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Curran Hatleberg

From October 02, 2021 to November 13, 2021
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Curran Hatleberg
16 Main Street
Brooklyn, NY 11201
Higher Pictures Generation presents new work by Curran Hatleberg. This is the artist's third solo exhibition with the gallery.

The photographs on view span Hatleberg's second body of work, for which he has been travelling the country by car to photograph the slough of the white man's American dream.

Hatleberg is known for his depictions of human exchange, in all of its complexity. This presentation is, in a first for the artist, a purposeful turn. The photographs are nearly completely emptied of bodies; when they do appear, they are fragmented and obscured. We are left with only traces of human presence: the remains of an abandoned kitchen, the open road beyond a car windshield, or a dangling alligator carcass. The artist writes, "Our country is different and changed in its present iteration and we can't help but regard it with a stare that we hold in reserve for the most difficult circumstances."

Curran Hatleberg (b. 1982) earned his MFA from Yale University in 2010. Recent exhibitions of his work include But Still, It Turns at the International Center of Photography (2021); the 2019 Whitney Biennial; and The Half-Life of Love, MASSMoCA (2017). Hatleberg's work is held in the collections of the Davison Art Center, SFMOMA, the Whitney Museum of American Art, the Williams College Museum of Art, and the Yale University Art Gallery, among others. Hatleberg's first monograph, Lost Coast, was published by TBW Books in Fall 2016, and his second monograph is forthcoming from TBW Books (2022). Hatleberg lives and works in Baltimore, Maryland.
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Exhibitions Closing Soon

Working Together: The Photographers of the Kamoinge Workshop
Los Angeles, CA
From July 19, 2022 to October 09, 2022
In 1963 a group of Black photographers based in New York formed the Kamoinge Workshop. Committed to photography’s power as an art form, Kamoinge members depicted Black life as they saw and experienced it. They hoped to offer an alternative to the mainstream media of the time, which often overlooked Black culture or portrayed it negatively. Working Together: The Photographers of the Kamoinge Workshop is the first major retrospective presenting photographs from the collective during the 1960s and 1970s. Highlighting each photographer’s individual artistry as well as the Workshop’s shared concerns, this exhibition celebrates the group’s self-organizing, commitment to community, and centering of Black experiences. “The work in this exhibition highlights Black Americans behind and in front of the camera. The Museum regularly features individual artists in monographic exhibitions, but it is important also to document and celebrate the importance of collaborative groups such as the Kamoinge Workshop,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the J. Paul Getty Museum. “Working Together reflects the Getty’s continuing efforts to diversify our collection, and thereby represent a more expansive history of photography. To that end, several of the works shown in the exhibition were recently acquired for the Museum’s collection.” Within their first year as a group, the members of the Kamoinge Workshop (pronounced “kuh-moyn-gay” by the members of the group) made a commitment to portray the communities around them. They chose the name—which means “a group of people acting together” in the Kikuyu language of Kenya—to reflect the collective model they wished to follow as well as their interest in Black communities not just at home but also outside the United States. The exhibition will focus on the first two decades of the collective, from the founding of the group in 1963 through the various activities of the International Black Photographers association in the early 1980s, and includes photographs by fifteen of the organization’s early members. The artists included in the exhibition are Anthony Barboza, Adger Cowans, Daniel Dawson, Louis Draper, Al Fennar, Ray Francis, Herman Howard, Jimmie Mannas, Herb Randall, Herb Robinson, Beuford Smith, Ming Smith, Shawn Walker, and Calvin Wilson. Also included are several photographs by Roy DeCarava, the first director of the Workshop. Images