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Cig Harvey: Blue Violet

From May 06, 2021 to August 20, 2021
Cig Harvey: Blue Violet
525 West 26th Street, Floor 2
New York, NY 10001
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.
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Welcome Home: A Portrait of East Baltimore, 1975-1980
Washington, DC
From July 16, 2021 to January 17, 2022
To celebrate the bicentennial of the country's founding, in 1976 the National Endowment for the Arts (NEA) launched a multi-year program of photography surveys in communities across the United States. These surveys created a new visual record of a changing nation. Survey projects included preserving or working with historical collections; however, most were commissions of new work by an emerging generation of documentarians, many of whom became prominent figures of American photography. Of the more than seventy projects funded by the NEA, the East Baltimore Survey was unique for having been conceived, led, and carried out by women photographers-Elinor Cahn, Joan Clark Netherwood, and Linda Rich. With significant support from the community, it was also one of the most highly acclaimed at a national level. In her application to the NEA for support, project leader Linda Rich wrote that "Today, while many urban communities seem to be fighting a losing battle against physical, emotional, and spiritual decay, East Baltimore continues to grow and change, preserving its culture, integrity, and humanity." Rich, Netherwood, and Cahn approached local clergy, and were invited to attend bingo luncheons, exercise classes, first communions, and sauerbraten suppers. In time they were welcomed into the homes and private lives of the neighborhood of East Baltimore. They photographed a cross-section of its residences and businesses, celebrating its traditions while also acknowledging its many challenges. The tension between ethnicity and Americanness was a sustained theme of the Survey, as was its recognition of residents' fight for their community's survival, insisting on basic social services and defending against efforts to divide it politically or economically. In 1983, 1,500 photographs by NEA grant recipients were received by SAAM in a transfer that inaugurated its photography collection. A second transfer of 500 prints took place in 2010. Thirteen of the completed photography surveys, including the East Baltimore Survey, were among the material received by SAAM. Welcome Home: A Portrait of East Baltimore, 1975-1980 is the first presentation of those photographs. In addition, while preparing for the exhibition shortly before her death, Joan Netherwood recovered a complete "community exhibition" of the East Baltimore Survey. These were small-scale exhibitions held in churches and community centers, where the photographers showed their progress and their subjects brought pot-luck dinners and stood beside their portraits. They were "trust-raising" events In a community renowned for its suspicion of outsiders. The thirty recovered prints were donated by Netherwood to SAAM, and they are the featured centerpiece of Welcome Home. The exhibition is organized by John Jacob, McEvoy Family Curator for Photography at SAAM, with Vitoria Bitencourt, curatorial assistant.
André Kertész: Postcards from Paris
Chicago, IL
From October 02, 2021 to January 17, 2022
Photographer André Kertész (American, born Hungary, 1894–1985) arrived in Paris in the fall of 1925 with little more than a camera and some savings. By the end of 1928, he was contributing regularly to magazines and exhibiting his work internationally alongside well-known artists like Man Ray and Berenice Abbott. The three years between his arrival in Paris and his emergence as a major figure in modern art photography marked a period of dedicated experimentation and exploration for Kertész. During this time he carved out a photographic practice that allowed him to move between the realms of amateur and professional, photojournalist and avant-garde artist, diarist and documentarian. For those three years only, Kertész produced most of his prints on carte postale, or postcard, paper. Although his choice may have initially been born of economy and convenience, he turned this popular format toward artistic ends, rigorously composing new images in the darkroom and making a new kind of photographic object. The small scale of the cards also allowed them to circulate in a way befitting an immigrant artist-shared with a widening circle of international friends at the café table or sent in an envelope to faraway family.
Chris Marker: 100
New York, NY
From November 20, 2021 to January 21, 2022
Peter Blum Gallery is pleased to present Chris Marker: 100, a survey across seven decades of the artist's career through almost 250 photographs, film stills, and prints. This is the gallery's fifth exhibition featuring Chris Marker (1921-2012) and coincides with the centenary of his birth. The exhibition runs from November 20, 2021 - January 21, 2022 at 176 Grand Street, New York. Visionary filmmaker, photographer, writer, and multimedia artist, Chris Marker emerged in postwar Paris initially gaining renown for his films that include the seminal work, La Jetée (1962). Subsequently he would create a lasting influence across media and through his writings on the ways in which we consider time, memory, and observation of contemporary life. The centenary of his birth offers an ideal occasion to look back at his legacy through a survey of several disparate bodies of work. Totaling almost 250 selected images, and spanning the 1950s to the 2010s, they demonstrate Marker's reach across the globe and time. Whether chronicling political dissent, or postwar North Korea, poetically documenting the famous, or the anonymous of the Paris Metro, the exhibited works ultimately create a telling self-portrait of the legendarily reclusive artist. They offer a revealing look at his ironic yet impassioned view of the modern world and people coping with it, illustrating his perpetual inquisitiveness directed toward people's lives. Also evoking or counterpointing his films that often question the linearity of narration and history, these exhibited works explore Marker's archive of memory. They create new dialogues and new connections, while recalling definitive moments of a life lived behind the camera.
