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Wolfgang Tillmans - To look without fear

From September 12, 2022 to January 01, 2023
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Wolfgang Tillmans - To look without fear
11 West 53 Street
New York, NY 10019
“The viewer...should enter my work through their own eyes, and their own lives,” the photographer Wolfgang Tillmans has said. An incisive observer and a creator of dazzling pictures, Tillmans has experimented for over three decades with what it means to engage the world through photography. Presenting the full breadth and depth of the artist’s career, Wolfgang Tillmans: To look without fear invites us to experience the artist’s vision of what it feels like to live today.

From ecstatic images of nightlife to abstract images made without a camera, sensitive portraits to architectural slide projections, documents of social movements to windowsill still lifes, astronomical phenomena to intimate nudes, Tillmans has explored seemingly every imaginable genre of photography, continually experimenting with how to make new pictures. He considers the role of the artist to be that of “an amplifier” of social and political causes, and his approach is animated by a concern with the possibilities of forging connections and the idea of togetherness.

Tillmans has rejected the prevailing conventions of photographic presentation, continuously developing connections between his pictures and the social space of the exhibition. In his installations, unframed prints are taped to the walls or clipped and hung from pins, and framed photographs appear alongside magazine pages. Constellations of images are grouped on walls and tabletops as photocopies, color or black-and-white photographs, and video projections, exemplifying the artist’s idea of visual democracy in action. “I see my installations as a reflection of the way I see, the way I perceive or want to perceive my environment,” Tillmans has said. “They’re also always a world that I want to live in.”
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Exhibitions Closing Soon

Tommy Kha, Má
New York, NY
From October 01, 2022 to November 26, 2022
Higher Pictures Generation is pleased to present Má by Tommy Kha. This is the artist’s first solo exhibition with the gallery. Má—the Southern Vietnamese term for “mom”—is an ongoing, decade-long collaboration between the artist and his mother, May. Their mother-son dynamic is both affectionate and antagonistic; while co-creating these photographs on view May cooks for Tommy and helps him pose which results in what Kha considers partial self-portraits. Kha’s work is characterized by his signature sense of humor—an unexpected combination of deadpan and camp—that he uses to explore ideas around dislocation and alienation as well as home, family, and love. Tommy Kha (b. Memphis, TN) is a photographer currently working between Brooklyn, New York and Memphis, Tennessee. Kha holds an MFA in Photography from Yale University. His first major publication will be released by Aperture early next year. He is a recipient of the Next Step Award, Foam Talent, Creator Labs Photo’ Fund, and most recently was named an NYSCA/NYFA Artist Fellow in Photography Fellow. Kha’s work has appeared in The New York Times, Aperture, and Vanity Fair, among other publications.
John Lipkowitz: South and North 2022
Hudson, NY
From November 04, 2022 to November 27, 2022
510 Warren Street Gallery is happy to present a show of the photographic work of John Lipkowitz titled “South and North 2022” beginning Friday, November 4th and ending Sunday, November 27th. Join us for Hudson’s Second Saturday Gallery Crawl on Saturday, November 12 until 8 pm. John Lipkowitz is a Polar addict. It was nearly 25 years ago, in the summer of 1998, that John and his wife Nina were introduced to travel in the Polar regions of the world. His serious interest in nature and wildlife photography began in Africa but, since then, nearly a dozen trips to the Arctic, Antarctica and the various sub-Antarctic islands on the South American and New Zealand sides have fostered this addiction. The Covid period was a near photographic desert since his photography and travel had become seemlessly interlocked. He often dreamt of future travel even as one trip after an other was cancelled or deferred. Finally, as 2021 waned, Lindblad Expeditions, with a Covid protocol in place, announced a resumption of their program for a trip in February 2022 to Antarctica. Despite having already been there 6 times, the next trip was planned to Svalbad in Arctic Norway for May of 2020. This trip which had been deferred several times was on the maiden voyage of a new polar-class ship, but Russia invaded Ukraine and a revised itinerary was rapidly devised. One of those changes involved scheduling two very early season trips to Svalbad in late April with the expectation of polar bears on sea ice before the ever earlier summer melt. This exhibit includes many of Lipkowitz’s favorite images from these two trips. They convey some of the magic of these regions and the passion the photographer has for his subject.
