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Rooms that Resonate with Possibilities

From March 27, 2021 to May 08, 2021
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Rooms that Resonate with Possibilities
332 Worth Avenue
Palm Beach, FL 33480
When we think of rooms most of us draw on mental pictures of predictable spaces that are very familiar and give us a sense of security. We tend to see, and live in a fixed and predictable diurnal environment. But for many photographers rooms or interior spaces have often presented themselves as challenges and invitations to see creatively and not be hemmed in by social conventions. A room, as a subject, can resonate with potential possibilities. It can metaphorically be akin to an artist's palette waiting to be brought to life through a new creation. The photographs of Karen Knorr, Massimo Listri, Sandy Skoglund, Michael Eastman, John Dugdale and Bernard Faucon present new approaches and unique visions to picturing space.

When we encourage a child to open up their world and expand their horizons we often tell them to "use their imaginations." This act of conjuring possibilities and freeing themselves from the logical constructs and repetitive norms can be liberating. One attribution often ascribed to a great photographer (or for that matter any creative person) is that they have an active and engaging imagination and can mentally construct vivid images.

When we think of rooms most of us draw on mental pictures of predictable spaces that are very familiar and give us a sense of security. We tend to see, and live in a fixed and predictable diurnal environment. But for many photographers rooms or interior spaces have often presented themselves as challenges and invitations to see creatively and not be hemmed in by social conventions. A room, as a subject, can resonate with potential possibilities. It can metaphorically be akin to an artist's palette waiting to be brought to life through a new creation. The photographs of Karen Knorr, Massimo Listri, Sandy Skoglund, Michael Eastman, John Dugdale and Bernard Faucon present new approaches and unique visions to picturing space. Each photographer reaches beyond the mere physical appearance of a room. They are interested in finding an equivalent for the experience of being in a room, and how it makes us feel. A room can be a reservoir for real or imagined memories. Rooms take on less of a descriptive and more of an emotive and subjective function. The shared and individual experiences that each of us experiences, give the photographers and ourselves the basic resources to evaluate these unique spaces.

The temporal dimension of picture making is complex. Photographs are created by their makers in the present - but are always presented to the viewer in the past. Something has already been photographed and we are looking at the result of the way a room looked, or the evidence of what occurred in the past. However, the act of looking is always in the present - yet what we remember belongs to the past. This critical distinction often shapes our response to what we are seeing. This temporal exchange can give a nostalgic feel - or can touch on something in our minds and emotions that connect us to the pictures and spaces they represent. We can admire the qualities within, be awed or humbled by their structures, or feel pathos for an unknown, but imagined, life that has disappeared. Our deepest connections are always complex and involve several senses - they are seldom limited to the visual. Spaces contain histories - we know some of the histories, but some, created by artists, are potential vessels of imagined or recreated experiences.

Photographers such as Massimo Listri and Michael Eastman - photograph a room as they see it. Their selection and criteria for what is worthy of being photographed is based on a location that they find special - or memorable. For Listri, it will have formal elements of architecture like repeating patterns of column, arches, tiles, or objects such as books and a color palette that he finds appealing. His photographs often evoke a cultural entity and depict wealth based on privilege and learning. He is drawn to spaces that have grandeur as well as spaces that have been eroded due to the ravishes of time and use.

For Michael Eastman, rooms or spaces need to have a patina produced by time and use. Spaces must be 'lived in" and convey a feeling that someone has just left of is about to enter a room. He is always interested in the human dimension of a room - without an actual person being present. The economic splendor that is projected within a space holds little interest for Eastman - it is the breadth of human experience that is key. He is careful to leave spaces exactly as he sees them and his fascination is with the textures, colors and degradation of a building that happens over time.

John Dugdale is a 20th century photographer smitten with the 19th century. He finds comfort in imagined ancestral connections. His is a world seemingly inhabited by spirits. The photographs are hand made and rely on older techniques, such as albumen, cyanotype and platinum printing. These are organic processes that give each print a unique quality. His pictures have a cool reserve and often include friends or family members. There is little in them to suggest a postmodern world or concern - and Dugdale is drawn to basic, essential values and organic objects. His photographs, whether portraits, landscapes or still lives are designed to be authentic experiences and most have been created in one of his two antique homes.