in the exhibition capture the experience of urban life at mid-century, the civil rights movement, intimate portraiture, experimental abstraction, jazz musicians, and the Black experience abroad. Though the photographers included in the exhibition produced diverse bodies of work, many of their photographs are printed with dark tones that compellingly evoke the unsettling era in which they were made. “The Kamoinge vision remains resonant today,” notes Mazie Harris, curator of the installation of Working Together in the Getty Museum’s Center for Photographs. “The photographs in this exhibition offer a glimpse into the artistry and ambition of the workshop members, reminding us of the power of both individual creativity and collective action.” Working Together: The Photographs of the Kamoinge Workshop is organized by the Virginia Museum of Fine Arts and curated by Mazie Harris, assistant curator, J. Paul Getty Museum, in consultation with Sarah L. Eckhardt, associate curator, Virginia Museum of Fine Arts. Image: Kamoinge Members, 1973, printed 2019, Anthony Barboza. Inkjet print. Virginia Museum of Fine Arts, Eric and Jeanette Lipman Fund. © Anthony Barboza
Signs: Photographs by Jim Dow
Kansas City, MO
From May 07, 2022 to October 09, 2022
American photographer Jim Dow has long been fascinated by the ingenuity and creative spirit found in the built environment. Between 1967 and 1977, his first decade as a young photographer, he drove along old U.S. highways on numerous cross-country road trips, focusing his large format camera on time-worn signage extracted from billboards, diners, gas stations, drive-in theaters, ice cream stands, burger joints, and other small businesses. Indebted to Harry Callahan, with whom Dow studied at RISD, and the work of Walker Evans, another key mentor, Dow’s early photographs highlight the effects of time’s passage, as commercial tastes and styles shift from one era to the next. Though most of the subjects Dow photographed have long since disappeared, his images avoid nostalgic longing or ironic commentary. With reverence and humor, Dow conveys the importance making one’s mark on the land and celebrates the desire to express individual agency and creativity in the landscape we inhabit. On view for the first time, Signs includes approximately seventy-six photographs given to the museum by the artist and the Hall Family Foundation, featuring over sixty early black and white prints as well as a small selection of recent color work. A selection of photographs from the permanent collection, curated by Jim Dow for their visual and thematic affinities with his photographic practice, will be on view concurrently in our photography galleries. Organized by The Nelson-Atkins Museum of Art, this exhibition is supported by the Hall Family Foundation.
Joyce Tenneson: Draped and Veiled
Asheville, NC
From May 25, 2022 to October 10, 2022
Standing behind the substantial presence of the large format Polaroid 20×24 camera—weighing 200 pounds and the size of a refrigerator—artists peer through the viewfinder towards another world. The process of creating the unique large dye transfer prints imparts framing to a scene and quality to an image that balances subtlety with boldness, softness paired with an undeniable presence. The 20×24 Polaroid adds an additional layer of veiling and diaphanous softness to the imagery in Joyce Tenneson’s Transformations series, which she began in 1985 and engaged with through 2005. Transformations features partially or fully nude figures poetically presented; Tenneson’s photographs have always been interested in the magic of the human figure, contained within bodies of all ages and emotions in a broad range that are both vulnerable and bold. She interweaves elements that feel vaguely mythological or symbolic, her figures embodying Classical sculptures of gods and goddesses, both mighty and mercurial. Elements such as shells, fruits, or daggers are expressions of inner journeys and self-discovery, and draped fabric and netting echo the shifting flow of time, energy, and identity. The ethereal quality imparted by the Polaroid process resonated with Tenneson, who stated: “I often felt like a channel—the images that had been part of my inner psyche for years emerged from some mysterious source.” This exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder, assistant curator.
