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Hal Fischer Photographs: Seriality, Sexuality, Semiotics

From August 26, 2021 to December 22, 2021
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Hal Fischer Photographs: Seriality, Sexuality, Semiotics
500 East Peabody Drive
Champaign, IL 61820
Hal Fischer (United States, b. 1950) is a gay conceptual photographer and an alumnus (BFA '73) of the University of Illinois Urbana-Champaign. Hal Fischer Photographs: Seriality, Sexuality, Semiotics presents a first full retrospective of his work, showcasing all his photographic series, which were created in San Francisco during the late 1970s—the heyday of gay liberation.
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Exhibitions Closing Soon

Caleb Charland: Sundial
Boston, MA
From June 03, 2022 to July 09, 2022
"The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed." -Albert Einstein In 2018 I began experimenting with the photographic process called color separation. I was inspired by the work of Sergey Prokudin-Gorsky, an early practitioner of color photography. As if by magic, color photographs can be created with black and white film. When three negatives are exposed with red, green and blue filters the grayscale exposures function as records of the separated colors within a scene, somewhat similar to using separate screens in printmaking. When the three negatives are assigned to the corresponding color channels in photoshop a full color image appears. Color Channels determine the color of the pixels on the screen. Red pixels correspond to the information contained in the negative that was filtered for red light. It soon occurred to me that I could record the separated colors across time and space. As the Sun appears to travel through the sky over the course of a day the movement of the sundial’s shadows mark the passage of time. In the morning the face of a rock may be in shadow but upon the arrival of noon it basks in full sunlight. This movement of light across time captured through the color separation process reveals unusual variations in the colors of the world. Sundial with Compass displays a sequence of shadows cast by the object one afternoon. The presence of green in the image, for example, is the absence of red and blue light. This means that green appears in the shadow areas of the red and blue filtered negatives. In 2020 I was curious if I could apply the experimental nature of the color separation process to the final print. I began pondering how to merge two analog photographic processes with digital inkjet technology to create unique works of color. The process starts by printing the black information on a traditional black and white gelatin silver print. A liquid cyanotype solution is then brushed on the print by hand. A negative of the cyan information is registered over the silver print and exposed to ultraviolet light. Finally, the print is carefully run through an inkjet printer to apply the yellow and magenta ink resulting in a full color image. For me, wonder is a state of mind somewhere between knowledge and uncertainty. It is the basis of my practice and results in images that are simultaneously familiar yet strange. Each piece begins as a question of visual possibilities and develops in tandem with the natural laws of the world. This process often yields unexpected results measurable only through photographic processes.
Massimo Vitali: Endless Summer
New York, NY
From May 05, 2022 to July 15, 2022
Edwynn Houk Gallery is pleased to announce Massimo Vitali: Endless Summer, the gallery’s first solo exhibition of newly-represented photographer Massimo Vitali. This exhibition includes stunning, large-scale photographs from his best-known series as well as recent works. For over twenty years, Vitali has photographed spaces where large groups of people congregate socially, including night clubs, rock concerts, national landmarks, ski resorts, and - most famously - beaches. “All these groups of people, seemingly isolated, feel part of the same space,” he says of his works. “Around water, people feel they have something in common.” It is this commonality that Vitali searches for when photographing from a distant, slightly elevated vantage point. From this perspective, he views the masses made miniscule against the immense landscape. Expansive azure blue water, beautiful white sand beaches, and dramatic rock faces are hallmarks of his work. Printed at monumental scale, the photographs immerse viewers in the scenes to convey the sense that we, too, have something in common with these people. After a career as a cinematographer, Vitali brings such sensibilities to his still photography. After setting up his camera he stands off to its side, not chasing a moment, but allowing the scene to unfold. In Vitali’s photographs, you might find a pair of lovers entwined on a towel, a family arguing with pails and shovels, a swimming child in the shallows, or a small dog underneath a beach umbrella. While other photographers might have one of these scenes per photograph, Vitali is able to show dozens of stories within a single frame - each containing multitudes of such tiny slices of life rendered in exquisite detail. Massimo Vitali lives and works in Lucca, Italy. His work has been the subject of numerous solo shows internationally and is held in the collections of leading art museums and institutions including the Guggenheim Museum, New York; Museo Reina Sofia, Madrid; and the Centre Pompidou, Foundation Cartier, and Fonds national d’art contemporain, Paris. Monographs of Vitali’s photographs include Beach & Disco (Steidl Verlag, 1999), Landscapes with Figures (Steidl Verlag, 2004), and Landscapes with Figures 2 (Steidl Verlag, 2019).