Sandy Skoglund, Karen Knorr, and Bernard Faucon create rooms and spaces that suggest narratives, and give a visual substance to ideas they have, memories they wish to share, and objects, animals and people they desire to bring together. They create fictions that are based on ideas the artists' choose to explore. Bernard Faucon creates rooms as equivalent visual poems. A room can be lined in gold, bathed in milk, or covered in snow or sawdust. His subject is often the fleeting memories and joys of childhood - and the inescapable passage of time. His pictures were all made in the South of France with their special interest in nature, light, landscape and the memories specific to his youth. In his photographs, Faucon recreates imagined narratives for the viewer in which we are suspended in a very unique time and space.

Karen Knorr builds a world of impossibilities. She explores grand spaces that are full of architectural richness, verdant light, and are steeped in history. Within these spaces she introduces animals that resist domestication. They are shot separately by her in game parks or are taxidermies. The animals inhabitants these spaces - but become entrapped by them. The rooms cannot logically house and nurture the wildness in these beautiful specimens. Just as beautiful cultural structures are steeped in regulated codified social behavior - our individual freedoms are often sacrificed when we inhabit them. The animals become anthropomorphic. For Knorr a room is a metaphor for a kind of socialized control that gives us the comfort of being part of a specific group or culture but also takes away our independence and individuality.

Sandy Skoglund painstakingly constructs rooms to contain objects and people that investigate the signifiers of how we live, think, and what we value. She often populates rooms with inanimate objects such as popcorn, Cheetos, tables, chairs, leaves, turf, and sculpts models of foxes, snakes, goldfish, dogs, cats, as well as humans. The pictures are built as life size dioramas that question, on a psychological level, our fears and fascination to things. Her pictures are full of visual non-sequiturs in which there seem to be an infinite repetition of objects, or animals that fill a space. It is always a mystery as to why they are in these spaces in the first place. Added to the repetition of forms and shapes, Skoglund often unifies the color of many of the elements to the larger environment giving a surreal aspect to this puzzling interaction between people and the objects that populate the rooms.

Rooms, in the largest sense, become visual constructs where these photographers have realized their dreams, desires, fears and observations. If as Shakespeare quotes, "All the world is a stage," and "All the men and women merely players" the rooms become the theater in which the dramas unfold. They hold the mysteries and beauty that we see first with our eyes and then, over time, they create deeper connections into our larger psyches.
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Exhibitions Closing Soon

The Sky
Gilbert, AZ
From May 01, 2021 to June 19, 2021
The Sky exhibition of images by two Tucson artists, Kate Breakey and Brett Starr, who recently discovered they had a mutual interest in the heavens. Each of them having looked upward, and felt compelled to make images of the sky, for years. For this exhibition they have gathered together their daytime and nighttime images-of clouds, rainbows, the sun and the moon, comets and cosmic events. Most recently they collaborated to make deep sky images using an online telescope on the other side of the world. 'It was exciting and conceptually poetic to instruct a telescope that is 9,000 miles away to point at an object - a galaxy, or nebulae- on the other side of the universe, and make an image for us to contemplate and print. The incomprehension and wonder you feel is transforming - it puts time and life on earth into perspective, and that is always a good thing'
Boys! Boys! Boys!
Los Angeles, CA
From May 27, 2021 to June 19, 2021
The Little Black Gallery and The Fahey/Klein Gallery are proud to present BOYS! BOYS! BOYS!, a group exhibition curated by The Fahey/Klein Gallery and The Little Black Gallery co-founder, Ghislain Pascal, to promote queer and gay photography. "We are so proud to be bringing BOYS! BOYS! BOYS! to our friends in Los Angeles to celebrate Pride. It gives our photographers the opportunity to exhibit their work to a new audience alongside such amazing luminaries. We will continue to push the boundaries and build a great market for queer fine art photography." - Ghislain Pascal, co-founder of The Little Black Gallery. This group exhibition will coincide with PRIDE Los Angeles, and the publication of the second issue of the bi-annual magazine: BOYS! BOYS! BOYS!. Originally a time to honor the 1969 Stonewall riots, PRIDE month has since come to commemorate so much more. BOYS! BOYS! BOYS! celebrates and honors the queer community by highlighting the artists whose work has come to define Fine Art Photography. BOYS! BOYS! BOYS! is a project by The Little Black Gallery.
