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Look at The USA by Peter Va Agtmael

From April 14, 2022 to June 26, 2022
Look at The USA by Peter Va Agtmael
614 Courtlandt Avenue
New York, NY 10451
Look at the USA, an exhibition of the work of noted documentary photographer Peter van Agtmael, will focus on the fault lines of the post-9/11 United States, at home and abroad. The 128 photographs span the period 2006-2021; they examine the wars in Iraq and Afghanistan, and their domestic consequences–wounded soldiers and the families of the fallen. This work also explores crucial social and political issues such as nationalism, militarism, refugees, race, and class, as well as the tumultuous events that led up to the January 6, 2021 storming of the U.S. Capitol. Texts accompanying each photograph address van Agtmael’s complex motivations as he took these photographs, while providing broader political and historical context. The title of the show comes from a library book van Agtmael found at Baghdad College, a prestigious high school for boys founded by American Jesuits in Iraq. The school was “an emblem of a time when the United States was known in the Middle East not for military action, but for culture and education.”
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Exhibitions Closing Soon

Christiane Feser: Accurate Illusion
New York, NY
From March 15, 2022 to May 27, 2022
Gitterman Gallery is proud to present an exhibition of Christiane Feser’s three-dimensional unique photographic based work from three ongoing series; Felder, Gitter and Nullpunkte. Christiane Feser’s works are photographs of complex assemblages of repeated forms and shadows with actual elements from the assemblage projecting three-dimensionally from the surface of the photograph. Feser flattens a sculptural object through the act of photography and then reconstitutes that dimension in a new way by turning the photograph into a relief sculpture. The works challenge our perception of dimension and perspective as well as our assumptions about what a photograph is. They also introduce a tension between the past and present: the original photograph is of a thing that has existed, but it has been transformed into a new object that now exists. And in this new form, the constant change of light and shadow across the relief surface will continue to keep the work in the present moment. The German word Felder has two meanings, it may refer to an agricultural field or field of color, or it may refer to a part of a grid. Each work in this series starts with a drawing of a grid that has been distorted from a flat plane into a sort of topography with dots or spheres of different sizes along the lines. What at first seems to be a perspectival, is quickly revealed as something that does not follow the rules of perspective: various parts go in and out of focus, and the dots vary in size as if closer or further away from the camera lens. Feser further confounds the rules of optics by introducing non-photographic, lacquer semicircular spheres protruding from holes in the paper’s surface. The works are therefore about both photography and sculpture. They are simultaneously images and objects that play with flatness and depth, and engage with histories of the photograph as a physical thing in space. The works in both the Gitter (Grid) and the Nullpunkte (Zero points) series are photographs of assemblages of sewing pins and their shadows alongside actual pins in the paper. Both series are a bit like drawing, line based, using shadows instead of ink, and allude to the origin of the word photograph which was derived from the Greek words photos (light) and graphein (to draw). The work is always evolving because the shadows created by the actual pins on the photograph change significantly depending upon the play of light across the surface. In each Gitter work, Feser tries to draw a grid from the placement of the pin at the end of the previous pin’s shadow. In Nullpunkte, Feser follows the same rule for placing the pins but, instead of trying to create a grid, she allows the composition to evolve without a preconceived compositional structure. Feser was born in Würzburg, Germany in 1977 and studied photography at the Offenbach University of Art and Design. She had a solo exhibition at Opelvillen, Rüsselsehim, Germany in 2019 and was included in the exhibition Cut! Paper Play in Contemporary Photography at The J. Paul Getty Museum, Los Angeles, CA in 2018. Other museum exhibitions include the Solomon R. Guggenheim Museum, New York; Centro di Cultura Contemporanea Strozzina, Firenze, Italy; the Mönchehaus Museum, Goslar, Germany; Frankfurter Kunstverein and the Museum for Konkrete Kunst, Ingolstadt, Germany. Her work is in the public collections of Brown University, DZ Bank Art Collection, J. Paul Getty Museum, Solomon R. Guggenheim Museum, Foundation Juan March, Fotografische Sammlung Schloss Kummerow, Minneapolis Institute of the Arts, Mönchehaus Museum, Zentrum für Kunst und Medien.