Hot Walker: Bryan Locke
San Francisco, CA
From August 27, 2022 to October 15, 2022
California reared, fine artist, Bryan Locke is a dedicated foot soldier in dogged pursuit of the celebration of his subjects at their zenith and most raw. His visceral approach, while supported by a keen understanding of light & depth , has resulted in a body of work that summons both Robert Frank and Diane Arbus. “Hot Walker” shot over a four year period at Golden Gate fields is a labor of love that brings to light his unmistakable intuition at displaying humanity at its finest. - Bud Schmelling
Melissa Shook: Early Self-Portraits 1972-1973
New York, NY
From September 08, 2022 to October 15, 2022
Miyako Yoshinaga is pleased to announce our representation of the estate of Melissa Shook, an American photographer, artist, writer, and educator who passed away in 2020 at age 79. From September 8 to October 15, 2022, the gallery will feature a solo exhibition by Shook, presenting compelling black-and-white self-portraits she created in the early 1970s. The exhibition will be accompanied by an online catalog with an introduction by Kristina Shook, the artist’s daughter and the subject of her Krissy series. The opening reception will be held on Thursday, September 8, 6-8 PM. Concurrent with this exhibition, University of Massachusetts Boston, where Shook taught photography for 31 years, will hold a retrospective of her work in various mediums “Melissa Shook: Inside and Out” including photographs, drawings, artist books, and sculpture. (September 6 – October 29, 2022). “Photographs are memory, a way of tricking fate..., talismans against loss, a bargain with death,” wrote Shook in her essay for Camera Arts in 1981. This exhibition examines her early photographs haunted by the unreliability of memory. Having lost her mother at 12 and only retaining vague memories of her childhood, Shook began photographing her biracial daughter when she was one year old. As she struggled with her own fragmented identity as a single mother, Shook, at age 33, embarked on the daily self-portrait project in December 1972. The Daily Self-Portraits 1972-1973 series is a pioneering project exploring intimate female identity in photography. Shook captured herself in a simple setting in her downtown New York loft against an empty wall space. Over the next 8 months, Shook developed a personal landscape, taking control of her attractive body while feeling shy, playful, melancholic, tired, or intimidated. With potted avocado plants often by her side, Shook posed wearing worn-out jeans, a wrinkled chintz robe, bath towels, etc. Featuring 25 images, the exhibition highlights Shook’s critical series in several segments: a transition from everyday scenes in December to posed portraits in January and February; torso close-ups capturing the beauty of feminine features in March; face portraits with eloquent hand gestures from March to April; dance-like movements of her naked body with childlike playfulness in May. In addition, the exhibition features 6 reclining nudes (circa 1973) which Shook appeared to have worked on in parallel to her daily photographs. After she stopped photographing herself, Shook moved her focus to her daughter as a continuation of the same theme and went on until the daughter turned 18. However, later in her life, she revisited daily self-portraits several times, notably in 1992/93, 2002/03, 2008/09, and 2014/15, in which Shook's deep-rooted obsession with memory became increasingly entangled with the issue of aging. Melissa Shook was born in New York in 1939 and studied at the Bard College and Art Students League of New York. She taught at Massachusetts Institute of Technology's Creative Photo Lab in 1974, and at the University of Massachusetts Boston from 1975 to 2005. Best known for photographing herself and her daughter, Shook also wrote and photo/video documented marginalized members of her community in Boston. Her photographs have been exhibited in numerous solo and group exhibitions, including “Pictures by Women: A History of Modern Photography” at the Museum of Modern Art, New York in 2010, “ Reality Revisited: Photography from Moderna Museet Collection” at Moderna Museet, Stockholm, Sweden in 2009, and “Photography in Boston: 1955-1985” at DeCordova Museum, Lincoln, Massachusetts. Her work is in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, Nelson-Atkins Museum of Art, Center for Creative Photography, Moderna Museet (Stockholm) among others. In honor of her Legacy, University of Massachusetts established The Melissa Shook Documentary Photography Award for students who demonstrate exceptional skill or promise in photography, especially documentary photography.