Julie Blackmon & Elliott Erwitt: Metaverse
Atlanta, GA
From May 13, 2022 to July 23, 2022
Jackson Fine Art is excited to present a solo exhibition of Julie Blackmon’s distinctive domestic compositions, alongside newly uncovered works by 20th-century master Elliott Erwitt. Both artists have made their impact on the medium through finding narrative beauty in their everyday surroundings, wordlessly expressing both the comical and the poignant. Contemporary American photographer Julie Blackmon draws inspiration from the raucous tavern scenes of 17th-century Dutch and Flemish painters, creating photographs based around the people and places in her small community. Blackmon has compared her surroundings to a giant Hollywood prop closet, where a Starbucks employee out on a smoke break may appear in her next photograph, or the beauty shop she passes every day becomes the setting for a new piece. “It’s a fun perspective to have … to see the world around you as a potential story or idea. It changes how you see things. Nora Ephron said, ‘everything is copy,’ and that has really stayed with me. I live and work in a generic town, with a generic name, in the middle of America, in the middle of nowhere… but the stories unfolding around me are endless.”
Cindy Sherman 1977 - 1982
New York, NY
From May 04, 2022 to July 29, 2022
Widely recognized as one of the most important American artists of her generation, Cindy Sherman revolutionized the role of the camera in artistic practice and opened the door for generations of artists and critics to rethink photography as a medium. Explore a curated selection of Cindy Sherman’s most powerful and enigmatic bodies of work in her first major solo exhibition with the gallery on view at 69th street. Untitled Film Stills (1977 – 1980) This iconic series of eight-by-ten-inch black-and-white photographs was originally conceived as a group of imaginary film stills from a single actress’s career. Inspired by 1950s and ‘60s Hollywood, film noir, B movies, and European art-house films, Sherman’s plethora of invented characters and scenarios imitated the style of production shots used by movie studios to publicize their films. The images are evocative of certain character types and genres, but always intentionally ambiguous, leaving room for the viewer to insert themselves into the work and walk away with their own interpretations. Rear Screen Projections (1980) In 1980, Sherman stopped making the Untitled Film Stills and began working in color. She continued to use herself as a model, transforming her appearance with various costumes, makeup, and wigs, leaving the narrative of her scenes deliberately vague. However, instead of making use of existing light and locations, Sherman brought her work back into the controlled environment of her studio, posing in front of locations projected onto a large screen – a technique made famous in several of Alfred Hitchcock’s films – to create the series now known as the Rear Screen Projections. Unlike the Untitled Film Stills, with their artificial narratives set in real locations, this series presents women no longer bound by their physical surroundings. Centerfolds (1981) Continuing her exploration of the tension between artifice and identity in consumer culture, in 1981 Sherman responded to a commission from Artforum magazine, with a series of images which clearly referenced erotic images commonly found in the middle of men’s magazines at the time. The photographs were ultimately never published by the magazine for fear of public backlash and instead became a critically acclaimed series of 12 large-scale horizontal color works known as the Centerfolds. Designed to make viewers uncomfortable, the series continues to challenge expectations surrounding this type of photograph, drawing attention to the way we consume images – especially of women. Color Studies (1981 – 1982) This series derives its name from the artist’s focused interest in the formal challenges of composition and color, forgoing the invention of character, expressed by the ways in which the subject seems to disappear into the background. Many critics and writers have interpreted these works as showing the ‘real’ Cindy Sherman but, in-keeping with her other series, they are a complete fabrication. The tight framing, the truncated figure and strongly contrasting light as the figures are simultaneously obscured and revealed by shadow and light, are all part of this artifice.