Ingeborg Gerdes, Out West
Carmel, CA
From May 15, 2021 to June 20, 2021
Please join us for this special memorial exhibition for acclaimed photographer, Ingeborg Gerdes (1938-2020). This retrospective exhibition, Out West, will include images from several of Gerdes’ series spanning a 50-year period including photographs from San Francisco in the 70s, Out West Across the Basin, Out West in Color, Eastern Washington, The Mission District, and Autobiography. This exhibition will travel to Blue Sky Gallery in Portland and is one of several shows to honor this great artist’s legacy on the anniversary of her passing. Born and raised in Germany, Ingeborg Gerdes came to the United States in the mid-1960’s. She was living in Philadelphia when she saw a catalog from the San Francisco Art Institute, offering photography classes. She moved to the city and in 1970 received her graduate degree in photography from the San Francisco Art Institute, starting her new life as a photographer. From the beginning, her approach to photographing corresponded to her long-standing passion for traveling. She went back to Europe frequently as well as journeyed through countries in Asia and to Mexico. In 1982, on a road trip to Nevada she discovered the high desert and began to photograph in rural regions of the Western states. This work became a long-term project. She also continued to make work in the Bay Area where she lives while regularly returning to Germany, where she photographed in her home town and in Berlin. Ingeborg has exhibited her prints in numerous one-person and group exhibitions in galleries and institutions nationally and abroad. She has been awarded four National Endowment for the Arts fellowships and taught photography at the University of California, Santa Cruz. Her photographs are in the collection of the Smithsonian American Art Museum, San Francisco Museum of Modern Art, the Portland Art Museum, the Stanford Museum of Art and the Berkeley Art Museum, amongst others. Ingeborg Gerdes passed away peacefully at her home in Emeryville, CA on June 20th, 2020. She will be remembered as a remarkably talented photographer, influential educator, and as a dear sister, aunt, colleague, and friend.
 Karen Navarro: The Constructed Self
Houston, TX
From April 30, 2021 to June 25, 2021
Karen Navarro's The Constructed Self is the Houston-based photographer and multimedia artist's first solo exhibition at Foto Relevance. A vivid and even more tactile expansion of the artist's earlier portfolio El Pertenecer en Tiempos Modernos (Belonging in Modern Times), Navarro's The Constructed Self realizes meditations on self-representation and identity through dynamic photosculpture configurations. Disrupting photography's traditional two-dimensional presentation, these colorful new works come assembled in a multitude of ways-some stacked and spinning, others paneled and puzzled together. These geometric complexities illustrate the abilities we all have to reorder and rearrange the many facets of our public-facing identities.
Chester Higgins: The Indelible Spirit
New York, NY
From May 06, 2021 to June 26, 2021
"These subjects will not be forgotten; they cannot be erased. They matter." - Chester Higgins Chester Higgins walked into the photographic studio of P.H. Polk in Alabama in 1967 to pick up a photograph for an advertisement in his Tuskegee University newspaper. He left with something entirely unexpected--the first awareness of a passion that would unfold throughout his life. Higgins caught a glimpse that day of photographs hanging behind Polk's studio curtains that he had taken during the 1930s of people in the rural South. The beauty, dignity and strength of character in those photographs captivated Higgins, and reminded him of the people he knew and had seen in his church and among farmers in rural Alabama where he grew up. The power of Polk's images inspired Higgins to ask the elder photographer several days later if he would teach him to use Polk's own camera. Surprised by the naïve and audacious request, Polk lent Higgins his camera for a few hours. This extraordinary gesture of generosity and the valuable information and insights he subsequently gave Higgins, started the young man on a long and extraordinary journey with photography. Higgins bought his own camera the following year. It was the summer of 1968 at the height of the civil rights movement. At that time the media in Alabama was publishing photographs that depicted Black men as "vicious criminals," as Higgins described. Those images were very different than the ones Higgins made at the time that presented the protestors against Jim Crow laws as serious and decent men like himself. Looking to further his knowledge of photography, Higgins visited New York City during the summer of 1969, where he met the photographer Arthur Rothstein, who was the Director of Photography at Look Magazine then. Rothstein asked Higgins what message he wanted to convey in his photographs, and the young Higgins responded with a statement that has resounded throughout