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Jill Freedman: Street Cops 1978-1981

From September 17, 2021 to October 30, 2021
Jill Freedman: Street Cops 1978-1981
508 - 526 West 26th Street
New York, NY 10001
Daniel Cooney Fine Art is pleased to announce a solo exhibition by Jill Freedman titled "Jill Freedman: Street Cops 1978-1981" Featuring never-before-exhibited images from the artist's most significant body of work, Jill Freedman: Street Cops 1978-1981 features 50 vintage prints that document NYPD officers on patrol during one of the city's most turbulent eras.

A true believer, Jill Freedman (1939-2019) was the last of a dying breed who gave her life to create art above all things, sacrificing money, fame, and status in the pursuit of beauty, honor, and truth. She died at 79 in New York City, her adopted hometown of 55 years, which she photographed throughout her singular career, amassing an unparalleled archive of street life.

A self-taught photographer inspired by the work of W. Eugene Smith and André Kertész, Freedman understood the power of photography lay in human relationships. But unlike the traditional photojournalist, Freedman was not an "objective" outsider bearing witness to a foreign world; she threw herself wholeheartedly into her work, creating bonds with the people she photographed to forge a deeper emotional connection with her subjects.

Hailing from Philadelphia, Freeman graduated from the University of Pittsburgh where she studied sociology before traveling to Israel to live on a Kibbutz. She sang cabaret in Paris and worked on a television variety show in London before moving to New York City in 1964 to work as an advertising copywriter.

In 1968, after Dr. Martin Luther King Jr. was assassinated, Freedman quit her job to join the Poor People's Campaign on the National Mall in Washington D.C., bearing witness from start to finish of "The Last Crusade." Equal parts artist and activist, Freedman lived inside the shantytown, making photographs that were published two years later in her first book, Old News: Resurrection City.

After a stint documenting the circus as it traveled up and down the East Coast, Freedman returned to New York with renewed vigor, recognizing history unfolding outside her front door. The city crumbled under the weight of the Nixon White House's policy of "benign neglect," which systemically denied government services to Black and Latino communities nationwide. As New York's infrastructure collapsed, the middle class fled en masse to the suburbs in an exodus known as "white flight," while landlords hired arsonists to set fire to their buildings in order to collect insurance payouts, transforming once vibrant neighborhoods into devastated landscapes.

As the city teetered along the edge of bankruptcy, New Yorkers persevered, continuously adapting themselves to ever-changing landscape with a distinctive mix of creativity and resilience. Now among her own, Freedman gravitated towards the spirit of brotherhood as it manifested among firefighters and police officers — the city workers spending their days and nights on the frontlines of an undeclared war waged against the people by their own government.

After publishing Firehouse in 1977, Freedman began working on Street Cops, getting unfettered access to the harrowing world of crime and punishment. Like Weegee before her, Freedman had a front row view of the perpetrators and victims, bearing witness to the role police played in the fracas. Unabashedly pro-cop, Freedman wasn't without empathy for the alleged criminals, many of whom faced the wrath of racist policing policies.

Despite her impressive bodies of work, Freedman never achieved the acclaim of her male contemporaries during her life. Like her work, Freedman was forthright, contentious, and proud, never one to shrink herself or go along with the crowd. Her behavior, both common and admirable in male photojournalists, was well ahead of the curve for women working in a notoriously biased industry. But Freedman was also vulnerable, sensitive, and intense, unafraid of the gory viscera of life.

"A chain smoker who liked to drink," John Leland wrote in her New York Times obituary, "she found her stride in New York when the city was still mostly seedy, living her life and work as if she were auditioning for a role in one of her photos. A police siren, she said, meant that someone was playing her song."

With Street Cops, Freeman set out to deglamorize violence and show the sleazy, the ugly, the tender, and the compassionate in equal measure. "Sometimes it's better not to know too much. Sometimes it isn't. This story wasn't easy," Freedman wrote in the introduction to Street Cops, which was published in 1981. "I wanted to show…. moments of gentleness, good times as well as bad. That's why I love photography. I can catch a moment, print it, and share it with you.