Donna Ferrato HOLY
New York, NY
From June 23, 2022 to July 29, 2022
Daniel Cooney Fine Art announces our first and very timely solo exhibition of photographs and unique collages by the feminist activist artist Donna Ferrato. Celebrated for her notorious photographs of domestic violence that were published in her iconic book “Living With The Enemy” (Aperture, 1991) Ferrato has photographed the complex lives of women for over 50 years. The exhibition proudly shares Ferrato’s work that intimately examines the domestic, professional, personal and political lives of women. Additionally, 40 never before seen collage works and paintings will debut, expanding the public perception of Ferrato’s artistic practice. This exhibition is timed to correspond with the expected overturn of Roe v. Wade by the Supreme Court Of The United States this month. While the exhibition is a defiant response to the expected SCOTUS announcement it is primarily a celebration of women’s spiritual liberation. The strength of the exhibition is in the eyes of the women photographed who are struggling yet empowered. In contrast, there are photographs of women who are in physical and emotional command, perhaps best exhibited by a portrait of the artist’s mother, near death, wearing Groucho Marx glasses and nose. Atop the photograph the artist writes in part, “Ann gave everything away, except her sense of humor. RIP my pretty Mama.” This image is juxtaposed with a searing portrait of the artist’s daughter giving birth at home. The text here reads in part, It took 6 hours till the boy was born in the caul. She said, this photograph captures the moment of ecstasy. Created in 2018 - 2019 as the foundation for her most recent book “Holy”, Ferrato's striking collages are constructed with heavy white paper and cut photographs with writing in the artist’s erratic, immediate hand. The graphic collages wield a palette of black, white, and red, and measure about 9"x10" each. A photograph of a medical procedure room reads, “An Abortion Room Is A Sacred Place. Private. Safe. Clean. Our Bodies Ourselves!” A slightly larger collage pictures the artist, centered with boldly descriptive words floating around her: “Holy; Blessed Whore; Mother Of God; Cunt; Queer; Bitch; Pussy; Tramp; Ain’t I A Woman?” The collages express the outrage of the artist and the immediacy of this very moment. The exhibition is a rare opportunity to see this deeply personal collection of Ferrato's work. Spanning fifty years, the collection of silver gelatin prints and collages is a testament to the fighting spirit of the artist and the need, now more than ever, to stand up for the rights of women. Donna Ferrato has contributed to every major news publication in the country and her photographs have appeared in nearly five hundred solo exhibitions in museums and galleries worldwide. She has been a member of the Executive Board of Directors for the W. Eugene Smith Fund and was president and founder of the non-profit Domestic Abuse Awareness Project. She has been a recipient of the W. Eugene Smith Grant, the Robert F. Kennedy Award for Outstanding Coverage of the Plight of the Disadvantaged, the IWMF Courage in Journalism Award, the Missouri Medal of Honor for Distinguished Service in Journalism, Artist of the Year at the Tribeca Film Festival, and the Look3 Insightful Artist of the Year. In 2008, the City of New York proclaimed October 30 “Donna Ferrato Appreciation Day,” and in 2009 she was honored by the judges of the New York State Supreme Court for her work advancing gender equality. In 2020, Ferrato was chosen as one of the Hundred Heroines by the British Arts foundation, Hundred Heroines.