his work to the present: "Our media show no positive images of decent black people…men and women who work hard, go to church, have respectful and loving relationships. We need images of black people that reflect the fullness of our lives." After graduating from Tuskegee University in 1970, he moved to New York City where Rothstein guided him and introduced him to Cornell Capa, Gordon Parks and Romare Bearden. Higgins's relationship with these men was of great importance to him professionally and artistically. Polk had told Higgins that, "there is no camera that can make a picture…, only your eyes can make a picture," and Parks had emphasized that, "great photographs are made with the heart, not necessarily with the eye." These two ideas have guided Higgins in his work throughout his life. Higgins became a staff photographer for The New York Times in 1975, and worked as a news photographer there until 2014. After spending an eight-hour day working at the Times, he would then shoot for his own work. As he accumulated vacation time, he used it to travel. His first trip to Africa, however, had been in 1971, when he went to Senegal to shoot for an article in Essence Magazine. The following year he went to Ghana, and he returned to both Ghana and Senegal over the next several years. During his first trip to Africa, the goals for his photographic work expanded into: "…a lifelong study of the mannerisms, culture, and traditions of my people--mirror images of the people of my childhood." The exhibition Chester Higgins: The Indelible Spirit at the Bruce Silverstein Gallery charts the early course of Higgins's journey from the late 1960s through the 1990s with a selection of images that highlight his career from his beginnings as a talented student living in Alabama, through his early years in New York, and his travels to Senegal and Ghana. Higgins photographs people of all generations--children looking tentatively out at the world; young adults full of strength and vitality; and elders, whose wisdom he evokes in quiet, peaceful circumstances. Whether at rest, work, or in social situations, alone, or with family, friends, and lovers, Higgins's work reflects his respect for moments of deep contemplation. Through light, composition and a superb attentiveness to the flow of life, he creates images in which the sheer beauty of light and form conjure the magical spirit of an individual or group. Higgins often shoots into the light. In some cases the contrasts between light and form become silhouettes in which the details of his subject are obscured and the essence of the moment revealed. At other times Higgins focuses on the sculptural form of a figure, on its texture emphasized and enveloped in light and shadow. Whether taking a close up or distanced view, focusing on detail or general form, it is the energy and spirit in his photographs that are most distinctive. Higgins finds the moment that lies between the physical and the spiritual. This is the profound and sweet spot in his photographs, the moment when something unexplainable opens up--an indelible spirit in his work that cannot be erased. - Carrie Springer, Curator
Nina Katchadourian: Cumulus
New York, NY
From May 13, 2021 to June 26, 2021
Pace Gallery is pleased to present Cumulus, a solo exhibition by interdisciplinary artist Nina Katchadourian featuring recent works and several major ongoing projects that have not been shown in New York since their first iteration. Known for her widely varied practice, which includes video, performance, sound, sculpture, and photography, Katchadourian presents four of her landmark projects: Paranormal Postcards; The Genealogy of the Supermarket; Sorted Books, featuring new installments to the series; and Accent Elimination, which was exhibited in the 2015 Venice Biennial as part of the Armenian Pavilion, winner of the Golden Lion for Best National Participation. The exhibition will also debut a suite of printmaking projects, including Lucy's Sampler, an homage to Katchadourian's Armenian adoptive grandmother. Together, the works on view examine themes of family, travel, displacement, portraiture, narration, and diaspora. In her signature style, Katchadourian continues to work with the apparently mundane, resulting in works that both subvert and activate the viewer's usual sense of their life and surroundings. Grounding the exhibition is Paranormal Postcards (2001- ), an enormous wall installation consisting of hundreds of postcards that the artist has been collecting during her travels, museum visits, and stops at souvenir shops over the past two decades. Each postcard is stitched through with red sewing thread that connects elements within the image-a format that allows Katchadourian to draw out hidden affinities and suggested subtexts, which she further amplifies by grouping and connecting postcards using a network of dotted red lines applied to the wall. Like a giant chart that seems to explain the latent relationships or power structures embedded in the world, the array of postcards makes