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Cindy Sherman 1977 - 1982

From October 27, 2022 to January 08, 2023
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Cindy Sherman 1977 - 1982
32 E 69th St
New York, NY 10021
Widely recognized as one of the most important American artists of her generation, Cindy Sherman revolutionized the role of the camera in artistic practice and opened the door for generations of artists and critics to rethink photography as a medium.

Explore a curated selection of Cindy Sherman’s most powerful and enigmatic bodies of work in her first major solo exhibition with the gallery on view at 69th street.

Untitled Film Stills (1977 – 1980)
This iconic series of eight-by-ten-inch black-and-white photographs was originally conceived as a group of imaginary film stills from a single actress’s career. Inspired by 1950s and ‘60s Hollywood, film noir, B movies, and European art-house films, Sherman’s plethora of invented characters and scenarios imitated the style of production shots used by movie studios to publicize their films. The images are evocative of certain character types and genres, but always intentionally ambiguous, leaving room for the viewer to insert themselves into the work and walk away with their own interpretations.

Rear Screen Projections (1980)
In 1980, Sherman stopped making the Untitled Film Stills and began working in color. She continued to use herself as a model, transforming her appearance with various costumes, makeup, and wigs, leaving the narrative of her scenes deliberately vague. However, instead of making use of existing light and locations, Sherman brought her work back into the controlled environment of her studio, posing in front of locations projected onto a large screen – a technique made famous in several of Alfred Hitchcock’s films – to create the series now known as the Rear Screen Projections. Unlike the Untitled Film Stills, with their artificial narratives set in real locations, this series presents women no longer bound by their physical surroundings.

Centerfolds (1981)
Continuing her exploration of the tension between artifice and identity in consumer culture, in 1981 Sherman responded to a commission from Artforum magazine, with a series of images which clearly referenced erotic images commonly found in the middle of men’s magazines at the time. The photographs were ultimately never published by the magazine for fear of public backlash and instead became a critically acclaimed series of 12 large-scale horizontal color works known as the Centerfolds. Designed to make viewers uncomfortable, the series continues to challenge expectations surrounding this type of photograph, drawing attention to the way we consume images – especially of women.

Color Studies (1981 – 1982)
This series derives its name from the artist’s focused interest in the formal challenges of composition and color, forgoing the invention of character, expressed by the ways in which the subject seems to disappear into the background. Many critics and writers have interpreted these works as showing the ‘real’ Cindy Sherman but, in-keeping with her other series, they are a complete fabrication. The tight framing, the truncated figure and strongly contrasting light as the figures are simultaneously obscured and revealed by shadow and light, are all part of this artifice.
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Exhibitions Closing Soon

The 5th Chelsea International Photography Competition
Agora Gallery | New York, NY
From February 20, 2024 to February 27, 2024
Agora Gallery is pleased to announce The Chelsea International Photography Competition Exhibition, a juried exhibition of contemporary photographs by local and international artists. This is the 5th edition of our annual photography exhibition, which provides a select group of photographers with the opportunity to showcase their work in the heart of Chelsea, New York’s premier art district. The winners were handpicked among hundreds of international and local applicants by an esteemed panel of jurors. The judging committee is comprised of Angela Ferreira and David Campany. Ferreira is an artist, curator, researcher, and educator from Portugal. She has lectured on contemporary photography throughout Europe and Latin America and curated exhibitions internationally, including the Beijing Photography Biennale and the Photography Museum in Fortaleza, Brazil. Currently, she is a professor at Escola de Comunicação Arte e Cultura in São Paulo, Brazil. Campany is a curator, writer, broadcaster, editor, and educator, whose prior collaborations include MoMA, Tate, Centre Pompidou, International Center of Photography, Stedelijk Museum Amsterdam, and many other institutions worldwide. The exhibition will run from February 20 to 27, 2024 with an opening reception on Thursday, February 22, 6-8 PM.