From Student to Master: Tokuko Ushioda and Her Teachers
New York, NY
From May 17, 2022 to July 29, 2022
Alison Bradley Projects is pleased to debut From Student to Master: Tokuko Ushioda and Her Teachers, early vintage photographs by Tokuko Ushioda (b. Tokyo, 1940) and rare photographs by her teachers, Yasuhiro Ishimoto (b. San Francisco, 1921–2012) and Kiyoji Ōtsuji (b. Tokyo, 1923–2001). Born in 1940 in Tokyo, Tokuko Ushioda enrolled in Kuwasawa Design School in 1960, where she began to study under the noted photographers Yasuhiro Ishimoto and Kiyoji Ōtsuji. In the 1960s and 1970s, the academic teaching of photography, then in its infancy in Japan, owed much to Yōko Kuwasawa. Kuwasawa founded Kuwasawa Design School in 1954 and recruited practicing photographers Yasuhiro Ishimoto and Kiyoji Ōtsuji to serve as teachers. Twelve years later, in 1966, when Kuwasawa established Tokyo Zōkei University, Ishimoto recommended Ōtsuji as the founding teacher for the photography course. After graduating in 1963, Ushioda remained in the school’s orbit. From 1966 to 1978 she assisted Ōtsuji and taught photography at Kuwasawa Design School and Tokyo Zōkei University. Around 1975 she began a career as a freelance photographer working mainly for magazines. Eventually, she crossed paths with Shinzō Shimao, a 1974 graduate of Zōkei and also a one-time student of Ōtsuji, and in 1978 the pair gave birth to a daughter and married. The family of three moved into a one-room unit with a shared kitchen and bathroom in a historic Western-style house in Setagaya, Tokyo. This exhibition presents Early Works, 16 vintage prints by Ushioda from this period (1979–1985) when she was making photographs in her domestic space and balancing her new roles as a mother, artist, and wife. These photographs have lain dormant for 40 years, and Alison Bradley Projects is thrilled to share them for the first time with the public. Ushioda’s work raises questions about gender and domesticity and challenges notions of acceptable subject matter for the era. On view in the gallery’s second room are photographs by Ishimoto and Ōtsuji, also noted as two of Japan’s leading modernist masters. These photographs include Ishimoto's depiction of the Katsura Imperial Villa in Kyoto and a scene of postwar life in Tokyo, (photographed circa 1950-60s, and early 1980s, printed in the 1980s by the artist), and 2 photographs by Ōtsuji: OBJET, (circa 1950 and printed circa 1987 by the artist), and Foam is Created (a vintage work circa 1953), made from the automatic slide projection presented by Hideko (b. Tokyo, 1927–1997) and Kazuo Fukushima (b. Tokyo, 1930), a sister-and-brother team, at the 5th Jikken Kōbō (Experimental Workshop) Presentation in 1953. In this context, Ushioda’s photographs speak to the dialogue between student and teacher, the way artistic vision gains an afterlife through the act of mentorship, and the evolution of a student staking a claim to her own territory. Accompanying the 16 vintage prints exhibited in the gallery is My Husband (1978–1983), a portfolio of 10 modern prints. The selection not only chronicles Ushioda’s family life but also outlines the development of Japanese photography. Many images depict Ushioda’s peers—among them photographer Shigeo Gochō (1946–1983), critic Osamu Hiraki (1949–2009), and photo-historian Ryūichi Kaneko (1948–2001)—seen through Ushioda’s eyes in their youth. As well, the gallery will feature diptychs from ICE BOX, a series dating from the same period, and rare first edition books by Ushioda and Ishimoto. Alison Bradley Projects is honored to bring these rare works to a wider audience in New York. From Student to Master is accompanied by an online catalog authored by photo historian Miyuki Hinton.
TIME TRAVELER  Astronauts, Spaceships, Aliens, Planets...
Santa Fe, NM
From July 01, 2022 to July 29, 2022
This is the premiere exhibition in the West by the renowned Italian photographer, who now lives in Los Angeles. Galtrucco’s photographs combine cinematic constructs of imaginary worlds and his fascination with space travel and extraterrestrial life. An homage to Los Angeles’ former glory as the world’s aerospace capital and the Southwest’s legendary sightings of space aliens and UFOs in Roswell, New Mexico as well as Nevada’s “Extraterrestrial Highway” Route 375. The exhibition opens on the 75th anniversary of the alleged sightings of UFOs in Roswell, NM and coincides with Roswell's UFO Festival.