visible, as critic Jeffrey Kastner has written, "lines of force and sympathy between their improbable inhabitants, proposing a world connected in almost unlimited ways." In the context of the past year, the nostalgia for travel often associated with postcards takes on additional force. This is the first time Paranormal Postcards is being exhibited in New York since its initial presentation exactly 20 years ago, when it was a fraction of its current size. The artist's longstanding interest in the seductive veracity of chart-like structures also animates The Genealogy of the Supermarket (2005- ). Interpolating the characters who appear on common supermarket products into a giant family tree of framed photographs installed on vibrant red wallpaper, the work takes literally the fantasy of kinship that many of these items exploit in their branding strategy. Every time it is exhibited, the artist incorporates new "family members" sourced from local supermarkets. As such, the piece becomes an indicator of large-scale demographic changes, visible both in the faces that appear on everyday products and among the consumers who purchase them. The Genealogy of the Supermarket has not been shown in New York since 2005, and a number of new "relatives" will make their first appearance at Pace. Katchadourian worked with her own family in one of her best-known projects, the six-channel video Accent Elimination (2005). Katchadourian, who is first-generation American, worked with her Finland-Swedish mother, Armenian father, and a professional accent coach in order to teach her parents how to speak with a so-called "standard American accent," while Katchadourian attempted to master each of her parents' accents in turn. The piece shows them struggling to perform a scripted dialogue in their exchanged accents, revealing along the way the complicated origin stories of each parent, including the multiple displacements of her father's diasporic Armenian family. Katchadourian's Armenian background is also the focus of a new work, Lucy's Sampler (2020). The engraving with letterpress text depicts an embroidery sampler made by Katchadourian's adoptive grandmother, Lucy, who was orphaned in the Armenian genocide around 1915 and later taken in by the artist's paternal grandparents. The sampler, made by Lucy at age 12 while she was still living in an orphanage, is one of the only extant artifacts from her childhood. Katchadourian reproduced an image of the sampler by placing a piece of Plexiglas on the artifact and tracing over each of Lucy's painstaking and carefully stitched marks with an engraving tool. This act of replication pays homage both to Lucy's skill and to her lifelong caretaking of others. Two additional printmaking series, Whisker Prints and Window-Seat Suprematism, both from 2013, will also be on view for the first time. Both are characteristic of Katchadourian's attraction to working with self-imposed constraints. To make the Whisker Prints, Katchadourian limited herself to seventeen cat whiskers, each time placing them in a different formation on a deep-blue inked plate. The resulting monoprints resemble spare, reduced line drawings of sea creatures that live at extreme depths, sensing their way through the darkness. The Window-Seat Suprematism etching series is based on photographs taken by Katchadourian when seated over the airplane wing, where the lines, rivets, and indicator arrows are used to compose images that recall Suprematist collage. Katchadourian's longest ongoing project is Sorted Books, a photographic series that began in 1993. Pace will exhibit a new suite of images made in response to an invitation by the Isamu Noguchi Garden Museum to work with the sculptor's personal book collection. Katchadourian's process typically involves sorting through a collection of books, selecting particular titles, and arranging them into stacked groups so that the titles on the spines can be read in sequence as short sentences, phrases, or narratives. Past iterations of the project have made use of the Swedish playwright August Strindberg's personal library and writer William S. Burroughs's book collection. The book arrangements become a form of portraiture that reflects not only the well-known interests of an individual but also their surprising and sometimes contradictory obsessions, shedding a different light on the person's life and work. This solo exhibition follows Pace's recent presentation of Katchadourian's Monument to the Unelected-a set of lawn signs created by the artist featuring the names of every candidate who ran for president of the United States and lost-which was also presented at seven other venues in the lead-up to, and immediately following, the 2020 presidential election. Katchadourian is currently working on a permanent public sound work commission for Skissernas Museum in Lund, Sweden. In February 2023, Katchadourian will have a solo exhibition at the Morgan Library and Museum, in which she will combine her work with objects drawn from the Morgan's diverse holdings.