(In)directions: Queerness in Chinese Contemporary Photography
Eli Klein Gallery | New York, NY
From November 18, 2023 to February 29, 2024
Artists: Mengwen Cao, Chi Peng, Whiskey Chow, Alec Dai, Fang Daqi, Tommy Kha, Amiko Li, Liao Jiaming, Pixy Liao, Lin Zhipeng (No.223), Ren Light Pan, Beatrix Pang, Kanthy Peng, Ren Hang, Shen Wei, Leonard Suryajaya, Tseng Kwong Chi, Xu Guanyu, Yang Bowei, Zhang Zhidong, William Zou Eli Klein Gallery is honored to present “(In)directions: Queerness in Chinese Contemporary Photography” a group exhibition of 21 artists who see queerness as a possibility, embracing the imaginative even when the status quo might otherwise be limiting. The title acknowledges that the means through which each artist expresses this notion takes a variety of modes in the photographic medium, at times boldly and directly celebrating the beauty of queer bodies and at other times obliquely gesturing, winking, or suggesting that another reality is at play. This range of photographic expressions of queerness is similar to common understandings of discursive approaches in Chinese culture, from the artfully indirect to the abundantly explicit. The show brings together the present and future, a spectrum of genders and sexualities, questions and expressions of identities and beliefs, assertions about kinship and belonging, and complications and affirmations about cultural sensibilities into a critical conversation facilitated by photographic images that document, celebrate, complicate, invite, expose, question, and destabilize. With a diverse group of artists showcasing a broad reach of works in the exhibition, we wish to entice our viewers to “queer” any one of the following terms: Queerness, Chinese, Contemporary, and Photography - What is queer photography? What is Chinese queerness? What would a queered contemporary look like? With works that embody their consciousness and explore the journey of self-discovery, Chi Peng, Mengwen Cao, and Leonard Suryajaya invite the audience to peer into the metamorphosis of fluid identities. William Zou, Xu Guanyu, and Tommy Kha, on the other hand, unveil pockets of belonging and becoming by capturing fragmented and layered moments within spatial and temporal contexts, while Tseng Kwong Chi explores the playful juxtaposition of truth, fiction, and identity through his persona of a Chinese "Ambiguous Ambassador” merged with the natural landscape to queer the boundaries between self and environment. The body is likewise explored as a site of performance (and performativity), as works by Whiskey Chow and Pixy Liao investigate, by challenging traditional gender norms and negotiating with art history in the context of media and sexual expression. Lin Zhipeng (No.223) and Shen Wei also capture the diversified nature of desire and memory through intimate portrayals of the body. The variety of bodies depicted reminds us that queerness is lived, inhabited, created, and celebrated by queer people, that bodies inspire wonder and challenge limiting regimes of the normal. Meanwhile, Zhang Zhidong and Amiko Li evoke vivid sensations in their work to illustrate the liminal spaces of intimacy and construct rich narratives for the overlooked, eroticized, or politicized. The works of Kanthy Peng and Ren Light Pan too, provide a sensual glimpse into queerness in all its contradiction - tender, yet tense; concealed, yet revealing. Queerness resists definition. It embraces associations and overpasses boundaries. It reaches rather than posits; joins instead of announcing; seduces without a prerequisite RSVP. The unique queer experiences are documented and highlighted in the works of Yang Bowei, Fang Daqi and Beatrix Peng, giving form to personal, illustrative perspectives. Works by Ren Hang and Alec Dai present the intersection of queer and Asian-American identities as well as sexuality and beauty, challenging the traditional conservative artistic expression existing in contemporary Chinese culture. Liao Jiaming’s works also record the queer experience; his photobook recounts his personal thoughts and experience as a gay man through visual narratives and is tailored specifically for the exhibition. Curated by Phil Zheng Cai and Douglas Ray at Eli Klein Gallery, this exhibition hopes to intrigue the audience to consider how a queered topographic approach could bend what appeared to be “Queerness in Chinese Contemporary Photography” into a mesh of “Queerness, Chinese, Contemporary, and Photography,” indirectionally. The exhibition is accompanied by a fully illustrated catalog with an essay by Phil Zheng Cai and an essay by Douglas Ray. The exhibition catalog also features Tommy Kha’s interview with Ren Hang in 2016.