Lucienne Bloch: Freedom and Frida
New Orleans, LA
From October 08, 2022 to November 30, 2022
A Gallery For Fine Photography is pleased to present fifteen silver gelatin prints by artist Lucienne Bloch. About Lucienne Bloch Acclaimed muralist, sculptor, and photographer Lucienne Bloch was born on January 5, 1909 in Geneva, Switzerland to the famous composer and photographer Ernest Bloch and his wife Marguerite Elisabeth Augustine Schneider Block, a musician as well. In 1917, the Bloch family immigrated to America, eventually building their home in Cleveland, OH. After excelling in her art courses at the Hathaway Brown School for Girls, Ernest spoke on behalf of his talented daughter to the director of The Cleveland Institute of Art, showing him some of Lucienne’s work in the hopes of having Lucienne attend the college early. After impressing the director and passing the exams, Lucienne attended The Cleveland Institute of Art at the age of 15 entering as a college freshman. A few years later, Lucienne and her mother moved to Paris where Lucienne attended Ecole National et Superior des Beaux Arts. Soon after, Lucienne worked as an apprentice for sculptor Antoine Bourdelle and painter André Lhote. In 1927, during a trip with her father, Lucienne was gifted a 35mm Leica camera. Not long after, Lucienne met the great Mexican Muralist, Diego Rivera during a banquet to honor his one-man show at The Museum of Modern Art. After engaging in conversation all night, Lucienne, Diego, and Frida Kahlo became immediate friends. Through the many years of close friendship, Bloch captured many photographs of Diego and Freida creating many biographical works about them. Bloch worked and taught until her death on March 13, 1999 at her home in Gualala, California. She was 90 years old.
Hammer of the Gods: The Art of Music Photography
Tulsa, OK
From October 08, 2022 to December 03, 2022
The Hulett Collection is proud to present iconic music images including everything from The Rat Pack to Sex Pistols, Queen, Led Zeppelin and Bob Dylan amongst many others. The Gallery's preeminent collection includes work from such artists as Roberta Bayley, Andrew Kent, Lisa Law, Graham Nash, Terry O'Neill, Neal Preston and more. These artists were initiators of a movement and have captured the culture that was and is rock and roll. Music is a reflection of our culture and our place in time. It is the adhesive that draws us together and propels us forward towards shared aspirations. This undeniably emotional collection of photographs contains images that appeal to viewers of all ages and musical appetites. The photographs will set aside commonplace notions while showcasing the tremendous influence of both the photographers and their subjects.
Ursula Schulz-Dornburg: Austromancy
Los Angeles, CA
From October 01, 2022 to December 03, 2022
Gallery Luisotti is pleased to announce Austromancy, its third solo exhibition with German photographer Ursula Schulz-Dornburg, on view from October 1 – December 3, 2022. The show probes man’s place in the cosmos by juxtaposing photographs of three motifs: the winds colliding with Mount Ararat; futurist, yet abandoned structures in Kronstadt, Russia; and the intensely magnified crust of the moon. Austromancy is the lost art of reading man’s fortune from the shape of the clouds and the speed of the wind. Long before the invention of modern-day meteorology, which uses barometric readings and temperatures in faraway places to calculate the probabilities of specific weather conditions, soothsayers from the Kingdom of Urartu (9th – 6th centuries BCE) attempted to decipher the skies above Mount Ararat. During her first trip to Armenia in 2006, Schulz-Dornburg learned about this clairvoyant practice and a corresponding ancient lexicon for the region’s various winds. These photographs of Ararat are from the artist’s second trip to the Khor Virap monastery in 2010. During the shoot, the mirror inside her Hasselblad camera unexpectedly stuck, cropping off the mountain’s wide, gradual base. Although she was initially dismayed by the pictures and relegated them to her archive, she now – over ten years later – welcomes their unintentional qualities. This is a shift from decipherment to happenstance, asking us to consider the role of chance in divination. The images from Kronstadt are also a coincidence. Schulz-Dornburg was on her way to photograph the remainders of the Kursk submarine disaster when she