Jill Freedman (1939-2019) was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others. Freedman is the author of seven books including Old News: Resurrection City, Circus Days, Firehouse, Street Cops; A Time That Was: Irish Moments, Jill's Dogs, Ireland Ever, and Resurrection City 1968.
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Issue #21
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Exhibitions Closing Soon

Laurent Elie Badessi: Age of Innocence
New York, NY
From November 10, 2021 to December 08, 2021
In his work, Age of Innocence, French photographer Laurent Elie Badessi explores the complex and paradoxical relationship Americans have with firearms through the subject of children – one of the groups that is the most affected by gun violence. Laurent Elie Badessi has received several prestigious awards, including a grant from the French Department of Cultural Affairs for his Paris show. His photographs are part of many important private and public collections, including the Whitney Museum, the Musée de l’Elysée, and the Sir Elton John Collection.
Portraits and Identity: Photographs from the collection of Robert E. Jackson
Seattle, WA
From November 11, 2021 to December 09, 2021
Photography today is all about the self and the selfie. Contemporary photographs don't reveal the identity of an individual as much as they become the identity of the individual. Photography has always been interested in the face, the body, the inner essence of the sitter, but how those characteristics are shown has changed over time as photographs shared in albums have given way to digital images shared on social media. These mostly vintage photographs collected by Seattle resident Robert E. Jackson show us portraiture and the body in many guises and spaces-as witnessed in the masked portraits and photo booths-as well as how the camera and the photographer manipulate and alter what is seen through the lens in a time before digital tools were accessible to the masses. They challenge and explore our sense of play as well as address our common humanity. All of us live life photographically. This show presents some compelling examples.
Planet Earth
Palm Beach, FL
From November 13, 2021 to December 11, 2021
Throughout the history of photography, artists have explored the vast terrains of our planet Earth, building a profound pictorial legacy on our collective understanding of the natural world. Photography can capture worlds we know and those we don't, recording the planet's diverse and dynamic topography. The mystery and grandeur of the natural environment, coupled with the photographer's poetic capacity to capture the landscape's arresting scenery, ultimately showcases the planet's myriad dimensions and infinite beauty. Stephen Wilkes, Andre Lichtenberg, Francesca Piqueras, Nick Brandt, and Brett Weston's works detail our natural world, from stunning visual panoramas to abstracted, massive landforms. These photographs record the Earth's fascinating geography as well as the grandeur and scale of the environment. Throughout the history of photography, artists have explored the vast terrains of our planet, building a profound pictorial legacy on our collective understanding of the natural world. Photography can capture worlds we know and those we don't, recording the planet's diverse and dynamic topography. The mystery and grandeur of the natural environment, coupled with the photographer's poetic capacity to capture the landscape's arresting scenery, ultimately showcases the planet's myriad dimensions and infinite beauty. Stephen Wilkes, Andre Lichtenberg, Francesca Piqueras, Nick Brandt, and Brett Weston's works detail our natural world, from stunning visual panoramas to abstracted, massive landforms. These photographs record the Earth's fascinating geography as well as the grandeur and scale of the environment. Stephen Wilkes is one of the most original, contemporary photographers on the international scene. His art practice challenges ideas of time and space by painstakingly creating composite panoramic photographs that transcend the frozen moment of a traditional picture. Wilkes's cutting-edge methodology began after being commissioned as a still photographer for Romeo + Juliet in 1996. After figuring out how to shoot a panoramic shot in a tight, closed space, Wilkes came upon a discovery that helped him develop a new way of seeing the passage of time. He achieved this by collaging many photographs to create one single image. The photographer spends up to 30 hours perched at least 50 feet in the air for his renowned series Day to Night. While high above the ground, Wilkes shoots over a thousand frames from the same vantage point to preserve a location from morning to nighttime in the same image. Stephen Wilkes's photographs transcend time and create a novel way to see the landscape. For Wilkes, a photograph is a pictorial record of a day in the life of an environment. Andre Lichtenberg creates an abstract and elaborate linear tableau of skyscapes that presents the unique architecture of various cities. Lichtenberg effectively knits dozens of small detail shots together, like a puzzle, creating a final composite photograph. Part of his abstraction involves inverting the colors of the cityscape, offering a rare opportunity to view the city