community in New York. These works explore the intersections of representation, modernity, and identity in the African diaspora. For this exhibition, Edmonds was invited to engage directly with our Arts of Africa collection, photographing select objects donated to the Museum in 2015 by the estate of the late African American novelist Ralph Ellison. The presentation of the collection objects, along with Edmonds's excerpts from scholarly texts on Baule art, considers the distinct role that individuals and institutions-from collectors to art historians to art museums-play in the bestowal of meaning, authenticity, and value. While Edmonds's work recognizes the persistence of power imbalances, it offers new aesthetic and conceptual possibilities. John Edmonds: A Sidelong Glance draws its title from an essay by scholar Krista Thompson that looks at perspectives on Black diaspora art history, and how they have shifted from examining relationships with Africa to questioning forms of representation in Western cultures. Edmonds is the inaugural recipient of the UOVO Prize for an emerging Brooklyn artist. As the awardee, he receives a solo exhibition at the Brooklyn Museum, a commission for a 50x50-foot art installation on the façade of the new UOVO: BROOKLYN art storage and services facility, and a $25,000 unrestricted cash grant. The mural is on view through spring 2021. John Edmonds: A Sidelong Glance is curated by Drew Sawyer, Philip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum, and Ashley James, former Assistant Curator, Contemporary Art, Brooklyn Museum (currently Associate Curator, Contemporary Art, Solomon R. Guggenheim Museum).
The Empire State Building
New York, NY
From June 23, 2021 to August 13, 2021
Keith de Lellis Gallery celebrates the 90th anniversary of New York City's magnificent Art Deco skyscraper in its summer exhibition. After demolishing the famous original Waldorf Astoria Hotel on Fifth Avenue in 1929, the Bethlehem Engineering Corporation took on the world's most ambitious building project to date: the construction of the Empire State Building, the first 100+ story building. The Chrysler Building, with 77 stories, briefly held the title of the world's tallest building before being unseated by the Empire State a mere 11 months later. Dwarfing all surrounding buildings, the Empire State stands at 1,454 feet tall. Construction began on March 17th, 1930 and was completed in record time, opening on May 1, 1931. As a tourist attraction, the site found immediate success, collecting a ten-cent fee for a bird's eye view of New York City from telescopes atop the observatory. The record-breaking height was said to serve a special purpose: for its tower to act as a mooring mast for dirigibles, positioning the building and its developers at the cutting edge of air travel in its infancy. In reality, the ambitious docking station plan was not at all practical: “the notion that passengers would be able to descend an airport-style ramp from a moving airship to the tip of the tallest building in the world, even in excellent conditions, beggars belief.” (Christopher Gray, New York Times, Sept. 23, 2010). The gallery exhibition features an impressive image of the dirigible Los Angeles docked at the tip of the Empire State Building (1931), but this scene did not come to pass, and is in fact a composite photograph. The tower would ultimately be used for radio and television broadcasting. A day of note in the building's early history is July 28th, 1945, when an aircraft collided with the 78th floor, resulting in a four-alarm fire and fourteen deaths. The U.S. Army B-25 bomber was en route to Newark, New Jersey when the pilot was disoriented by dense fog conditions. A group of five photographs show a street view of the smoking building, the plane wreckage, and spectator reactions to the crash - the latter captured by infamous street photographer Weegee. A mere two years after its unveiling, the building was featured in its first of many films: King Kong (1933), sealing its position as a cultural monument. In 1964, Andy Warhol set his lens on the structure to create an eight-hour slow motion silent film. Shot facing southeast from the 41st floor of the Time-Life Building, the film simply documents a fixed view of the Empire State from 8:06PM to 2:42AM the night of July 24-25, 1964. Due to its length and experimental nature, the film was met with mixed reviews. As the most photographed building in the world (Cornell University, 2011), there are countless images of the Empire State Building's recognizable façade. Selected exhibition photographs range from aerial surveys to street views, distorted reflections to detailed studies, and news photographs to artistic compositions, capturing the seminal building from every perspective.