discovered the steel vessels. Their geometric shapes and rigid skeletons recall the designs of Russian Constructivism, yet their function has strangely gone missing. The artist prefers to keep the true nature of the objects a secret, encouraging us, instead, to imagine how they could be ruins of an unknown civilization or objects from a distant planet. While Little Ararat was heavy and grounded in the earlier photographs, the mountain now looks atmospheric, even galactic. This effect is reversed in the case of the lunar images. Without cues of scale, craters and canyons on the surface of the moon look microscopic, like the cross section of cells. On one hand, thick black fog descends surreptitiously like an oversized spaceship. On the other, an amoeba-like wrinkle squiggles across the frame. In her new show, Schulz-Dornburg explores the prehistory and future of civilization, finding some unexpected life forms along the way. Image: ©Ursula Schulz-Dornburg - Ararat – The Darker (group 1), 9759_09, 2010/2021
CJ Heyliger: VVVVVVVVVVVVV
Los Angeles, CA
From October 01, 2022 to December 03, 2022
Gallery Luisotti is pleased to announce VVVVVVVVVVVVV, its second solo exhibition with photographer CJ Heyliger, on view from October 1 – December 3, 2022. This new series of seascapes was inspired by the dynamic and sometimes unsettling forces of the Pacific Ocean, observed by the artist during repeated trips along the California coast. Despite being made on the iconic Southern California coastline, the sites depicted are rendered unrecognizable by Heyliger’s technique, which probes the material limits of photographic film. Bathed in extreme light, these pictures venture into the void between camera and human vision. Through Heyliger’s lens, seascapes undergo a radical transformation, loosening their resemblance to our understanding of the natural world, and at times verging on pure abstraction. While familiar details of the coastline are present, they are points of departure for formal exploration. The shimmering surface of the ocean resembles a fleck painting. Partially transparent cliff structures fade into darkness, recalling how they are, in fact, slowly eroding. Swells of waves and the accompanying puffs of foam are reduced to a set of diagrammatic forces, ripples, and eddies. The sun and its reflection on the horizon, normally too bright to look at directly, are rendered in inky shades of black. The image and the after-image coexist within a single frame. The photographs in this exhibition employ solarization, a phenomenon in which the luminance striking areas of the film becomes so intense that it passes a threshold and begins to break away from a direct transcription of the world as seen by the human eye. In these areas of the print, the resulting positive looks like a negative. Surf Line # 1 and #2 (the most recent works on view) are taken from a fixed vantage point, capturing the infinite permutations of solarization caused by the light reflected off the waves lapping at the shore below. The serpentine line dividing sand and water is a visual counterpoint to the stark horizon lines that dominate other photographs in the series. Heyliger’s process is one of slow looking and meditation. He taps into the constant flux of a single site, in addition to noticing otherworldly details often overlooked by a casual glance. This is a deliberate rejection of a desire to arrest the landscape – to preserve its grandeur forever – as is common in nature photography. CJ Heyliger (*1984) grew up on the Colorado Front Range and is based in Southern California. He received an M. F. A. from the University of California, Los Angeles in 2015. His photographs have been exhibited at The Museum of Fine Arts, Boston, The Columbus Museum of Art, and San Diego’s Museum of Photographic Arts. His photographs have been purchased by LACMA, Museum of Fine Arts, Boston, Capital Group, and JP Morgan Corporate Collections, as well as many private collectors. In 2020, he produced VVVVVVVVVVVVV as a spiral-bound book. Image: ©CJ Heyliger - VVVVVV, 2020
Whitney Hubbs: Funny, Ha Ha
Los Angeles, CA
From October 29, 2022 to December 03, 2022