Tim Davis: I’m Looking Through You
Los Angeles, CA
From December 16, 2021 to January 22, 2022
Diane Rosenstein Gallery presents a solo exhibition of photographs and spoken word prose by Tim Davis, an artist, songwriter, and essayist based in Tivoli, New York. The multimedia show opens with a reception for the artist and a music performance by special guests. I'm Looking Through You is an installation that echoes the mood and visual intensity of Davis' new Aperture monograph, described as an expansive visual poem celebrating the glamorous surface of Los Angeles and its reach.
 Notorious RBG: The Life and Times of Ruth Bader Ginsburg
New York, NY
From October 01, 2021 to January 23, 2022
The New-York Historical Society honors the late Ruth Bader Ginsburg (RBG)—the trailblazing Supreme Court justice and cultural icon—with a special exhibition in fall 2021, based on the popular Tumblr and bestselling book of the same name. A traveling exhibition organized by the Skirball Cultural Center in Los Angeles, Notorious RBG: The Life and Times of Ruth Bader Ginsburg takes an expansive and engaging look at the justice's life and work, highlighting her ceaseless efforts to protect civil rights and foster equal opportunity for all Americans. Notorious RBG features archival photographs and documents, historical artifacts, contemporary art, media stations, and gallery interactives spanning RBG's varied roles as student, wife to Martin "Marty" Ginsburg, mother, lawyer, judge, women's rights pioneer, and internet phenomenon. Highlights include a robe and jabot from RBG's Supreme Court wardrobe; the official portraits of RBG and Sandra Day O'Connor—the first two women to serve on the Supreme Court—on loan from the National Portrait Gallery; and listening stations where visitors can hear RBG's delivery of oral arguments, majority opinions, and forceful dissents in landmark Supreme Court cases. Also: Step into the justice's world and take a picture standing in a 3D rendering of the Supreme Court bench.
Andy Warhol: Photo Factory
New York, NY
From September 10, 2021 to January 23, 2022
With over 120 images spanning Warhol's career, including many rare and never-before-seen photographs, Andy Warhol: Photo Factory offers a distinctly intimate visual diary of the artist's life and work, featuring his iconic Polaroid portraits, photo strips, gelatin silver prints, and stitched photographs. The exhibition pays homage to Warhol's iconic New York City studio The Factory and offers a distinctly intimate visual diary of the artist's life and work, including Polaroids of celebrities, artists and friends, such as Debbie Harry, Jean-Michel Basquiat, Dolly Parton, Grace Jones, and Keith Haring. Notably, Warhol's earliest photographic works will be presented, offering a glimpse into his experimentation with the medium and how it served as a catalyst for his early silkscreen paintings, commissioned portraits, and commercial work. All six categories of Warhol's film-based work are spectacularly represented, including polaroids of celebrities, lesser seen unique gelatin silver prints, polaroid collages, 16mm film Screen Tests, and his most recent stitched photograph series.
Language, Sequence, Structure: Photographic Works by Lew Thomas, Donna-Lee Phillips, and Hal Fischer
Andover, MA
From October 02, 2021 to January 23, 2022
In 1971, photographer Lew Thomas was in a rut. As manager of and principal buyer for the influential and progressive bookshop at San Francisco's Legion of Honor museum, he voraciously read the latest in cutting-edge art theory and philosophy, exposing himself to the intellectual underpinnings of the nascent conceptual art movement. Thomas's interest in what he thought of as the literary aspects of art led him to become increasingly disillusioned with a Bay Area photographic establishment rooted in a California photographic tradition that privileged craftsmanship and emotion over concept and theory. He resolved to "do something unique in photography or drop it all together," to launch an effort that would lead to "the reduction of photography to the level of the idea" and position the Bay Area at the forefront of conversations around conceptualism and photography. From his perch at the Legion of Honor, Thomas attracted acolytes who shared his desire to disrupt the photographic status quo—chief among them Donna-Lee Phillips and Hal Fischer. They eagerly devoured the theoretical texts he recommended to them, fundamentally altering their conceptions of the complex relationship between photography and language, text and image. Working with a common theoretical foundation and a shared aesthetic vocabulary of sequence, seriality, and structure, the three artists brought their own distinct points of view to the publications, exhibitions, and multipart photographic works produced during their fleeting but intense period of collaboration that lasted from the mid-1970s into the early 1980s. All the photographs on view are newly acquired, and the exhibition builds on the San Francisco Museum of Modern Art's Thought Pieces (2020), the first show in over 30 years to present the trio's works together.