Gordon Parks: Homeward to the Prairie I Come
Manhattan, KS
From September 07, 2021 to May 28, 2022
This exhibition features photographs donated by Gordon Parks to Kansas State University (K-State) in Manhattan, Kansas, in 1973. It was the first time that the artist personally curated a set of photographs to donate to a public institution, a kind of self-portrait directed towards the home crowd. The exhibition title includes the first line of a poem written by Parks in 1984, commissioned by and published in the Manhattan Mercury. K-State's New Prairie Press will publish an accompanying open-access digital catalogue with new research on Parks and Kansas. Image: Uncle James Parks, 1950, printed in 2017, gelatin silver print, 14 x 11 in., gift of Gordon Parks and the Gordon Parks Foundation, 2017.448
Considered Interactions
San Francisco, CA
From April 16, 2022 to May 28, 2022
John Divola Tarah Douglas Steve Kahn Raymond Meeks & Adrianna Ault One considers the origin of a search as an extended view into the effort of returning to a place or idea and seeking the differences instead of dwelling in sameness. The attention provided to place suggests a challenge since distinctions vary from multiple points of control: change of environment, change of body dynamics, to what is beyond our control: light, weather, time. Even disappearance is an available risk given the dependence of a return. This exhibition considers a generative process of image making and the visual distinctions from one moment to the next that call attention to the process of its very creation through each frame. In each of these works a series of considered interactions result in the inquiry into the real and representative, the natural and artificial and how we designate space for ourselves in the world. In 'Enso: 36 Right-Handed Circumference Gestures' John Divola signals evidence of time, place and being. Between June 7th and August 12th, 2018, Divola performed a gesture using the circumference of his right arm in the abandoned housing tract of what was previously George Air Force Base in Victorville, California. The circular marks are made in various rooms but always in the morning. Understood as a single work, each frame offers an index of a place and a time and an index and trace of physical being. In ‘Untitled (no 1-15)’ Tarah Douglas inserts her body into the frame of natural environment as a gesture of admission, a nod to the visibility of body language and the signals and narratives it projects to the viewer. Douglas's movements are at once various and theatrical: climbing, reading, exploring, observing. The landscape and the body exist together in an orbicular way. 'Running' (1976) was captured as a self portrait by Steve Kahn while shooting in a run-down apartment complex in Los Angeles between 1974-76. Kahn turned his attention to his body in motion using framing and scale to present an illusion in space and time. The cropping of each frame allows for the minute difference and the illusion of speed. Raymond Meeks and Adrianna Ault created the photographs titled ‘Winter Farm Auction’ (2019) in response to the event itself. Each farm tool selected is thrown into the air and captured in motion, a compositional choice that provides the tool with its own life separate from that of the user. The motion of the tools captured on film pierce the frame nearly marking time.
In Focus: Writing for the Camera
Los Angeles, CA
From February 22, 2022 to May 29, 2022
This exhibition, drawn largely from the Getty’s collection, explores how various photographers active since the 1970s have represented the connection between photography and writing. Many of these photographs showcase text or include subjects in the act of writing, emphasizing the shared contemplative and performative nature of these mediums. Artists include Laura Aguilar, Shirin Nishat, Allan Sekula, and William Wegman.
James Van Der Zee’s Photographs: A Portrait of Harlem
Washington, DC
From November 28, 2021 to May 30, 2022
Photographer James Van Der Zee created an extraordinary chronicle of life in Harlem during the 1920s and 1930s and beyond. Residents of this majority Black neighborhood in New York City turned to Van Der Zee and his camera to mark special occasions. His carefully composed, cosmopolitan photographs conveyed the personalities, aspirations, and spirit of his sitters. Some 40 works from the National Gallery’s collection feature Van Der Zee’s studio portraits, along with his photographs of Harlem nightclubs and storefronts as well as religious, social, political, and athletic community groups. Together they provide a glimpse into Harlem’s rich social life as it became an influential center of American culture during the Harlem Renaissance.