M+B is pleased to present Funny, Ha Ha, an exhibition of new works by Whitney Hubbs. The exhibition opens at our Doheny space on October 29, 2022 and will run through December 3, 2022 with an opening reception on Saturday, October 29 from 6 to 8 pm. In her third solo exhibition with M+B, Los Angeles, Whitney Hubbs offers us photographs of herself in various ideational states, in collaged contact prints on mirrors, and in images of surrogate objects: a rose, crumpled paper bags, the yawn of a cave at night, a clay sculpture of disembodied sex organs. Words and descriptions serve her photographs to limited capacity, if only to lead us into analogous territory, that of an erotic, humorous, and base self-representation. In her mirror works, we see Hubbs intersecting these territories at a higher pitch, implicating us in the process, seeing ourselves as reflected slivers in between and around her prints. If it helps to be aware of our own witnessing, we apprehend sex not so much as Hubbs’ main subject, but as a lure for states of being and experience that constellate around it: stuffing, purging, and gagging, intense color, the tenuous exchange between gazes, regressive teenage fantasy, and strip club aesthetics are several of its attractors. Such indignities, with all their humorous byproducts, are sublimated by Hubbs into eroticism (and the inverse), by virtue of her enactments of them into role-play. That Hubbs projects onto external objects distills these ideas further, identifying with them as they are wilting, drying, or stubbornly existing. Some are past their expiration date and not long for this world. Each object she depicts retains its own mood in a string of chronicled encounters. Her photograph of a rose exists in staccato against her clay sculpture of breasts and phalluses, against the cave that offers its hole, against the weary brown paper bags, replete with grease stains on the kitchen floor. These amount to something similar to her mirror pieces, aside from chronicling, in which there’s a bathetic confrontation with herself and the conditions of being in her forties, of being at a certain place in life. She negotiates this subjective and objective experience, of seeing herself through idea-experiments, only to return to forms, all forms, in all of their frailties. We engage with this vulnerability because it is resonant and compelling, but also for the solidarity in knowing that her photographs account for something familiar in trying to recognize one’s desires, no matter how debasing, against conditions that repel them. Image: © Whitney Hubbs
Graciela Iturbide: Sueños, Símbolos, y Narración
Tucson, AZ
From September 20, 2022 to December 03, 2022
Opening Tuesday, September 20th 2022, Etherton Gallery will present a selected survey of photographs by Graciela Iturbide (b. 1942, Mexico). The first major exhibition of the photographer’s work in Tucson, Graciela Iturbide: Sueños, Símbolos, y Narración (Dreams, Symbols and Storytelling), includes 30 iconic and recent images from the photographer’s five-decade career. The exhibition includes images of rural and urban Mexico, cityscapes and religious sites in India, the Chicano community in Los Angeles, birds, and recent landscapes from Japan. A selection of photographs documenting the impact of the Cuban Revolution (1954-1974), from The Cuban Collection, will accompany Iturbide’s work. On Saturday, September 24, from 7-10 pm, Graciela Iturbide will attend the opening reception for Sueños, Símbolos, y Narración at Etherton Gallery, 340 South Convent Avenue, in downtown Tucson. The opening will feature live music by the Matt Mitchell Trio. “Graciela Iturbide is widely recognized as one of the most important and influential contemporary photographers today, and I am proud to present the first significant exhibition of her work in Tucson,” said Terry Etherton, President of Etherton Gallery. A limited number of signed copies of Graciela Iturbide’s recent exhibition catalogues and books will be available for purchase including: Heliotropo 37, (exhibition catalogue, Cartier Foundation, Paris, 2022); Graciela Iturbide’s Mexico (exhibition catalogue, Museum of Fine Arts, Boston, 2019); and the illustrated graphic novel, Photographic: The Life of Graciela Iturbide (Getty Publications, Los Angeles, 2017). To pre-order a signed book, please call Etherton Gallery at (520) 624-7370 with a credit card. Etherton Gallery and the Center for Creative Photography (CCP) have arranged for Graciela Iturbide to give a public lecture in response to her five-decade career on Friday, September 23, 2022, at 5:30 pm, at the CCP. Admission is free. The Center for Creative Photography is located on the campus of the University of Arizona, at 1030 