My Mother’s Tender Script by Asiya Al. Sharabi
All About Photo Showroom | Los Angeles, CA
From February 01, 2024 to February 29, 2024
All About Photo is pleased to present 'My Mother's Tender Script' by Asiya Al. Sharabi Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of February 2024 and includes twenty photographs from the series ‘My Mother's Tender Script' My Mother's Tender Script In 'My Mother's Tender Script,' series I delve into the poignant narrative woven by my late mother through her humble phone notebook. Born into a world that allowed her no childhood, she married at the tender age of 11, bereaved by widowhood at 15, and remarried my father at 17. Her story, shaped by hardship and early responsibilities, echoes resilience and determination. Despite a lack of formal education, my mother found solace and expression in the kitchen, where she passionately honed her culinary skills, particularly in making bread. It was amidst the warmth of the hearth and the kneading of dough that her early story unfolded.. In contrast, my father, an erudite writer and journalist, led a life adorned with education and cultural experiences. A world away from my mother's, his path was adorned with receptions, travels around the globe, and literary engagements. Perhaps my mother sought a convergence, a meeting at a crossroads. She meticulously maintained her phone notebook, her personal treasure trove of contacts and thoughts. She adorned herself with fashionable attire and practiced writing and drawings in her notebook, expressing her longing for connection.. In making "My Mother! 's Tender Script," I transformed a black-and-white print from the late 1970s into an enlarged negative. I infused her delicate drawings and writings from the phone notebook, seamlessly incorporating them before employing the resino-pigmentype technique, invented in the mid-nineteenth century.. This creative endeavor isn't merely about replicating the past; it's a tribute to the resilience, struggles, and enduring legacy of my mother's indomitable spirit..
W. Eugene Smith: A Life in Pictures
Center for Creative Photography | Tucson, AZ
From September 02, 2023 to March 02, 2024
In 1978, Life magazine photojournalist W. Eugene Smith died at age 59 in Tucson, Arizona where he had moved the year before. He left behind a vast and rich archive of correspondence, his own research material, negatives, proof prints, and audio recordings. The Center for Creative Photography is presenting 45 of Smith’s photographs as an opportunity to think about what conditions promote interdisciplinary engagement. Drawn from five series: World War II, Nurse Midwife, Jazz Loft, Hitachi Corporation, and Minamata, Smith’s work will be presented with archival material that helps expand consideration of his practice beyond an art historical lens, connecting his photographs to other fields and disciplines. Image: ​W. Eugene Smith, Fishing in Minamata Bay, ​ca. 1972, ​​W. Eugene Smith Archive/Gift of Aileen M. Smith © Aileen Mioko Smith
Bill Costa: To Swallow a Photo of Him
Clamp | New York, NY
From January 11, 2024 to March 02, 2024
CLAMP is pleased to present “To Swallow a Photo of Him,” an exhibition of photographs by Bill Costa (1944-1995). Bill Costa aimed to capture the sensuality of the male form in stark juxtaposition to dilapidated settings. By populating forgotten spaces with vigorous young men, Costa created a garden of male forms growing out of peeling paint and rotting brick. New York was falling apart around Costa, who moved to the city at the peak of the 1970s financial crisis and lived until the apex of the AIDS epidemic in the 1990s. Costa saw friends waste away, much like the buildings and landscapes he selected in order to highlight the life force of these young men. To think that many of these models, photographed in their prime, would meet the same fate as such surroundings, adds a poignant and important layer through which to engage with Costa’s artistic output. Bill Costa was born in Fall River, Massachusetts, and raised in Gloucester, Massachusetts—an important fishing port and artist colony. He showed artistic promise at an early age and studied drawing with a local artist, going on to the School of the Boston Museum of Fine Arts. He turned to photography after leaving a successful corporate career and had his first show in New York City in 1975. Costa’s photographs have been featured in many monographs, catalogues, and magazines, and numerous exhibitions have been mounted across the United States and Europe.