Paulette Tavormina: Seizing Beauty
Ketchum, ID
From December 15, 2021 to January 24, 2022
Still-life photography enables me to create an environment, choose objects to tell a story, and then direct them to create the fantasy I have in mind. This goes full circle back to my first love- curating and arranging things. Beyond just the beauty, I want the viewer to see as I see, to feel the emotion I feel when a leaf balances just-so and points the eye to the next narrative that is part of the larger work. This beauty all around us is fleeting, and yet can be embedded forever in a perfect moment that is a photograph. Creating these heartfelt vignettes allows me an avenue to explore the intimate moments of my life, to tell stories of love and loss, of joy and sorrow, all the while feeling grateful for the rich abundance of life, and somehow seizing that beauty.
Meghann Riepenhoff: Ice
San Francisco, CA
From November 16, 2021 to January 29, 2022
Haines Gallery proudly presents Meghann Riepenhoff: Ice, an exhibition of new and recent works created in winter landscapes across Colorado, Wisconsin, and the artist's home state of Washington. This is Riepenhoff's first solo exhibition with Haines Gallery.Meghann Riepenhoff (b. 1979, lives and works in Bainbridge Island, WA) creates her camera-less cyanotypes in collaboration with the elements, placing paper coated with homemade emulsion directly within the landscape. As they make contact with photographic materials, weather and water work together to produce lush, complex surfaces that invite us to consider the power and grace of the natural world. Ice features works from Riepenhoff's latest series of the same title, which she began in 2015. Expanding on her earlier bodies of work-Littoral Drift and Ecotone-Riepenhoff creates her Ice cyanotypes in freezing waters, from the snow banks of Aspen to remote creeks in western Washington. Riepenhoff's Ice works contain a surprising diversity of colors, forms, and textures, from inky indigo and glacial white in the triptych Ice #64 (18-29°F, Aspen, CO 02.10-12.20), created over three days-the time it took for the work, frozen in the landscape, to thaw-to flashes of orange in Ice #129 (28-32°F, Big Creek, WA 03.09.20). Subtle crystalline forms bloom across their surfaces, where water freezes on the paper over exposures lasting several hours or days. In some areas, this delicate feathering coalesces into solid, graphically jagged masses; in others, it softens into painterly, gestural pools. Each evokes and is dependent on the environments and specific conditions in which they were made, a portrait of a time and place that is both literal and abstract, and wholly unique. Also on view are a selection of Ecotone works, created in collaboration with precipitation such as snow, rain, fog, and even melting icicles. The series title is a geographic term that describes a transitional zone where two habitats meet-aquatic and terrestrial, grassland and woodland, natural and manmade. Here, paper is draped over branches or fences, laid on the ground, or packed in snow, recording the movement of water across both natural and built topographies. In the vertical, scroll- like Ecotone #950 (Bainbridge Island, WA 02.15-16.21, Draped on Bar 99 Fence, Snowstorms), the cloud-like imprint of softly packed snow transforms into vertical striations as it melts over time. So dependent on the elements, the beauty and unpredictability of Riepenhoff's cyanotypes evoke the natural world at its most powerful and sublime. “The work expresses how water moves through topographies," the artist explains, and “how we are disrupting the surface." A photographic record of the changing states of water and its constant motion, Ice and Ecotone invite us to meditate on the passage of time, and on our impact on the environment, as we change the earth's temperatures and topographies. This exhibition is complemented by the release of Riepenhoff's highly anticipated second monograph, which includes expertly rendered reproductions of several of the works on view. Jointly published by Radius Books, Santa Fe and Yossi Milo Gallery, New York, Meghann Riepenhoff: Ice will feature works from the same series, with text by celebrated author Rebecca Solnit. To pre-order this book, available this winter, contact for details.