Jan Groover: Laboratory of Forms
Brooklyn, NY
From September 07, 2022 to October 15, 2022
Jan Groover (American, 1943 – 2011) was among the very best still life photographers since the medium’s invention. Her Kitchen Still Life photographs were first exhibited at Sonnabend Gallery. She received a John Simon Guggenheim Foundation Fellowship in 1979. In 1987, Groover had a major retrospective at the Museum of Modern Art which subsequently toured the United States. Her work has been exhibited and included in the collections of most major museums worldwide, and continues to influence a new generation of artists. Groover moved to France in 1991, with her husband, the painter Bruce Boice, who still lives there.
Henry Horenstein: Speedway 72
Houston, TX
From September 16, 2022 to October 15, 2022
Catherine Couturier Gallery is thrilled to present Speedway 72, an exhibition of work by artist and educator Henry Horenstein. Horenstein is a Boston Based photographer whose roots are in documentary photography, which is especially evident in his Speedway, 72 series. These photographs were taken when Horenstein was still a graduate student at Rhode Island School of Design. “I was looking through old, forgotten boxes of prints a couple of years back and found pictures I liked a lot. Not so much when I took them, as when I saw them decades later. These pictures were initiated by my brother-in-law Paul, who raced stock cars - old, beat-up cars customized for racing. Paul's cousin Dickie Simmonds owned the local Gulf station and modified the junkers that Paul drove at places like the Seekonk Speedway (Seekonk, MA) and the Thompson Speedway (Thompson, CT). Here, my photographic heroes were the great chroniclers of urban life, Brassai and Weegee. In SPEEDWAY, I wanted to do what they did - to show us a slice now of what the world looked like then - here, small-town New England 1972, dutifully recorded and preserved.” Born in New Bedford, MA, Horenstein studied history at the University of Chicago and earned his BFA and MFA at Rhode Island School of Design (RISD) where he studied with legends Harry Callahan and Aaron Siskind. He has been a professor of photography at RISD since 1981 and lives in Boston. Henry’s work is collected and exhibited internationally, and he has published over 30 books, including several monographs of his own work. The artist will be in attendance for a book signing and reception on Saturday, October 8th. Image: ©Henry Horenstein - Thompson Speedway, Thompson, CT, 1972 - Archival Pigment Print
Marti Wilkerson, The 4th Golden Cadillac
New York, NY
From September 09, 2022 to October 16, 2022
“Snowy frozen benches, sticky nightclub floors, long lost lipsticks, and bare bulb lighting…" From September 9 – October 16, PARTICIPANT INC presents Marti Wilkerson, The 4th Golden Cadillac, a mix of formal portraits and verité documentary photography by Marti Wilkerson, showcasing vintage prints alongside newer works. Featuring subcultural subjects and neighborhood places, including Tompkins Square Park, Howie Pyro, Terence Sellers, Heather Litteer, Jayne County, and Blacklips Performance Cult. "Had she stopped after the third, or even the 4th Golden Cadillac, she might be with us still to enjoy the next cocktail hour. But it was determined that the Lady had consumed about nine of these potions of Galliano, vodka, and cream." --from "An Accident of Passion" by Sir Twain Kull (Terence Sellers) Beaut will present Her Blood Ran Cold (The Silent Lizards), new songs and texts to accompany the photographs in the exhibition on Sunday, October 9. Marti Wilkerson, lyrics and vocals and Paul Twinkle, electric guitar. "The street was small, and never clean. Gold leaves remained crunching 'neath our feet. Band Aid stood out, in the harsh night, old overcoat in the street lights. Then suddenly they began to explode, and just right then, her blood ran cold." --from "Her Blood Ran Cold" by Beaut Marti Wilkerson, The 4th Golden Cadillac is the second in a series of three exhibitions curated by ANOHNI exploring work related to Blacklips Performance Cult. Blacklips was started by ANOHNI in New York City's East Village in the summer of 1992 with founding members Johanna Constantine and Psychotic Eve. At times, Blacklips enacted an art of death as described by artist and queer theorist Jill H. Casid, anticipating the Necrocene with the production of allegorical plays that addressed the intertwined issues of AIDS and the Anthropocene, weekly and with great effort, through scenes of post-apocalyptic horizons populated by dead and undead, non-human and human characters.