Mickey Aloisio: You Go Ahead - I’ll Watch
Marlborough New York | New York, NY
From January 23, 2024 to March 02, 2024
Marlborough presents You Go Ahead—I’ll Watch, a solo exhibition of the New York-based interdisciplinary artist, Mickey Aloisio. You Go Ahead— I’ll Watch comprises works from two recent photography-based series titled Lunch Break and Morning Dew, in addition to a single-channel video installation. The exhibition marks Aloisio’s frst solo project with Marlborough following his inclusion in Dead Letter Office, a group exhibition of then-recent graduates of Yale University’s MFA Photography program that was held in the gallery in 2021. In his practice, Aloisio employs various analog media, including projectors, film, CB radios, and receipt printers, among other alternative technologies, attempting to temper the immediacy of our hyper-digital, image-saturated world. He engages viewers “as participants in a complex performance of display, time, and legibility.” Predominantly working with photography, video, and sound, Aloisio attempts to present seemingly transgressive narratives that explore undercurrents of anticipation and longing, while also investigating the nuances of queer navigation across intergenerational communities. The artist consequently borrows the title of the current exhibition from an excerpt found in Laud Humphreys’ Tearoom Trade: Impersonal sex in public places—the American sociologist and Episcopal priest’s seminal, albeit highly-controversial, text published in 1970. In Tearoom Trade, Humphreys presented the findings of his research into anonymous sexual encounters between men in public bathrooms (a practice known as “tea-rooming”). At the time, his “subjects’’ did not consent to participating in any such study, with Humphreys assuming the role not of an academic, but that of a voyeur, sometimes engaging with those he observed—“You Go Ahead—I’ll Watch.” While many consider Humphrey’s research methods highly unethical, Aloisio finds his work not entirely dissimilar. Aloisio draws from Humphrey’s text to undo the fragile borders that separate consent, manipulation, and deception, in order to reveal how these systems are instead irrevocably bound together through his examination of intimacy and privacy. Many of the works on view belong to the series Lunch Break, originally conceived while Aloisio was a Core Fellow at The Museum of Fine Arts, Houston and presented as a documentary-style slideshow (here, the selected images from the series are exhibited as standalone archival pigment prints). The series comprises photographs taken at and around a state historic site considered to be the geographical birthplace of an independent Texas, following the 1836 Texas Revolution. Aloisio captured vignettes that unfolded in the designated men’s bathroom at the site, in addition to documenting the surrounding town. Aloisio did not choose the site at random; in fact, it was the location of a fleeting glory hole, the type of transgressive space the artist seeks that is the subject of extensive online discourse. The resulting images—whimsical yet gritty—explore how an area associated with public sex could function within the context of a Texan state-run park, the ethos of which is grounded in the promise of freedom. Aloisio approaches each image with sensitivity, patiently documenting vestiges of the encounters, rather than the identities of the players. Visual motifs arise, subtly hinting to those who use codified language to uncover lunch-hour freedom. Also on view are recent cyanotypes from the series Morning Dew (2023), that Aloisio produced while a resident at the Ellis-Beauregard Foundation in Rockland, Maine. Made from emulsions and toners derived from the juices of local fora and vegetation, these new works—tinted pink and purple—depict composed still life-like compositions and Maine landscapes, signaling a departure from the artist’s more documentary, snapshot-style approach to Lunch Break. These new images present surrealist fantasies where the sitters of this work often slip between identity and performance. The exhibition culminates with Channel 17 (2021), an eight-minute single-channel video presented in a stall-like structure resembling a phone booth, which viewers are encouraged to enter. Part of the series 30 Hours for a Glimpse, Channel 17 began as a project in which Aloisio fashioned a makeshift CB radio in his vehicle to tune in to a trucker radio station. Aloisio regularly visited the car wash at a New Haven, Connecticut-area truck stop where he had hoped to establish a discreet and intimate encounter with someone on the other end of his radio. Taking a voyeuristic and documentarian approach, Aloisio recorded his conversation with another man who was negotiating a meet-up with the artist, punctuated by moments of trepidation that his identity could be discovered. The film raises questions about cleanliness, both dialectically as well as visually with the car wash as a central location of the piece.