anew. Lichtenberg's images are analogous to an exercise in memory and akin to the meticulous discipline of a draftsman, rediscovering the character of a town while examining the nooks and crannies of every building's elevation, roof, and city street. Andre Lichtenberg reimagines the city, dusting off the familiar sights of the picturesque sunny urban environment to present a fresh take on the cityscape genre, one gathered from the annals of memory and the individual spirit of a place. His photographs are generally long exposure nighttime captures of a location, patiently knit together to create a composite dream-like image. Francesca Piqueras's photographs capture the influence of humanity on the landscape. Her images present the calculated transformation of the environment. From cut jagged, snow-covered mountains in Italy and waves crests at the fore of oil rigs in South America to massive bursts of water swelling through dams in China, Piqueras aims to capture the complex visual testament of man shaping nature. Piqueras references the Anthropocene, our current geological era, and human behavior's vast impact on our ecology. The industrial activity captured by Piqueras offers a disparate view of economic pursuits, the extractive nature of these processes, and the resulting aftermath on Earth's natural topography. Finally, Francesca Piqueras's body of work serves a purpose. Like a photographic essay, her pictures document the physical transmutation of organic matter for economic purposes and their resultant, discarded forms. Like the stranded husk of a cargo vessel abandoned on the shores of Patagonia, this form, initially made by extracting organic materials from the Earth, is now swallowed by the sea. This natural cycle of construction and decay is central to Piqueras aesthetic inquiry, a poetic quandary on the effects of economic progress and industrialization. Her photographs ultimately deal with the reciprocal nature of our ambition to harness the environment and its ability to transform and break down our attempts to control it. Nick Brandt is an English artist whose photographic themes have revolved around conservation in Africa, mainly the imminent peril and disappearance of natural wildlife. For the past two decades, Brandt has been ahead of the curve in his philosophy and photography, recording the last of Africa's imperiled environment. He has created a body of work that underlines the critical need for conservation efforts. Through his early trilogy of photographic series, Brandt established a style of portrait photography of animals in the wild that helps to emit a sense of empathy. These photographs link the viewer to the animals as living, sentient beings, not so different from us. In his latest series, Inherit the Dust and This Empty World, Brandt creates complex pictures that evaluate the landscape and the disappearance of animals from their natural habitats. Ultimately, Brandt makes a profound and moving body of work that preserves nature's majestic creatures. The pictures remind us that our lives depend on a delicate balance between an existence that respects the natural world and that shows the danger of a short-sighted growth that puts our immediate needs ahead of the larger ecosystem. Brett Weston is one of the leading photographers of the 20th century. He is known primarily for his bold compositions based on Western landscapes and natural forms and his extraordinary printing style. Brett Weston was among a small group of influential California photographers in the 1930s, known as the Group f/64 that included photographic legends like Ansel Adams and Brett's father, Edward Weston. Brett began taking pictures as a teenager in Mexico in the 1920s while living there with his father. Surrounded by some of the best international artists of the time like Frida Kahlo, Diego Rivera, Jose Clemente Orozco, and Tina Modotti, Brett Weston began to craft a unique vision. The literalness of what he photographed had strong, abstract compositional forms. With time, Brett became one of the first photographers to use negative space effectively. Using the camera to transform landscapes and expound the creative potential of contrasts using blacks and whites, Brett studied the formal components of photography. He reduced his subjects to studies of lightness and darkness, composition, and form. By his late teens, Brett participated in the exhibition “Film und Foto,” granting him international recognition to establish an illustrious career spanning five decades.
Degrees: Odette England
Fort Collins, CO
From October 28, 2021 to December 11, 2021
In partnership with the Hatton Gallery, the Center hosts Odette England's solo exhibition, Degrees. Degrees comprises large-scale photographs in various forms made during and after the Australian bushfires of 2019-2020. England spent six weeks photographing in one of the fire zones and collecting buckets of ash that she rubbed into her prints' surfaces. The works speak to loss, the fickle and uncontrollable nature of the fire, the urgency of change, and how we learn, forget, remember, and persevere.
Makos Warhol: In China 40 Years Later
Miami Beach, FL
From November 11, 2021 to December 11, 2021