Anita Thacher: Loose Corner
New York, NY
From December 16, 2021 to January 29, 2022
Microscope is very pleased to present Loose Corner, the third solo exhibition at the gallery of works by Anita Thacher (d. 2017). Loose Corner concentrates on an eponymous 16mm film installation, begun in 1980 and completed in 1986, employing surrealistic sensibilities and optical illusions created with analog film printing techniques to address everyday life and dreams within the domestic realm. A selection of associated photographs from a 1980 series created with optical processes, stage sets and cast of characters similar to those in the film is also on view. The exhibition follows the 16mm film component's preservation by The Academy of Motion Picture Arts and Sciences this year. In "Loose Corner," as in Kafka and Buñuel, everything looks simple, nothing is. To realize, in shock and high adventure, that we cannot "even" depend on our sense organs and customary ways of perceiving the world around us, confronts us with the imperative need to open ourselves to new visions and to let the opulent magic of a universe more complex than hitherto imagined, enter our unsuspectedly famished bodies. - Amos Vogel, May 1987 For the first time, "Loose Corner," which debuted in the exhibition "Film as Installation" at the Clocktower in New York in 1980 as a work-in-progress, is shown as an installation as originally conceived with analog rear projection of the 16mm film within the gallery space. (The film in a theatrical version premiered at the opening of the 1986 New York Film Festival and has been screened throughout the years). Described as a "comedy of sabotage" in her original concept notes, the installation involves a life-sized projection of a corner of a room onto a wall-sized screen intersecting an actual room corner to create a trompe l'oeil illusion. "Because of this congruence, the film 'steals' the three-dimensional formation for itself and 'pretends' to have physical presence," Thacher writes. The corner - a typically uninteresting and overlooked area of a room - becomes a site for various real and fantastical activities. Main characters - a woman, man, child and dog - and various objects such as a black and white cube and a red, white & blue ball materialize on screen in their real-life dimensions, but soon begin to shrink and grow, duplicate and engage with one another and other versions of themselves, often changing degrees of opacity and materiality. As the film progresses, the environment shifts as well. The bland corner with unadorned walls takes on the resemblance of a large container with a glass lid, of a beaker filling with bluish-green water, and of a sparkling sea or of a star-filled sky. Like the most skillful magical trick, but performed through the means of cinema, each action leads to the realistic manifestation of the surreal. "Subjects and objects appear in the corner film in altered and unaltered states, massacring our assumptions and liberating our perceptual beliefs." - Anita Thacher The related photographs on view are selections from a series made in early 1980 through optical printing processes that like the film involve the layering of multiple images, eventually resulting in a single picture in which the rules of space, time and gravity are defied. In the photographs, the characters of boy and dog are played by the same actors as those that appear in the final film, while the role of young woman is played by the artist Francesca Woodman, a friend and neighbor of Thacher's who lived across the hall at the time. The character of the man does not appear in the photographs, which were completed prior to the initial test shooting of the film later that year.
The New Woman Behind the Camera
Washington, DC
From October 31, 2021 to January 30, 2022
The iconic New Woman-modern, independent, stylish, creative, and confident-was a revolutionary model for women across the globe. Featuring more than 120 international photographers, The New Woman Behind the Camera explores the diverse "new women" who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. This groundbreaking exhibition will reveal the significant impact women have had on the history of modern photography. Women actively participated in the development of photography soon after its inception in the 19th century. Yet it was in the 1920s, after the seismic disruptions of World War I, that women entered the field of photography in force. Aided by advances in technology and mass communications, along with growing access to training and acceptance of their presence in the workplace, women around the world made an indelible mark on the growth and diversification of the medium. They brought innovation to a range of photographic disciplines, from avant-garde experimentation and commercial studio practice to social documentary, photojournalism, ethnography, and the recording of sports, dance, and fashion. A global phenomenon, the New Woman of the 1920s embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Her image-a woman with bobbed hair, stylish dress, and a confident stride -was a staple of newspapers and magazines first in Europe and the United States and soon in China, Japan, India, Australia, and elsewhere. A symbol of the pursuit of liberation from traditional gender roles, the New Woman in her many guises represented women who faced a mix of opportunities and obstacles that varied from country to country. The camera became a powerful means for female photographers to assert their self-determination and redefine their position in society. Producing compelling portraits, including self-portraits featuring the artist with her camera, they established their roles as professionals and artists. Commercial studio photography was an important pathway for many women to forge a professional career and to earn their own income. Running successful businesses in small towns and major cities from Buenos Aires to Berlin and Istanbul, women reinvigorated the genre of portraiture. In the studio, both sitters and photographers navigated gender, race, and cultural difference; those run by women presented a different dynamic. For example, Black women operated studios in Chicago, New Orleans, and elsewhere in the United States, where they not only preserved likenesses and memories, but also constructed a counternarrative to racist images then circulating in the mass media. The availability of smaller, lightweight cameras and the increasing freedom to move