North Olive Road. For information about the lecture, contact the CCP at (520) 621-7968 or info@ccp.arizona.edu. Sueños, Símbolos, y Narración underscores Graciela Iturbide’s deeply personal vision, which is informed by the fundamental belief in photography as a medium of internal and external exploration, her embrace of indigenous cultures, an openness to chance, and her ability “to fit into the different rhythms of the worlds that [she] photograph[s].” “Photographs emerge from exterior realities and our inner selves – from within and without. They cross our paths, but we also carry them. This is why I believe photography is largely a matter of self-discovery. When I look at the images I have made, I see not only fragments of the world I have been able to capture, often by chance, but also observe the imprint of my interpretations, projections, desires and dreams.” -- Graciela Iturbide: On Dreams, Symbols and Imagination (Aperture, 2022) One of the highlights of the exhibition, Mujer ángel (Angel Woman), Desierto de Sonora, 1979, is a dream-like image of an indigenous Seri woman in a long skirt carrying a boom box, as she makes her way through a compressed Sonoran Desert landscape. The juxtaposition of the portable boom box, a late 1970s symbol of urban, African American and Latinx street culture, with the Seri woman’s adaptation of the boom box for use in the desert, where no reception is available, operates as a comment on gender and indigenous culture. It also implicitly addresses political disparities and the layered complexity of Mexican culture, creating a powerful statement about Mexican identity. This is just one example of the many richly allusive images to be seen in Graciela Iturbide: Sueños, Símbolos, y Narración. Image:Mujer ángel, Desierto de Sonora, México, 1979 © Graciela Iturbide
Rafael Soldi: Rafael Soldi: A body in transit
Miami, FL
From August 20, 2022 to December 04, 2022
In his practice, Rafael Soldi examines how queerness and masculinity intersect with immigration, memory, and loss. The artist writes, “I stem from a family of immigrants and my identity has always felt transient, as if built from a collective memory. I was aware of my queerness in an abstract sense from an early age, and this difference added another layer that I never felt empowered to assert. As is often for queer people, I felt my identity existed in a slightly different dimension than everyone else’s. Growing up in Perú, I knew that whatever society expected of me as a man, I was destined to disappoint.” Soldi’s photographs are at once powerful and intimate; they reflect deep retrospection by the artist, a process navigated by many, especially when one experiences displacement and feels neither rooted in one place or another but exists in the spaces in-between. Soldi uses various methods to create works including the nineteenth-century technique of photogravure and the contemporary photobooth. This exhibition includes works from three interconnected series, Imagined Futures, Entre Hermanos, and Cargamontón. The thirty-six self-portraits that comprise Imagined Futures re-imagine the photobooth experience. Instead of making hyperbolic or silly poses for the camera, Soldi appears with his eyes closed. For the artist, the photobooth evokes a Catholic confessional and offers a nuanced space for reflection, and ultimately a mechanism for bidding farewell to his previous ideas about the future. Related to this series, Entre Hermanos, turns the camera toward queer male-identifying Latinx immigrants. The subjects, with their eyes closed, are sensitively portrayed as the portraits challenge traditional ideas of masculinity. Cargamontón mines vernacular video archives that mirror the artist’s experience in an all-boys Catholic school in Lima, Perú where horseplay was common and acceptance of difference was not always felt. Each series offers deeply personal ruminations on identity while simultaneously presenting universal yet complex implications of fragility, struggle, and resilience. Born in Perú, Soldi lives and works in Seattle, Washington. This presentation marks the artist’s first solo exhibition at a museum. The Frost Art Museum FIU presents Rafael Soldi: A body in transit to complement FIU’s Common Reading Program and First Year Experience courses. This year, FIU’s entering class and other new students read App Kid: How a Child of Immigrants Grabbed a Piece of the American Dream by Michael Sayman.