Osceola Refetoff: If These Walls Could Talk
Los Angeles, CA
From July 10, 2021 to August 14, 2021
Von Lintel Gallery is excited to present Osceola Refetoff's If These Walls Could Talk in our project room. In a nod to the last year and a half, when most of us spent more time indoors, looking out through windows, dreaming of a different reality, we are proud to present some favorites from Osceola Refetoff's acclaimed Window Series It's a Mess Without You. Captured from within derelict structures in the California desert, these carefully framed vistas are akin to visual short stories. These desert communities came and left, leaving behind remnants and dreams which Refetoff interprets for us with his discerning viewfinder. 'At once dreamlike and hyper-realistic, fragile and formidable, It's a Mess Without You sees crisp blue skies engulf abandoned alfalfa farms. Jagged mountain tops peek through long-decayed window frames as bright orange sunlight pours over remnants of lives left behind. Partially inspired by Edward Hopper, the project finds new meaning in the age of isolation, when the window has been rendered our foremost way of experiencing the world — a shared symbol of a global crisis. Here, the window is employed not only as an architectural subject, but a narrative device to frame the stories of millennia-old lands, and the tenuous marks we inflict upon them in our wake.' by Flossie Skelton for the British Journal of Photography 2020. Refetoff's work is regularly featured on PBS SoCal/KCET's Emmy-winning program Artbound, and in The Guardian, The New York Times, and The New Republic, amongst many others, earning Los Angeles Press Club awards for Best Feature Photo (2019), Best Photo Series (2018, 2019, 2020), and National Photojournalist of the Year (2018). His portfolio It's a Mess Without You is the British Journal of Photography's OpenWalls Arles 2020 Outstanding Series Winner.
 But Still, It Turns Photography from the World
New York, NY
From February 04, 2021 to August 15, 2021
Through photographs, the prism of time is illuminated and breaks to clarity. We see the components and how they fit together. They take us on unexpected paths, they bring us to other lives we could know if life were to turn another way; they foster empathy. They allow us to recognize that life is not a story that flows to a neat finale; it warps and branches, spirals and twists, appearing and disappearing from our awareness. This exhibition presents photography attuned to this consciousness, photography from the world, from life as it is-in all its complicated wonder-in the twenty-first-century United States: from Vanessa Winship's peripatetic vision in she dances on Jackson through Curran Hatleberg's gatherings of humankind in Lost Coast; Richard Choi's meditation on the differences between the flow of life and our memory of it in What Remains; RaMell Ross's images of quotidian life from South County; Gregory Halpern's luminous Californian journey in ZZYZX; Piergiorgio Casotti and Emanuele Brutti's Index G work on the delicate balance between economic theory and lived fact; Kristine Potter's re-examination of the Western myth of manifest destiny in Manifest; or Stanley Wolukau-Wanambwa's braiding the power of images with the forces of history in All My Gone Life. This photography is postdocumentary. No editorializing or reductive narrative is imposed. That there is no story is the story. For these artists, all is in play and everything matters-here is a freedom, hard won, sometimes confusing, but nonetheless genuine: a consciousness of life and its song. The world's infinite consanguinity lies here: each of us and all of this exist in the fulsome now.
Tom Uttech: Origin
Davenport, IA
From May 01, 2021 to August 15, 2021
Birds all fly in the same direction while bears and bobcats gaze at us from their home in the woods. Tom Uttech is known for combining real and imagined elements inspired by nature in his captivating artwork. Tom Uttech: Origin will feature Kisibakwad, the beloved painting from the Figge collection, alongside a selection of large-scale photographs by the artist from the collection of the Museum of Wisconsin Art. The exhibition explores the origin of Uttech's work -his relationship with the natural world and specifically with the North Woods, a place he has been fascinated with for decades and describes as "a land of glacial lakes, boreal plants and animals..."
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