about cities on their own spurred a number of women photographers to explore the diversity of the urban experience beyond the studio walls. Using their creative vision to capture the vibrant modern world around them, women living and working in Bombay (now Mumbai), London, New York, Paris, São Paulo, Tokyo, and beyond photographed soaring architecture and spontaneous encounters on the street. Creative formal approaches-photomontage, photograms, sharp contrasts of light and shadow, unconventional cropping, extreme close-ups, and dizzying camera angles-came to define photography during this period. Women incorporated these cutting-edge techniques to produce works that conveyed the movement and energy of modern life. Although often overshadowed by their male partners and colleagues, women photographers were integral in shaping an avant-garde visual language that promoted new ways of seeing and experiencing the world. Beginning in the 1920s, new concepts concerning health and sexuality, along with changing attitudes about movement and dress, emphasized the human body as a central site of experiencing modernity. Women photographers produced incisive visions of liberated modern bodies, from pioneering photographs of the nude to exuberant pictures of sport and dance. Photographs of joyous play and gymnastic exercise, as well as images of dancers in motion, celebrate the body as artistic medium. During this modern period, numerous women pursued professional photographic careers and traveled extensively for the first time. Many took photographs that documented their experiences abroad in Africa, China, Afghanistan, and elsewhere, while others engaged in more formal ethnographic projects. Some women with access to domains that were off limits to their male counterparts produced intimate portraits of female subjects. While gender may have afforded these photographers special connections to certain communities, it did not exempt some, especially those from Europe and the United States, from producing stereotypical views that reinforced hierarchical concepts of race and ethnocentrism. Images splashed across the pages of popular fashion and lifestyle magazines vividly defined the New Woman. The unprecedented demand for fashion and advertising photographs between the world wars provided exceptional employment opportunities for fashion reporters, models, and photographers alike, allowing women to emerge as active agents in the profession. Cultivating the tastes of newly empowered female consumers, fashion and advertising photography provided a space where women could experiment with pictures intended for a predominantly female readership. Galvanized by the effects of a global economic crisis and the growing political and social unrest that began in the 1930s, numerous women photographers produced arresting images of the human condition. Whether working for government agencies or independently, women contributed to the visual record of the Depression and the events leading up to World War II. From images of breadlines and worker demonstrations to forced migration and internment, women photographers helped to expose dire conditions and shaped what would become known as social documentary photography. The rise of the picture press established photojournalism as a dominant form of visual expression during a period shaped by two world wars. Women photographers conveyed an inclusive view of worldwide economic depression, struggles for decolonization in Africa, and the rise of fascism and communism in Europe and the Soviet Union. They often received the "soft assignments" of photographing women and children, families, and the home front, but some women risked their lives close to the front lines. Images of concentration camps and victory parades made way for the complexities of the postwar era, as seen in pictures of daily life in US-occupied Japan and the newly formed People’s Republic of China. The photographers whose works are in The New Woman Behind the Camera represent just some of the many women around the world who were at the forefront of experimenting with the camera. They produced invaluable visual testimony that reflected both their personal experiences and the extraordinary social and political transformations of the early 20th century. Together, they changed the history of modern photography.
Thomas Barrow: The Automobile
La Jolla, CA
From December 20, 2021 to February 04, 2022
Joseph Bellows Gallery is pleased to announce its forthcoming exhibition, Thomas Barrow: The Automobile. This solo exhibition will showcase a selection of vintage photographs from Barrow's highly influential extended series, The Automobile, a three-part portfolio created in 1964-65. This exhibition will open on December 20th and run through February 4th, 2022. During the mid-1960s, Thomas Barrow studied with Aaron Siskind at the Institute of Design in Chicago. While there he completed a visual study comprised of 115 photographs entitled, The Automobile. This series formed his thesis project and examined the role of cars in American culture. The series presented three individual yet connecting sections, which follow the automobile from display in the showroom and at car shows, through daily travels on the street and within parking lots, and eventually to their demise, discarded at the junkyard. Thomas Barrow graduated with an M.S. in photography from the Institute of Design. He began his career as Curator of Exhibitions at the George Eastman House and then became the museum's Assistant Director in the early 1970s. Later, Barrow moved to New Mexico, where he was the Associate Director of the Art Museum at the University of New Mexico. In 1976, he began teaching photography in the university's Art Department. Thomas Barrow is Professor Emeritus of Photography at the University of New Mexico. His photographs are in the permanent collections of numerous museums, including the George Eastman Museum, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, the Black Dog Collection, and the Center for Creative Photography at the University of Arizona, Tucson, where his archive is also housed. A career survey on Barrow's work, Inventories and Transformations: The Photographs of Thomas Barrow, was published in 1986 in conjunction with the solo exhibition of the same title at the Los Angeles County Museum of Art. In 2012 his celebrated series Cancellations was published by powerHouse books.
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