The first exhibition to fully display rare portraits and images of pop art icon Andy Warhol during his personal travels to China in 1982 will premiere at an opening reception at FIU's Miami Beach Visual Arts Gallery on Nov. 11, 2021. Warhol in China – 40 Years After will present 18 exclusive works from Warhol's famed trip to China which were captured by Warhol's friend and acclaimed photographer Christopher Makos. A select number of the works will be available for sale with proceeds going to support FIU student scholarships.
Rania Matar: SHE
Boston, MA
From October 15, 2021 to December 15, 2021
Robert Klein Gallery is pleased to present a selection of photographs by Boston-based photographer Rania Matar in SHE, a series of portraits depicting women and womanhood across cultural boundaries. The women photographed in SHE contain multitudes: They're playful but self-assured; soft yet strong; curious and adventurous. From Massachusetts to Beirut, Matar collaborates with these women to create images that reflect their experiences leaving home and entering adulthood. "My work addresses the states of 'Becoming,' the fraught beauty and the vulnerability of growing up, in the context of the visceral relationships to our physical environment and universal humanity, but it is also about collaboration, experimentation, performance, empowerment, and about pushing the limits of creativity and self-expression—both for the young women and for myself."
Hal Fischer Photographs: Seriality, Sexuality, Semiotics
Champaign, IL
From August 26, 2021 to December 22, 2021
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.
In Her View
Minneapolis, MN
From July 03, 2021 to December 22, 2021
This exhibition highlights 50 years of photographic expression by a diverse roster of artists working within, against, and beyond the history of the medium: Nona Faustine, Martine Gutierrez, Deana Lawson, An-My Lê, Rania Matar, Lorraine O'Grady, Adrian Piper, Selma Fernandez Richter, Martha Rosler, Nona Faustine, Mickalene Thomas, Carrie Mae Weems, and Carmen Winant. Spanning the past half-century in modern and contemporary photography, these photographs contend with many of the period's defining issues, especially within the United States. They meditate on the intersection of personal and political histories, freshly interrogate matters of national identity and belonging, reflect on cycles of trauma and healing, and imagine worlds beyond the inequalities of our time.
Gordon Parks: A Choice of Weapons
New York, NY
From October 08, 2021 to December 23, 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. Weapons from October 8 through December 23 in the new gallery on the 8th floor of the Fuller Building at 41 East 57th Street. One of the world's leading galleries for classic and modern photography, the Howard Greenberg Gallery is celebrating its 40th anniversary with an exhibition of important work by the renowned photographer and filmmaker Gordon Parks. Through his still images, both candid and staged, the exhibition explores the roots of Parks' future as a filmmaker. Parks, who described his camera as his “choice of weapons," was known for his work documenting American life and culture with a focus on social justice, race relations, the civil rights movement, and the African American experience. He was hired as staff photographer for Life magazine in 1948, where over two decades he created some of his most groundbreaking work that cast light on the social and economic impact of poverty, discrimination, and racism. In 1969, Parks launched a pioneering film career by becoming the first African American to write and direct a major studio feature, The Learning Tree, based on his semi-autobiographical novel—a career move foreshadowed through his cinematic approach to photography. Marking the 50th anniversary of the release of Parks' second feature-length directorial endeavor, Shaft (1971), a classic New York City detective film that spawned the blaxploitation genre, the gallery will present photographic works that reveal the artist's cinematic approach. Parks' earliest photographs often imply a narrative beyond the individual frame, echoing his desire to represent complex facets of his subjects' lives and communities. Like his films, Parks' photographs present robust narratives that seek to reveal the complexities of his subjects' lives. The works on view include those staged in 1952 in collaboration with Ralph Ellison and inspired by his novel Invisible Man, as well as those made while Parks was embedded with the New York gang leader "Red" Jackson in 1948, and images of the Fontenelles, a Harlem family that struggled to feed their eight children in 1967. The exhibition coincides with the release of the HBO documentary A Choice of Weapons: Inspired by Gordon Parks in November, and the extended presentation of works from his series The Atmosphere of Crime in the permanent collection galleries of the Museum of Modern Art, New York. About Gordon Parks (1912-2006) Gordon Parks was born into poverty and segregation on a farm in Kansas in 1912, the youngest of 15 children. He worked at odd jobs before buying a camera at a pawnshop in 1938 and training himself to become a photographer. From 1941 to 1945, Parks was a photographer for the Farm Security Administration and later at the Office of War Information in Washington, D.C. As a freelance photographer, his 1948 photo essay on the