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Meryl Meisler: The Best of Times, Worst of Times

From March 22, 2021 to July 23, 2021
Meryl Meisler: The Best of Times, Worst of Times
316 Waverly Avenue
Syracuse, NY 13244
In Light Work's early days, during the 1970s and 80s, many artists arrived for their month-long residency with no specific plans for using their time. With only a camera and a vague idea of exploring, they walked the streets of Syracuse, open to the synchronicity of what might happen. Incredible photographs ensued and the artists often called them gifts. Grateful to land in the right place at the right time, they discovered images on their contact sheets that startled and delighted them. But they also saw photography as more than random luck. It was both a collaboration and a conversation. They saw themselves as witnesses.

Over the same decades, Meryl Meisler was photographing her life in and around New York City with the same sense of exploration and possibility as those pioneering Light Work AIRs. Retiring from decades as a public-school art teacher, Meisler began to unearth and rethink her own archive. Part-time capsule of the 70s and 80s and part memoir, The Best of Time, Worst of Times is an invitation to join her for a wild ride—disco nights, punk bars, strip clubs, Fire Island, family, friends and neighbors, and suburban Long Island. Her exuberant celebration of human connection is particularly poignant now, when we can take none of these gatherings for granted. Meisler clearly celebrates with her subjects. These are her people: she is not an outsider but a participant. She depicts our own shared humanity, humor, and joy.
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All About Photo Magazine
Issue #17
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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.
Cig Harvey: Blue Violet
New York, NY
From May 06, 2021 to June 26, 2021
Robert Mann Gallery is pleased to announce Cig Harvey: Blue Violet, the artist's third solo exhibition at the gallery. Harvey's work is rich with the emotion and awe she is able to elicit through her depictions of the natural world and the magic within it. Her photographs, abundant with color, implied texture, and even scent, explore the five senses, bringing the viewer to the brink of saturation. This collection of photographs is both emotional and celebratory, filled with intense color, light and shadows. The series, infused with flowers, speaks to the procession of seasons and transitional times. In the image, Scout & The Disco Ball, Harvey plays with dramatic, yet somehow gentle, atmospheric light. The lights from the disco ball appear to dance against the rustic wood walls. Poppies (floating) plays with the delicate line between life and decay. The viewer witnesses the vibrancy of the red and white poppies floating in the river, but is extremely aware of their fragility. This exhibition opens in conjunction with the release of Harvey's highly anticipated new monograph, Blue Violet. Blue Violet is part art book, part botanical guide, part historical encyclopedia, and part poetry collection all coming together in one rich volume. The artist will be present to sign books on May 6th, please contact the gallery to schedule your visit. Cig Harvey's work is included in permanent collections of major institutions including, the Museum of Fine Arts, Houston, Texas; the International Museum of Photography and Film at the George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and the Farnsworth Art Museum, Rockland, Maine. Harvey was named one of the 2021 recipients of the Farnsworth's Maine in America Award and was named the 2018 Prix Virginia Laureate, an international photography award based out of Paris, among many other honors. Harvey has published three previous sold out monographs (Schilt Publishing) the first of which: You Look At Me Like An Emergency (Schilt Publishing, 2012), was accompanied by a solo museum show at the Stenersen Museum in Oslo, Norway in Spring 2012. The artist lives and works in rural Maine.
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.
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Call for Entries
Solo Exhibition July & August 2021
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