The Exhibition Lab Exhibition
New York, NY
From July 07, 2022 to July 30, 2022
On July 7th, Foley Gallery opens the 2022 edition of “the Exhibition Lab Exhibition,” a group show featuring work by Aaron Deetz, Barbara Ehlers, Dale Armstrong, Daniel Kariko, Debe Arlook, Diana Nicholette Jeon, Diana Cheren Nygren, Hannah Altman, Kris Davidson, Leslie Levenson, Meghann Stelzner, Meredith Esser, Robin Bell, and Suzanne Lovett. The exhibition will feature photographers exploring various genres, from documentary, autobiographical, and surreal to new media forms, including mixed media. The Exhibition Lab is the study of photography outside of a traditional academic setting. Michael Foley co-founded the initiative in 2010 as a study center for fine art photography dedicated to learning by critique. Students of the Ex Lab meet over five months through critique sessions with one another and one-on-one sessions with Michael Foley.
Kelli Connell & Jennifer Georgescu
Portland, OR
From July 09, 2022 to July 30, 2022
Blue Sky is pleased to announce Naturalists of the Long Now, an exhibition of photographs by Ian van Coller. Climate change has compressed and conflated human and geologic time scales, making it essential to find ways to conceptualize “deep time.” My project, Naturalists of the Long Now, seeks to make notions of deep time comprehensible through visual exploration of glacier ice, as well as other earthly archives. Initially inspired by the 10,000 Year Clock Project of the Long Now Foundation, I have begun collaborating with scientists to make art that challenges viewers to think about the vast scales of geologic time—both past and future—that are recorded not only in the earth’s ice bodies, but in trees, sediments, and fossils. Photography is a unique and powerful visual language. However, what that language sometimes lacks is the information needed to bring about understanding of what is represented in the photograph itself. In 2015, I was able to accompany a team of geoscientists who specialize in climate science related to Quelccaya Glacier in Peru. I was astonished at the endurance of these men and women. Every day they would climb to the summit of the glacier at 18,600ft, and then work over 10 hours straight, drilling ice cores, digging snow pits, and collecting data. It would be exhausting work at sea level, let alone at altitude. I realized I really had a lack of understanding of what the scientists were trying to do. Where the symbolic conversations in my ice portraits ended, the deep knowledge of ice possessed by the scientists would sustain and expand it. When I was a young person, I was fascinated by the annotated drawings and paintings of Victorian era naturalists, botanists, and ornithologists. These brought together the two things I loved most in the world—art and nature. Since that expedition to Peru, I have been making intimate collaborations with scientists by having them annotate directly onto my photographic prints—a contemporary taxonomy of ice and climate—thus re-inventing a genre of naturalist imagery. Naturalists of the Long Now breaks down barriers between art and science, and creates a dialogue between text and image, landscape and viewer, expert, and novice, past, present, and future. My intention is that Naturalists of the Long Now is to encourage people to think in terms of longer spans of time and consider what humanity will look like in 100 or even 10,000 years—instead of just considering our personal and immediate desires.