Justin Michael Emmanuel: A Facefull of Mangoes
Winchester, MA
From November 03, 2022 to December 04, 2022
The Griffin Museum of Photography is pleased to announce the winner of the 2021 John Chervinsky Emerging Photographer Scholarship, Justin Michael Emmanuel. His series A Facefull of Mangos captivated this years jury to earn him a monetary award, an exhibition and artist talk at the Griffin Museum as well as a volume from the collection of photographer John Chervinsky. Now in its sixth year, over 171 photographers submitted applications to be considered for the scholarship. The jurors, Tricia Capello, Bruce Myren and Connie and Jerry Rosenthal have selected Justin Michael Emmanuel as the 2021 recipient of the John Chervinsky Emerging Photographer Scholarship. About A Facefull of Mangos With this photographic series, I present to the viewer a resistance to systemic racism and also a window into understanding what makes us human. I hope that by showing imagery of touch, warmth, laughter, and love, I may begin to unravel and break down any preconceived notions or ideas that do not give resonance to those qualities in regards to Blackness in the mind of the viewer. I am desperately attempting to declare my own humanity and have it recognized by others. By showing the gentle side of our human nature I am hopeful that the viewers will recognize their own familial behaviors and interactions, thus bridging gaps that are set by race, ethnicity, nationality, culture, and economic social-political forces. This work desires to deconstruct and challenge the mainstream historical imagery that has described Blackness in a light that wasn’t its own. I hope that the importance of these images are not only determined by what they express visually or culturally but also by the fact that they are documents of the human capacity to care for and feel empathy towards one another. Most importantly, the purpose of this work is to create empathy among people by showing the human aptitude to love. In the Bible, it is said that at the tower of Babel, God, frustrated and threatened by the power of human cooperation, fractured our language so that we could no longer understand each other and work together. And while an ancient story that reverberates with myth, the essence of this still rings true. That when we work together, not even the heavens will be the limit of our greatness. That God himself will pale in comparison to the vastness of our achievements. If only we could work together, we could become so much more. It is as the writer Eric Williams once said, “Together we aspire, together we achieve.” Image: © Justin Michael Emmanuel, Celeste 1
Aline Smithson: Fugue States
Winchester, MA
From November 03, 2022 to December 04, 2022
The Griffin Museum presents new work from creative artist Aline Smithson, Fugue States. On the walls of the Atelier Gallery in Winchester this November, Smithson won the Directors Prize in 2021 during the Members Juried Exhibition, selected by Executive Director and Curator Paula Tognarelli. The exhibition is accompanied by a catalog of the works included in the exhibition. Join us on Sunday November 6th from 4 to 6pm for a reception with the artist at the museum in Winchester. From Aline Smithson’s Artist Statement Fugue States is an on-going exploration of the future legacies of photography, currently with two areas of focus: the disappearance of the physical print and the life span of digital files. For the past several decades, I have considered how photographs move through time and how they are appreciated and stored in preparation for the future. Photography is an ever-changing medium, morphing and shifting with new technologies, some profoundly impacting our ability to access our photographic histories. As an analog photographer, I have watched my practice diminished and altered by the loss of materials and methodologies. Over the years I have collected and created hundreds of portraits, some acquired are almost a century old and it’s made me consider the formal portrait amid the shifting sands of photography, the loss of photograph as object, and most importantly, the loss of photographic legacies. Fugue States speaks to the potential loss of the tangible photograph in future generations. I observe my children, part of the most documented generation in history, creating thousands of images for their social media outlets, but am painfully aware that they have never made a photographic print and will most likely have no physical photographs to pass down to their grandchildren. This loss of the photograph-as-object, as something tangible to be circulated through the decades, reflects the fading away of specific memories and identities, and the loss of cultural and familial histories in forms that we associate with family preservation. The photographs created for this series sit in an in-between space of the future and the past, demonstrating the clash between images and materiality, where materiality, unfortunately, seems to be losing ground. For this project, after creating analog portraits of people in my life, I have damaged the emulsion of my negatives, wounding the film stock with a variety of chemicals. I then reinterpret the image in the digital darkroom in the original, negative state where the potential for both the restoration and erasure of memory are present. I am in fact, damaging my own photographic legacy to call attention to this shift from the physical to the visual. Fugue States Revisited was created after the loss of a hard drive that held 20 years of analog scans. In my attempt to recover