Debbie Fleming Caffery: In Light of Everything
NOMA - New Orleans Museum of Art | New Orleans, LA
From October 06, 2023 to March 03, 2024
Debbie Fleming Caffery has long been recognized as one of the foremost photographers from the American South, but with major bodies of work from Mexico, France, and across the United States, her career has long transcended its Southern roots. In each of the places where she has worked, Caffery has spent significant periods of time living and learning with the people she photographs. Caffery’s work emphasizes the deep emotional relationships between people and place, raises questions about social and economic structures, and explores a wide variety of human relationships and rituals. In Caffery’s own words, this exhibition is “about that moment, in taking a photograph, when everything works…eyes, guts, heart, life experiences, [and] years of paying attention.” Through her characteristic combinations of rich shadows, dramatic lighting, and dizzying long exposures, Caffery’s photographs function as meditations on different aspects of human experience—faith, the dignity of labor, childhood, and the natural world, framed in ways that are both familiar and mysterious. Installed across three distinct spaces at NOMA, In Light of Everything begins in the museum’s Great Hall, with a selection of the photographer’s most recent work. Here, visitors encounter Caffery’s large-scale portraits of birds in rehabilitation facilities in Louisiana, New Mexico, and France. Imbued with a gothic sensibility, these photographs reveal the birds to have great personality and demonstrate Caffery’s ongoing significance as a contemporary artist. In the Templeman Galleries on the museum’s second floor, visitors experience bodies of work that Caffery began in the 1970s and continued through the 2000s. These include pictures of sugar cane workers in and around Caffery’s home parish that vary between intimate portraits and intense landscapes, photographs made in small-town Mexico where the cultures of the Church and the cantina overlap, community-making and home life in rural Mississippi, and her most focused series: portraits of Caffery’s friend and muse Polly Joseph in her home. Finally, in the A. Charlotte Mann and Joshua Mann Pailet Gallery, Caffery’s photographs of churches and religious statuary in the wake of Hurricanes Katrina and Rita offer a reflection on hope and faith. Image: PaPa, 1987 © Debbie Fleming Caffery
Shaping Landscapes: 150 Years of Photography in Utah
The Utah Museum of Fine Arts | Salt Lake City, UT
From September 16, 2023 to March 03, 2024
The history of photography in the United States is deeply tied to the American West. From 19th-century survey expeditions to 21st-century environmental activism, western landscapes have been featured as some of the most prominent subjects in American photographic history. This exhibition traces 150 years of Utah landscape photography from the UMFA’s expansive collection. The artworks offer insight into how generations of photographers have used this technology to construct an image of Utah. The photographs confront humanity’s impact on this land since the 1870s–the railroads, highways, mines, and other forms of infrastructure that puncture the “natural” landscape and shape our perception of this place. Shaping Landscape offers a history of Utah landscape photography as it intersects with the legacies of industrialization and colonization in the American West.
Gregory Halpern: 19 winters - 7 springs
George Eastman Museum | Rochester, NY
From September 16, 2023 to March 03, 2024
Picture the idea of a place. Allow it to be shaded with the desires and memories of all who reside there. Consider how this picture would be molded by the past. 19 winters / 7 springs contends with the idea of Buffalo, New York, and the lives of its inhabitants—its human and animal life, its architecture and landscape—all rendered by Gregory Halpern in their dynamic complexity. This exhibition plots the cyclical nature of time and the passage of seasons, but Halpern’s photographs also register both the visual evidence of history and the particularity of life in the present. Although these different temporalities pulse through the work, what it means to dwell in a particular place is its central concern, and portraiture anchors the project: portraits of houses, young adults, animals, and objects that seem to face a world arranged and deranged by the camera. Halpern was born and raised in Buffalo and has lived in Rochester since 2009. The photographs in 19 winters / 7 springs were made throughout Western New York and beyond over the past two decades. Halpern’s practice emerges from careful, extended observation of the world and a sensitive engagement with the people he photographs. But the pictures and the relationships forged between them also approach the surreal, the dreamlike, the enigmatic. Through Halpern’s photography, the appearance of everyday reality becomes both volatile and marvelous. For Halpern, no hard-and-fast boundary separates photographic objectivity from a more elastic idea of representational truth. In addition to presenting pictures on the gallery’s walls in 19 winters / 7 springs, Halpern has created a group of photo-sculptures that speak to the limits of photographs to describe their subjects beyond their surfaces. His Eclipse Houses unite inner and outer space. The exteriors display the facades of residential architecture, while their exposed interiors are lined with photographs of total solar eclipses. The alignment of celestial bodies resonates with the kinds of encounters that compel Halpern’s photographs of people and places: something is inevitably obscured, but another vision becomes possible. 19 winters / 7 springs was originally organized by Bidwell Foundation for Transformer Station, Cleveland, Ohio. Generously sponsored by the Rubens Family Foundation and Tim Wilson