life of a Harlem gang leader, Red Jackson, won him widespread acclaim and a position as the first African American staff photographer and writer for Life magazine, which continued until 1972. In addition to being a noted composer and author, in 1969, Parks became the first African American to write and direct a Hollywood feature film, The Learning Tree, based on his bestselling novel of the same name. This was followed in 1971 by the hugely successful motion picture Shaft. Parks was the recipient of numerous awards, including the National Medal of Arts in 1988, and was given over 50 honorary doctorates from colleges across the United States. Photographs by Parks are in the collections of many major museums, including the Museum of Modern Art, J. Paul Getty Museum, National Gallery of Art, and the Metropolitan Museum of Art. Harvard Professor Henry Louis Gates, Jr. stated, "Gordon Parks is the most important Black photographer in the history of photojournalism. Long after the events that he photographed have been forgotten, his images will remain with us, testaments to the genius of his art, transcending time, place and subject matter.” About The Gordon Parks Foundation The Gordon Parks Foundation permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media, and supports artistic and educational activities that advance what Gordon described as "the common search for a better life and a better world." The Foundation is a division of the Meserve-Kunhardt Foundation.
Still Beauty by Brigitte Carnochan
San Francisco, CA
From November 06, 2021 to December 23, 2021
Beauty had a struggle to survive the latter quarter of the 20th century. Artists who nonetheless found creative energy in the redemptive power of beauty were considered passé at best and patronized at worst. The “love of all the truly precious things” to which Simone Weil refers found no favor in the art establishment. Fortunately, the strength of beauty is such that-elusive and perhaps even undefinable-it has survived in all its mystery. My own goal in photography is to create beauty in my images compelling enough to establish its own legitimacy-whether beauty as a concept is in or out of fashion. I find a ramble around my garden-in a good season or a bad-to be deeply satisfying. There's something about the patterns and designs-even of barren branches-that is inherently beautiful. It lifts my spirits to choose a bouquet, especially variegated and with oddities-maybe a few weeds-among the flowers and bushes I've planted over the years. The return of old favorites and the surprising newness of annual blossoms inspire me to photograph. In the past year I've been fascinated by the lighting effects possible using a small flashlight in a dark room to illuminate my still life arrangements. Like the Dutch, Spanish, and Italian Old Master painters, using brushes and oils to create light, my small flashlight allows me to paint light onto my still lifes with precise control.* It was an especially fortunate time to discover this technique-in the time of Covid, it was a balm and has given me joy.
Imogen Cunningham: Selection of Photographs
Seattle, WA
From November 26, 2021 to December 23, 2021
We are pleased to present a selection of photographs by IMOGEN CUNNINGHAM at the Greg Kucera Gallery, 212 Third Ave South in Pioneer Square, Seattle, WA, from November 26 through December 23, 2021. This gallery exhibit is in conjunction with the upcoming SEATTLE ART MUSEUM exhibit Imogen Cunningham - A Retrospective, which opens on Nov. 18, 2021. The Greg Kucera Gallery has generously let us borrow a room to feature Imogen's photographs, and the main gallery exhibit will feature quilt work by Louisiana Bendolph, Loretta Pettway Bennett, and Qunnie Pettway.
Annie Leibovitz Wonderland
Southampton, NY
From November 06, 2021 to December 23, 2021
Beginning 6 November, Hauser & Wirth Southampton will present 'Annie Leibovitz. Wonderland,' an exhibition of photographic prints selected by the artist from her acclaimed body of work made over the past two decades. This presentation focuses upon work made since the 1990s, including fashion photography shot on assignment that, in the artist's words, 'revealed surprising avenues to portraiture.' The exhibition offers fresh insight into the depth and breadth of Leibovitz's unique artistic vision via fashion, landscape, and interior tableaux. 'Wonderland' is the first exhibition to showcase these images together in a single space, with many of the works having not been presented since their original publication. Leibovitz's work makes use of visual references drawn from a wide range of sources – from literature and film, to the history of photography and the long tradition of formal portraiture within the history of art. On view in the exhibition, her portrait of sculptor and installation artist Rachel Feinstein, originally shot for 'Vogue,' shows the sitter as both muse and mother in a way that highlights the dualities of female experience. In this intimate image, Feinstein's small daughter meets the viewer's gaze directly, in much the same way as her mother's, in a composition that recalls and recontextualizes such historical paintings as Jean Auguste Dominique Ingres's 1840 masterpiece 'La Grande Odalisque.'
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