White Shadows: Anneliese Hager and the Camera-less Photograph
Cambridge, MA
From March 04, 2022 to July 31, 2022
Despite the cloud of Nazi censure hanging over mid-1930s Germany, Anneliese Hager made significant contributions to the medium of camera-less photography and to the wider surrealist movement in Europe. The camera-less photograph, or photogram, is an image made by placing objects directly on (or in close proximity to) a light-sensitive surface and then exposing the assembled material to light. In its final form, a photogram reverses light and dark: the longer the paper is covered, and hence unexposed, the brighter the covered parts will be, and vice versa. Referring to that effect as “white shadows,” Hager developed her experimental darkroom practice through her knowledge of and fascination with the natural sciences. Also a talented surrealist poet, she often paired photograms she made using everyday domestic objects with the naturalistic vibrancy of her own words. Undoubtedly one of the most fervent and accomplished 20th-century makers of photograms, Hager has remained virtually unknown, in part because her early artwork was destroyed in the 1945 bombing of Dresden. Hager was among only three women and the sole photographer to exhibit in the now legendary CoBrA exhibition in Amsterdam in 1949. Like the medium in which she worked, she was overshadowed by the rise of male painters on the international stage in the 1950s. The Harvard Art Museums’ 2018 exhibition Inventur—Art in Germany, 1943–55 was the first to feature her work since Struktur und Geste, organized by the Suermondt-Ludwig-Museum, Aachen, in 1988. Hager is believed to have made up to 150 photograms over the span of her career; White Shadows will showcase 29 recently acquired photograms made by the artist between the late 1940s and the 1960s, when she abandoned the medium. The exhibition, which will incorporate examples of cyanotypes, microphotography, copy prints, photograms, and photographs, will also feature works by Hager’s 19th-century predecessors, such as Anna Atkins, Ella J.C. Hurd, and Philip Otto Runge, as well as her contemporaries, including Marta Hoepffner, László Moholy-Nagy, K. O. Götz, Christian Schad, Carl Strüwe, Elfriede Stegemeyer, Elsa Thiemann, and Otto Umbehr (Umbo). In addition, several key historical publications and selected materials from the artist’s estate (now housed in the Harvard Art Museums Archives) will be on display. Halfway through the exhibition’s five-month run, cyanotypes by Anna Atkins and Ella J.C. Hurd will be exchanged for other examples by these artists, due to the light-sensitive nature of the works. Organized by the Harvard Art Museums. Curated by Lynette Roth, the Daimler Curator of the Busch-Reisinger Museum at the Harvard Art Museums. Support for this project was provided by the Daimler Curatorship of the Busch-Reisinger Museum Fund. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer, Jr., Fund for Modern and Contemporary Art.
Nazraeli Press 32nd Anniversary Show
Carmel, CA
From June 25, 2022 to July 31, 2022
Please join us for a special 32nd Anniversary Exhibition (that’s right, 32nd. It was supposed to be the 30th anniversary show back in 2020, but alas!) of Nazraeli Press’s books and images spanning more than 3 decades. On display will be an assortment of One Picture Books, artist books, and monographs that Nazraeli has published over the years. This show will also highlight the work of Mark Steinmetz and feature many of his original silver prints and the accompanying books. Nazraeli is also publishing a new book by local photographer, Bob Kolbrener, so his work will be featured as well.Nazraeli Press was founded by Chris Pichler in Munich, Germany in 1990. In 1997, the press moved to the United States and in 2002 opened a subsidiary in the United Kingdom and has published over 600 titles on the fine and applied arts, with an emphasis on contemporary photography. Nazraeli strives to maintain a balance in its publishing program between both well-known and up-and-coming artists, and has published books by artists from throughout the United States, United Kingdom, Europe and Asia. Nazraeli Press is known for its unorthodox use of common materials – such as papers, wood, plastic, metals – and for introducing elements of handwork into otherwise mass-produced objects, and currently publishes approximately 20 to 30 titles each year. The press’s books have themselves been the subject of exhibitions and books about books. Formats range from postcard-sized artist’s books to monographs measuring over 40 cm high. In addition to traditionally-bound books, the press has published work in scroll format; loose cards in plexiglass boxes; portfolios of original photographs; and since 2001, a subscription-based series of 16-page artists books, called One Picture Books, which was relaunched in an upscaled and upgraded format in 2018.
Imagine: Reflections on Peace
Washington, DC
From June 02, 2022 to August 01, 2022
On June 2, 2022, the U.S. Institute of Peace together with The VII Foundation will open “Imagine: Reflections on Peace,” a multimedia exhibit that explores the themes and challenges of peacebuilding through an immersive look at societies that suffered — and survived — violent conflict. Using historical photos, texts, video profiles and interactive opportunities, the Imagine exhibit brings visitors face-to-face with the realities of violent conflict and asks the question: “Why is it so difficult to make a good peace when it is so easy to imagine?” Conceived and designed by the VII Foundation, this in-person experience will be located at USIP’s Washington, D.C., headquarters. This exhibit also gives visitors a chance to engage with the Institute’s on-the-ground peacebuilding work — as well as learn about practical actions they themselves can take to make the world more peaceful.
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