Roman Loranc, Radiant Light
The Center for Photographic Art (CFPA) | Carmel, CA
From January 27, 2024 to March 03, 2024
It is our pleasure to exhibit a solo show of Roman Loranc’s recent work. The new photographs featured in Radiant Light align with Loranc’s personal aesthetic and offer a fresh experience for the Center for Photographic Art and collectors of Loranc’s exquisite silver gelatin prints. These latest exciting images are still shot on large format film and printed in the darkroom by the artist, so the exhibition will be visually diverse and exceptionally beautiful. As of January 1, 2024, Loranc will no longer be printing photographs, so there will be a very limited inventory of prints. We’re thrilled to have a dynamic selection of photographs by this legendary artist in our gallery to kick off the 2024 exhibition schedule. Don't miss this milestone exhibition! Bio Roman Loranc was born in the city of Bielsko-Biala, southwestern Poland, in 1956, during the communist era. In 1982 he immigrated to Madison, Wisconsin, and in 1984 he moved from the Midwest to Modesto, California. Much of his early, better-known photographic work was created in California’s Central Valley. He moved to Northern California near Mt. Shasta in 2006 where he currently resides. Three monographs of his work have been published: Two-Hearted Oak, Fractal Dreams, and Absolution. His photographs are held by museums and institutions world-wide including the Bibliotheque Nationale de France (Paris, France), The George Eastman Museum (Rochester, New York), the Museum of Fine Arts (Houston, Texas), the Denver Art Museum (Denver, Colorado), and the National Art Museum of China (Beijing, China). His work is available in fine art photography galleries and his printed photography archive can be viewed on his website. ''All too often we find ourselves in the midst of the chaos of our daily lives: chasing deadlines, attending meetings, suffering traffic, and the like. And often these things are accompanied by noise, both audible and inaudible, as in our minds spinning. In my effort to escape these realities, I seek quiet places, away from the distractions, and in doing so have often found not only the relaxation of my mind but also interesting subject matter for my photography. When I venture into these places I find there is an invitation to join in the moment, and to saturate myself in the solitude. The price of admission is small: surrendering to the environment. I gladly pay the toll.'' – Roman Loranc, Traces
Carlton Ward Jr: Path of the Panther
Florida Museum of Photographic Arts -FMOPA | Tampa, FL
From December 07, 2023 to March 07, 2024
Showcasing a collection of photographs by Carlton Ward Jr, this captivating exhibition celebrates Florida’s wild heart through the story of our state animal – the Florida panther. The panther was driven to extinction throughout its range in the eastern United States except for a small remnant population that persisted in Florida’s Everglades. Numbers had dwindled to fewer than 20 individuals by the 1980s, but heroic conservation efforts have helped panthers come back to nearly 200 today. The biggest obstacle for the panther’s continued recovery is access to enough of its historic territory throughout Florida and adjoining states. Carlton Ward Jr is a National Geographic Explorer and photographer who has spent almost two decades fighting for the Florida Wildlife Corridor – a storytelling campaign he founded in 2010 that is creating a lifeline for the survival of the Florida panther and other threatened wildlife. Rising north out of the Everglades, the tale of the Florida panther has grown from the unlikely survival of a rare cat to a story of new hope for all wild Florida. The photographs in the exhibit, which are featured in the new National Geographic film and book, Path of the Panther, provide an unprecedented portrait of the panther amidst Florida’s wildest landscapes. From the remote cypress swamps of the Fakahatchee Strand, to the headwaters of the Everglades, the photographs will transport viewers into a hidden Florida that deserves to be seen and protected.
The Other Stories Cody Bratt
Filter Photo | Chicago, IL
From February 02, 2024 to March 09, 2024
Filter Photo is pleased to present, The Other Stories, a solo exhibition of work by Cody Bratt. "The stories in this series pick up with two men—my paternal great-grandfather and my maternal grandfather. Of course, the stories neither began nor ended with them exclusively. The stories they would have you remember are about legacy. Their stories were about publishing poetry in 1950s San Francisco, documenting labor rights movements, being a celebrated school superintendent, and fighting the good wars. Their sons and daughters, although particularly their sons, might have you solely remember these stories, too. But, then there are The Other Stories: about a grandfather molesting his granddaughter, about a wife complicit in her husband’s fondness for young girls, about a husband lighting his wife’s hair on fire, about a son left in the car while his parents drink at the bar, about a ninety year old man attempting to choke his adult daughter. These are the stories no one wants to remember about the cycles of physical violence, substance abuse and mental health disorders passed down from one generation to the next like a virus. This series concerns itself with the interrogation of intergenerational violence and whether healing is truly possible using the archives of two families for which these issues are particularly pronounced. The work presupposes that all families contain some form of this unanswerable riddle—whether you know it or not, whether you are willing to look or not. ​ This story is about sunlight being the best disinfectant." —Cody Bratt
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