Elizabeth Bick:  Movement Studies and Coda
Santa Fe, NM
From September 01, 2022 to October 16, 2022
After a childhood dedicated to training in dance, Elizabeth discovered a choreographic voice through photography. In her exhibit Movement Studies, Elizabeth found urban facades she positioned as stages, and pedestrians as performers – some consciously staged; most unconsciously so. "I am particularly drawn to spaces and people that are naturally theatrical, and the subjects are sharply frozen in the pictures through the use of a very fast shutter speed.” Through this stilling, dress, body movement and backdrop transcend the quotidian urban space into that of an operatic performance piece. Ten works in the show reflect new works from this decade-long pursuit. Coda, comprised of four still lives, is the result a chance encounter from 2015 on the subway with Linda Leven. Linda is visually striking, an active writer, actress, model, and muse. "After meeting, Linda and I developed a highly collaborative relationship over the years. She has been in isolation since February 2020 due to her compromised immune system. Our phone conversations often reflect on her younger years and her large archive of photographs taken by her many lovers who saw her as a muse. Since we were no longer able to meet and photograph her, she allowed me to photograph her archive, mostly from over half a century ago. "
Tuck Fauntlerory: Burn
Jackson, WY
From September 09, 2022 to October 16, 2022
JACKSON HOLE, WYOMING - TAYLOE PIGGOTT GALLERY is pleased to present Burn, a new series of largescale photographs by artist Tuck Fauntleroy, on view from September 9th through October 16th, 2022, running in congruency to Yellowstone National Park’s 150th anniversary. This new body of work focuses on the wildfire burn regions in Yellowstone and Grand Teton National Parks. Fauntleroy’s new series visually displaces the viewer in a similar way to his previous Waterline series (released in 2018) and Elements series (released in 2020). Burn similarly showcases the artist’s scrupulous ability to play between negative and positive space, yet this time, Fauntleroy focuses on the elegant lines and forms created by a landscape scarred by flame. Taken over the course of three winters, the series is a mixture of aerial and ground shots of the regions of Yellowstone National Park and Grand Teton National Park that have been drastically changed by wildfires over the past four decades. As with his previous work, Fauntleroy took many of the photos from the open windows of single-engine planes he chartered to fly over the areas, while other shots were taken by hiking into remote areas of the parks in different phases of the harsh Wyoming winters. The stark contrast of charred, disfigured trees against soft, untouched snow or serene waters makes for photos that are as peaceful as they are compelling. The silence of these remote, charred spaces is palpable in these works. Burn is timely in the face of the proliferation of recent fires across the western United States and globally. The massive 1988 Yellowstone fires were a wake-up call, foreshadowing the future climate catastrophes that have recently become the norm. Regions affected by these 1988 wildfires remain scarred and are depicted in the series, as well as abutting areas also altered by the numerous fires that have since followed. Warming, drought, and the resulting fires have never been more of a threat, and it is impossible to separate the beauty of these images from the destruction they were born of. Critical to the series is the notion of taking something more widely perceived as unsightly and destructive and making it aesthetic and engaging. “I like to think of the winter season as a time for the land itself to rest. Zero human activity, the silence of falling snow in one of the most remote places on earth is enchanting and reflective. In that space, there's hope of discovering a healing element that a landscape at rest is pristine and peaceful - it inspires promise.” Despite the implicit chaos that created this landscape, Fauntleroy’s artful documentation, paired with his keen sense of space, lends to create images that edge on abstraction and even impressionism through the presentation of very real areas of our National Parks that have been touched by flame. The result is a beguiling series of images that are, above all, meditative, invoking pure serenity in the face of arrant desolation. Tuck Fauntleroy grew up in a small waterfront town on the eastern shore of Maryland. He graduated with a B.A. from Bucknell University in 2000 and moved west to Jackson Hole. Combined with his personal photographic practice, Fauntleroy developed a professional foundation as a photographer in the fields of architecture and interior design over the past 20 years. Published in recognized outlets such as The New York Times, The Washington Post, Dwell, Conde Nast Traveler, and Town & Country, Fauntleroy’s fine arts photography is committed to utilizing the aesthetics of the natural world. Tuck Fauntleroy lives and works in Jackson Hole, Wyoming.