The New West, An Old Story: Photographs by Joan Myers and Steve Fitch
Boone, NC
From January 21, 2021 to June 04, 2022
Photographers have been reimagining the American West ever since cameras were ferried across the Mississippi River in the 1850s; photographs being the primary way people in the East could see what wonders lay in the then uncharted and mythical territories far to the West of the “Great River.” According to the Native Languages of Americas website (, “Misiziibi” is the native name of the river in the Ojibwe language. Since the 1860s when the first photographs of Yosemite Valley were made, photographs—both still and moving images—have been instrumental in promoting the West as an unexplored wilderness and the land of opportunity. Although unacknowledged when convenient, as it often was, the lands west of the Mississippi were traditional homelands to many First Peoples and a diverse cross-section of Hispanic peoples who moved into the land with the Spanish Friars and Conquistadors funded by the Spanish Crown long before the West was Anglicized. In the past few decades, a growing number of photographers have challenged the romantic myth of the American West to reflect the cultural, environmental, and racial complexities of our shared histories more accurately in an on-going conversation about what it means to be an American, how identity and the landscape are intertwined and what the real West looks like today. Photographers Joan Myers and Steve Fitch have both lived in the West for most of their lives. They document the changing landscapes of which they are a part; their lives intimately intertwined with the history of the arid lands they call home. Their images capture landscapes made famous in countless Western narratives of both literature and film, but they move in closer with their lenses to reflect the details often overlooked in a sweeping landscape narrative, gently critiquing the myth of the oversized cowboy with his long gun, the absurdity of the oversized teepee selling espresso, the oversized sombrero, the seedy roadside hotels bedazzled with garish flashing neon, the derelict movie theaters and drive-ins hawking a fading American Dream. Both artists expose the cracks of co-opting other cultures to romanticize a fabricated fable when the truth is harsher. They invite their viewers to pull back the veil and unpack the complicated narratives exposed in the landscapes they reveal with a clear-eyed mixture of love and regret. - Mary Anne Redding, Exhibition Curator
Joseph Minek: Rewind
Los Angeles, CA
From April 23, 2022 to June 04, 2022
Von Lintel Gallery is thrilled to present Rewind, an exhibition of vibrant chemigrams created by Cleveland-based artist Joseph Minek. This show will be displayed in the Project Room and will run from April 23rd until June 4th. Fascinated by the infinite possibilities of camera-less photography, Minek experiments with the foundational materials of photographic practice – light-sensitive paper and photo lab chemicals – to produce one-of-a-kind, chromatically exuberant images. His work delights in exploring the physical makeup of the photographic medium itself, rather than capturing any external reflection of reality, so he first exposes his high-gloss metallic paper to light – rendering it useless for its intended purpose. Strips of paper are then organized into compositions on its surface before he rolls, dips, squeegees, or sprays his prints with a variety of chemical compounds. The resulting works are infinitely varied and wildly luminous. Within a prismatic array of chartreuse, fuchsia, emerald, indigo, cyan, mustard seed, mauve, lavender, and blood orange, the overlapping pools and striations of the chemicals in the tray leave their traces not only in the explosive palette but in the intricate patterns and oil-slick parabolas, which the liquid traces and eventually settles on. Minek’s work has been exhibited consistently since 2010 and is held in public collections such as The Cleveland Museum of Art, The Rubell Family Collection in Miami, New York Presbyterian Hospital, and Bidwell Projects, Cleveland.
Documents for an Imagined Future
Watertown, MA
From May 07, 2022 to June 04, 2022
Hosted by Storefront Art Projects in Watertown, MA, Documents for an Imagined Future is curated by Sarah Pollman and presents work by two photographers, Vanessa Leroy and DM Witman. The exhibition is on view from May 7th through June 4th, with an opening reception on May 7th from 3-5pm and an online conversation with the artists on May 19th from 6:30-8:30pm (Free and open to the public. Registration required. The exhibition's figurative, conceptual work inhabits the gallery space in visual conversation about envisioning a future for individuals, and the environments that house them. DM Witman’s images speak towards an ecological grief felt in the wake of impending climate catastrophe, while forming strategies to deal with the concurrent sorrow. Vanessa Leroy uses the nuance of the photographic image to uplift the narratives of marginalized individuals and imagine a more just future. Both Witman and Leroy use their photographs to refuse a future devoid of hope, offering the viewer a chance to imagine and create the world that lays ahead.
Alan Karchmer: The Architects’ Photographer
Washington, DC
From April 09, 2021 to June 05, 2022
Any prominent work of architecture is likely to be seen more widely through photographs than in person. These images have a profound influence on how a given building is perceived. A professional architectural photographer plays an important role in interpreting the designer's work, making critical decisions about which aspects of the building to emphasize and which to suppress-or even exclude. When widely disseminated, professional photographs help to shape public impressions of the building's architectural character. An extraordinary image of an iconic building may assume iconic status in its own right. Photographer Alan Karchmer has risen to prominence in his field thanks to his skill in conveying architects' ideas and intentions. Having earned a Master of Architecture himself, Karchmer uses his knowledge of the design process, coupled with his own artistic vision, to express the essence of a building. He is, quintessentially, "The Architects' Photographer." This exhibition presents a cross-section of Karchmer's professional photographs, coupled with personal photos and artifacts that shed light on his work. While the exhibition features numerous large-format images of remarkable beauty, it also includes didactic displays examining the technical and creative processes underlying such images. It thus illuminates why certain images are so successful in expressing both the physical and emotional aspects of architecture. By displaying multiple images of specific buildings, the exhibition also examines how a series of photographs can be used to create a visual narrative conveying a cohesive sense of design, place, and experience. The exhibition sheds light on the important but sometimes elusive role of artistic interpretation, tracing how the photographer's own vision complements that of the architect, yielding final images that ultimately reflect a blend of the two. It also explores how changing technologies-especially the transition from analog to digital cameras-have influenced architectural photography.