Easton Nights by Peter Ydeen
Atlantic City, NJ
From April 06, 2021 to June 27, 2021
The Noyes Art Museum - Stockton University will be exhibiting the photography series "Easton Nights" by Peter Ydeen, April 6th through June 27th 2021 at the Noyes Arts Garage in Atlantic City New Jersey "Easton Nights" is a photographic story of one Americas most forgotten industrial towns as can only be told at night. The empty urban landscapes cascade into endless stages revealing a magical and surreal vision of this American town. Photo: Crapped Out Again (title borrowed from a Keb' Mo' song) © Peter Ydeen
Chip Hooper: EARLY WORKS
Carmel, CA
From March 01, 2021 to June 30, 2021
The process of creating photographs is a contemplative one. It is an exploration of my feelings as much as it is an exploration of what I am seeing. The best images always happen when what I am feeling becomes one with what I am seeing. Chip Hooper
Since Seeing You by Ruth Lauer-Manenti
San Diego, CA
From June 01, 2021 to June 30, 2021
All About Photo is pleased to present Since Seeing You by Ruth Lauer-Manenti Sandrine Hermand-Grisel, 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 June 2021 and includes twenty photographs from the series Since Seeing You. SINCE SEEING YOU Since Seeing You is an observation of the lingering experience of the final week of my mother's life. She rarely let me photograph her, except in those last days when she changed her mind and without any hesitation, gave her permission and blessing. During that time there was a quality of acceptance and ease within and around her. After she passed the nurses seemed in a rush to cover her body and take her away. I wondered why. It seemed so natural that I would want to stay with her for a while. Since that final time, I have taken a lot of photographs in nature; immersed in its aliveness, decay and wild beauty. I feel her spirit in the tilting trees or when there is a light rain. At times, the memories of her gently fade out and blur, only to return as a wind that changes direction, in a wave of strong emotions.The pictures on view are a selection of what I hope to have published as a book. Because of the ephemeral feeling in the imagery, I imagine that the solidity of a book would balance this transient quality by giving it a structure and pace that would be tangible. 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.
Windows on Latimer: Hannah Price
Philadelphia, PA
From June 01, 2021 to June 30, 2021
During our pandemic closure, Windows on Latimer has featured a new site-specific commission each month since August 2020 in The Print Center's iconic bay window on Latimer Street. As we prepare to reopen in July, we are pleased to present the final installation by Hannah Price. In this installation, Price triangulates photographs from her series: "Cursed by Night" (2012-2013) and "Semaphore" (2018) including an image of Philadelphia's City Hall as well as shadowy interior and exterior portraits. Price explores how society elides Black men with darkness, cursing them into its oblivion. "Semaphore" takes its title from a coded signal system of flag positions and examines the way identities are constructed through physical and material appearance. Price purposefully uses black-and-white photography to heighten the stark contrasts of politics and race in our everyday lives.
 Lewis Hine: The WPA National Research Project Photographs, 1936-37
New York, NY
From April 15, 2021 to July 02, 2021
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.
When Nobody’s Watching
San Francisco, CA
From May 22, 2021 to July 02, 2021
Rena Bransten Gallery presents When Nobody's Watching, a group exhibition of self-portraits by Faisal Abdu'Allah, John Bankston, Phoebe Beasley, Jonathan Calm, Gina Contreras, Tracey Emin, Rodney Ewing, Viola Frey, Rupert Garcia, Joseph Green, Doug Hall, Bovey Lee, David Linger, Hung Liu, Chip Lord, Vik Muniz, Tameka Jenean Norris Estate, Sidney Russell, Ron Moultrie Saunders, Kathy Sloane, Lava Thomas, Tara Tucker, John Waters, Lewis Watts, and Derek Weisberg. The exhibition will be on view in the gallery with an expanded iteration available to view online. Paying homage to the time-honored tradition of self-portraiture, this collection of works shows a multiplicity of approaches to the genre–the images are sometimes confessional and profound, sometimes self-deprecating and humorous. While most artists are no strangers to solitude and the inevitable self-reflection that solitude brings, there is a more practical consideration: artists often choose themselves as subject simply because they are the ones there. This past year has made even more pronounced the necessity of using what is within arm's reach, in the same way, that an artist's available physical space can dictate scale. While these works were not all made during quarantine, they are seen now through the lens of prolonged separation, as little windows opening to other people. Hung Liu's large-scale painted portrait, Rat Year 2020: Last Dandelion, shows a close cropping of her masked face, placing us solidly in the present. An air of stoicism dominates her gaze - there are no-frills, and no explanations. Her signature dandelion dominates the other panel, reminding us of impermanence, and the cyclical nature of life. How will this painting be seen years in the future, with the pandemic (hopefully) a hazy memory? David Linger's four-panel self-portrait is a black and white photograph printed on porcelain–an extremely archival yet fragile material. Linger has bifurcated his face and the variations between panels become a nod to the many selves we all hold inside. The printing process Lingeremploys is one that demands embracing imperfections as it is difficult and time-consuming, and the results hard to control. When considering this process in relation to self-portraiture, it becomes poetic; as we all fumble through life our best hope may be to remain open to unexpected outcomes.