Congo in Conversation
New York, NY
From September 09, 2022 to October 16, 2022
The collaborative reportage Congo in Conversation was launched in April 2020 by Finbarr O’Reilly, laureate of the 11th edition of the Carmignac Photojournalism Award dedicated to the Democratic Republic of the Congo. As the outbreak of the coronavirus pandemic prevented him from traveling to the DRC to work on his reportage, O’Reilly and the Award team reframed their approach to produce a reportage in close collaboration with Congolese journalists and photographers. Congo in Conversation addresses the human, social and ecological challenges that the DRC faced within the context of the global health crisis, highlighting Congolese photographers and perspectives. The exhibition features photographs and videos by: Guylain Balume Muhindo | Arlette Bashizi | Dieudonné Dirole | Justin Makangara | Danny Matsongani | Guerchom Ndebo | Finbarr O’Reilly | Raissa Karama Rwizibuka | Charly Kasereka | Moses Sawasawa | Pamela Tulizo | Ley Uwera | Bernadette Vivuya. The exhibition is curated by Cynthia Rivera and Michael Kamber. Congo in Conversation is presented in partnership with The Carmignac Photojournalism Award, which annually funds the production of an investigative photo reportage on human rights violations and geo-strategic issues in the world. The Fondation Carmignac provides the laureate with financial and human resources to carry out their project and produces both a monograph and a traveling exhibition, aiming to shed light on the crises and challenges that the contemporary world is facing. The Democratic Republic of Congo The Democratic Republic of Congo—known as Zaire between 1971 and 1997 and now called DRC, Congo-Kinshasa or DR Congo—is the second-largest country and fourth most populous country in Africa, as well as a leading French-speaking nation. It has weathered a dark and convulsive history since its independence in 1960, long after Belgian King Leopold II appropriated the territory. There has been the assassination of Patrice Lumumba, the bloody power grab by Mobutu Sese Seko, the corrupt, inept and endless dictatorship of “Papa Maréchal”, an almost permanent state of war between 1996 and 2005 (more than 5 million dead), with miscellaneous guerrillas, rebellions and banditry ever since, mainly in the north and north-east. All this has been against a backdrop of immense widespread poverty and the often illegal grabbing of equally immense lands and resources: in 2018, the DRC was classified 176th out of 200 countries by the human development index of the UNDP (United Nations Development Program). BDC Annex, 364 E. 151st St, Bronx, NY 10455 Gallery Hours: Thur-Fri 3-7PM + Sat-Sun 1-5PM Image: © Dieudonné Dirole for Fondation Carmignac / © Moses Sawasawa for Fondation Carmignac
Unshuttered: Reconnecting with...
Los Angeles, CA
From July 14, 2022 to October 16, 2022
Discover photographs selected from a recent nationwide open call inviting teens to share what reconnecting looks like during the shifting challenges of the COVID-19 pandemic. Focused on the theme, Reconnecting with . . ., the selected photographs were creatively reinterpreted as posters by artists affiliated with Amplifier, a nonprofit design lab. Collectively, these works highlight the ways we can connect, bond, and nurture ourselves, our relationships, and our interests. Image: ©Samantha George - Reconnecting with Our Surroundings - "In my portrait, I explored the disconnect between people and the natural world. In the past couple of years or so, many of us have shut out nature from our lives. However, for my portrait, I wanted to show how we are natural creatures who are supposed to spend more time in the natural world."
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