the files, only half came back in a format that was accessible. The rest of the files were corrupted, each totally unique in how the machine damages and reinterprets the pixels. This alarming result made me begin to consider ever-shifting digital platforms and file formats, and I realized that much of the data we produce today could eventually fall into a black hole of inaccessibility. As an analog photographer, rather than let the machine have the last word, I have cyanotyped over my damaged digital scans. I use silhouettes of portraits from my archives to conceal and reveal the corruption. By using historical processes to create a physical object, I guarantee that this image will not be lost in the current clash between the digital file and the materiality of a photographic print. Fugue States Revisited calls attention to the fact that today’s digital files may not retain their original state, or even exist, in the next century. The Getty Research Institute states, “While you are still able to view family photographs printed over 100 years ago, a CD with digital files on it from only 10 years ago might be unreadable because of rapid changes to software and the devices we use to access digital content.” As we are reliant on technology to keep our images intact for future generations, it begs the question, who will maintain our hard drives after we are gone? Will we be able to conserve photographs that speak to family histories? These are important considerations for our visual futures, as we may be leaving behind photographs that will be re-imagined by machines or no longer cherish physical markers of proof that we existed. Image: © Aline Smithson
Baldwin Lee
La Jolla, CA
From October 22, 2022 to December 10, 2022
Joseph Bellows Gallery is pleased to announce its upcoming exhibition, Baldwin Lee. The exhibition will open with a reception for the artist on Saturday, the 22nd of October, from 4-6pm, and continue through December 10th. This will be the second solo exhibition of the photographer’s work presented by Joseph Bellows Gallery. The gallery first showcased Lee’s epic project online, from April 18th – June 26, 2020. The upcoming show will present a remarkable selection of vintage prints from this critically acclaimed and highly celebrated body of work taken within Black communities in the South, that began in 1983, and continued throughout that decade. The resulting collection of images from this seven-year period contains nearly ten thousand black-and-white negatives taken with a 4 x 5-inch view camera. Lee’s graceful pictures from this project perfectly balance the photographer’s presence and the subject’s will, honoring both through the resulting, beautifully printed 16 x 20-inch black-and-white photographs. The esteemed photography curator Joshua Chuang has noted that, “The pictures stand apart, not because they are depictions of Black subjects by a first-generation Chinese-American, but because they were made by a photographer of rare perception and instinct.” Baldwin Lee studied photography with Minor White at the Massachusetts Institute of Technology, receiving a Bachelor of Science degree in 1972. Lee then continued his education at Yale University, where he studied with Walker Evans. He received a Master of Fine Arts in 1975. After school, Lee began teaching photography at the Massachusetts College of Art and then at Yale, while creating his own photographs, which at the time were rooted in the exploration of the contemporary built environment. Lee's later work from the early to late-1980s entitled, Black Americans in the South (from which this exhibition is drawn), is a compelling and empathic portrait that represents its subjects within their rural environments, expressing the joys of childhood, the gravity of adult life, and the places in between. Images from Lee’s Southern work were featured in Aperture Magazine, Issue 115, New Southern Photography: Between Myth and Reality (1989), and now form the newly published monograph, Baldwin Lee (Hunters Point Press, 2022). Lee's work has been exhibited at the Museum of Modern Art, New York, the Chrysler Museum of Art, the Knoxville Museum of Art, the Southeast Center for Contemporary Art, and the Museum of Contemporary Art of Georgia. His photographs are in the permanent collections of the Museum of Modern Art, the Virginia Museum of Fine Arts, the University of Michigan Museum of Art, the University of Kentucky Art Museum, the Yale University Art Gallery, The Morgan Library, and the Museum of the City of New York. He has been honored with fellowships from the John Simon Guggenheim Foundation (1984) and the National Endowment for the Arts (1984 and 1990).
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All About Photo is pleased to present 'One, One thousand…' by Debe Arlook. Harvey Stein, is the curator for this month's show. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of October 2022 and includes twenty photographs from the series 'One, One thousand…
Projecting L.A. 2022
The L.A. Project debuts its first annual public art event, Projecting L.A., in DTLA, featuring the work of 35 renowned and emerging photographers to celebrate the photographic community and diverse stories that make up the streets of Los Angeles, on Saturday, October 22, 2022
All About Photo Presents ’Folding and Mending’ by Debra Achen
Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of September 2022 and includes seventeen photographs from the series 'Folding and Mending'<
Call for Entries
Solo Exhibition December 2022
Win an Online Solo Exhibition in December 2022