James Tylor: From an Untouched Landscape
Rochester, NY
From January 15, 2022 to June 05, 2022
In his artistic practice, James Tylor highlights under-told and often unseen histories of Aboriginal peoples. The landmass now known as Australia has been known by many names to many distinct peoples. Reflecting this, Tylor takes an expansive approach to landscape, incorporating his Kaurna knowledge into its presentation, and to the photographic medium, through use of technologies old and new. In Tylor's hands, photography, once used to survey Aboriginal lands and peoples, becomes a way to indigenize landscapes. From an Untouched Landscape is Indigenous exploration of place, reframing landscape on and near the Kaurna Yarta Nation's traditional homelands, where Tylor's Kaurna Miyurna people have traced their roots since time immemorial. The exhibition includes three photographic series, We Call This Place ... Kaurna Yarta (2020), (Removed Scenes) From an Untouched Landscape (2018), and (Vanished Scenes) From an Untouched Landscape (2018), as well as objects from (Deleted Scenes) From an Untouched Landscape (2019). We Call This Place ... Kaurna Yarta inserts Kaurna Miyurna place names, etched on sweeping daguerreotype views of coasts and hills. The continuing series From an Untouched Landscape focuses on significant sites for Aboriginal peoples and sites of colonial encounters and violence. Removed Scenes and Vanished Scenes show these sites only partially, with black velvet shapes blocking the full view. To further contextualize these works, Tylor has sculpted wooden Kaurna objects, such as shields and spears, and colonial-era tools, such as guns and harpoons which, like the camera itself, contributed to the project of colonization. James Tylor (b. 1986) is a multidisciplinary artist with Nunga (Kaurna Miyurna), Māori (Te Arawa), and European ancestry. Trained as a carpenter as well as a photographer, Tylor takes his practice beyond those mediums to communicate his understanding of history and the contemporary moment and to contribute to the revitalization of his Kaurna culture. This is the first solo exhibition of Tylor's work in the United States, curated by Marina Tyquiengco (CHamoru), Assistant Curator of Native American Art at the Museum of Fine Arts, Boston.
Marcia Resnick: As It Is or Could Be
Brunswick, ME
From February 24, 2022 to June 05, 2022
Photographer Marcia Resnick earned recognition as part of the legendary Downtown New York art scene of the 1970s and 1980s with portraits of major cultural figures such as Jean-Michel Basquiat, John Belushi, and Susan Sontag. Marcia Resnick was one of the most ambitious and innovative American photographers of the 1970s. Combining social critique with poignant, often humorous performance, her photographs explore-in a conceptual vernacular-aesthetic, social, and political issues at once timely and timeless. A part of the now-mythic creative community in Downtown New York, she created work that challenged traditional ideas about what a photograph could be. This exhibition brings together for the first time her extraordinary photographs from this period.
László Moholy-Nagy: Light Play
New York, NY
From March 18, 2022 to June 05, 2022
Conceived and organized in collaboration with the Estate of László Moholy-Nagy, the first U.S. museum exhibition devoted to the photography and film practice of pioneering multidisciplinary artist László Moholy-Nagy (1895-1946) will debut at Fotografiska New York before traveling internationally. From formal experimentation to personal documentation, the 68 works in the show (all from negatives originally created between 1922 and 1945) collectively illuminate a novel side of an artist whose institutional spotlight has historically centered on painting, sculpture, and design. Light Play brings together 68 works created between 1922 and 1945, including Moholy-Nagy's earliest experiments with photomontage ("photoplastics," as he called them); photograms (images made without a camera, instead via direct light exposure to photosensitive paper); personal images taken during travels in Europe and the United States; late-career color photographs (including rare images of Moholy-Nagy himself, and never-exhibited photographs of his own sculptures); and two films. Primarily known as a painter, Moholy-Nagy is also an image-making pioneer in his use of the camera as a new instrument of vision. Light Play is able to offer a uniquely expansive portrait of the artist because its curatorial premise is constrained only by medium; an organized survey of the entire range of Moholy-Nagy's photographic work, edited down to the best examples of each category. Further, the curators worked closely with the artist's estate to design unique staging opportunities that align with Moholy-Nagy's experimental approach to lighting and form, such as custom lighting setups for the photographs and large-scale projection mapped environments for the films. The museum wishes to thank the Estate of László Moholy-Nagy and The Moholy-Nagy Foundation for their close collaboration throughout every step of planning this exhibition, which honors the artist's and the Estate's vision of presenting his original negatives at greater scale.
Solo Exhibition July 2022
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