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Easton Nights is the solo show featuring a selection of works of the American photographer Peter Ydeen curated by Camilla Boemio. The images were selected with the aim of showcasing the myriad facets of Ydeen!s nocturnal narrative. Ydeen is well known for depicting urban landscapes whose complexities are described by the beauty of the mundane world.
La Villa by Dominique Tarlé
50 years ago, the biggest rock band in the world, the Rolling Stones, landed in the south of France. Following various tax woes in England, Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Mick Taylor decided to come and seek shelter in France. The young photographer Dominique Tarlé who had known the band for a few years in London and on tour, came to join his favorite musicians in order to immortalize them in this new environment...
Tommaso Protti Amazonia
The 10th Carmignac Photojournalism Award is dedicated to the Amazon and the issues related to its deforestation. It is chaired by Yolanda Kakabadse, Minister of the Environment of Ecuador between 1998 and 2000 and President of WWF from 2010 to 2017. The Award was awarded to Tommaso Protti.
All About Photo is Pleased to Present Since Seeing You
All About Photo is pleased to present Since Seeing You by Ruth Lauer-Manenti. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of June 2021 and includes twenty photographs from the series Since Seeing You.
Photographic Festival: L’oeil Urbain
L'OEil Urbain Festival explores themes related to new urban realities. This photographic festival - including the ninth edition will be held from May 27 to July 4, 2021 - has become an unmissable event on in France
Belfast Photo Festival presents a bold vision of the future
Belfast Photo Festival, Northern Ireland's premier visual arts festival, will take over art galleries and public spaces throughout Belfast this June with a host of timely exhibitions exploring the role of photography in imagining new visions of the future.
Platinum by William Klein
FIFTY ONE TOO is pleased to present a series of 9 platinum prints by the influential American photographer, filmmaker, graphic designer and painter William Klein (born in 1928 in the US, lives and works in Paris, France). The exhibition features some of the most well known images that this 'enfant terrible of photography' made in commission for Vogue magazine in the 1950s and 60s and that are now considered a milestone in fashion photography. The platinum printing process - known for its exceptional quality, durability and beauty - gives these legendary photographs an unprecedented depth, sharpness and tonal range, spectacular to discover in person.
Spirit: Focus on Indigenous Art, Artists and Issues
The Griffin Museum of Photography in Winchester, Massachusetts is pleased to have guest curator Donna Garcia showcase the artists of Spirit: Focus on Indigenous Art, Artists, and Issues with photographs from Tonita Cervantes, Jeremy Dennis, Pat Kane, Meryl McMaster, Shelley Niro, a collaboration between Kali Spitzer & Bubzee, Will Wilson, Kiliii Yuyan, and Donna Garcia herself.
Vivian Maier - Stephan Vanfleteren: Capturing Life
Gallery FIFTY ONE will surprise its visitors with an unusual pairing of two master photographers: Vivian Maier (USA, 1926-2009) and Stephan Vanfleteren (Belgium, 1969). For this exhibition, Vanfleteren will select some images from his diverse oeuvre as a reflection on the work of Vivian Maier. The result: a surprising confrontation between two photographers of a very different place and time, that have one thing in common: the love for the street and all its unpredictability.
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