Alexis Pike: Color Me Lucky

We are pleased to share our next exhibition with our friend and photographer, Steve McCurry, will open this January. “Steve McCurry: The Endless Traveler” will be on view January 27th - April 27th, 2024 at the gallery alongside our concurrent exhibition, "Jeffrey Conley, An Ode to Nature". “Steve McCurry: The Endless Traveler” will feature a selection of Steve's greatest images from across the world, that have touched the hearts and minds of so many. Iconic images will include Steve McCurry's Afghan Girl, which graced the cover of National Geographic in 1985. We look forward to this exhibition, and encourage our audience to RSVP to our opening reception below.

Peter Fetterman Gallery is pleased to announce the upcoming exhibition, "Jeffrey Conley: An Ode to Nature" featuring the remarkable works of photographer Jeffrey Conley. The exhibition, opening on January 27th, 2024, promises to transport viewers to a world where nature's beauty takes center stage. "Jeffrey Conley: An Ode to Nature” is a retrospective showcase of Jeffrey Conley’s exceptional career up to the present. Currently residing in the Willamette Valley, Oregon, Conley’s ability to capture the essence of nature is unparalleled.. Conley is also a master printer, with each photographic print a testament to his meticulous craftsmanship and exacting standards. He works in multiple processes which include traditional gelatin silver darkroom processes, platinum palladium prints and archival pigment prints on Japanese Kozo paper.. The exhibition will feature a carefully curated selection of Conley’s most recognizable works, as well as some new images, never exhibited before. "Jeffrey Conley: An Ode to Nature" promises to be a must-see event for nature lovers and photography enthusiasts. The exhibition at Peter Fetterman Gallery will be on view between January 27th to April 27th, 2024 at Peter Fetterman Gallery, located in Santa Monica, CA.

oseph Bellows Gallery is pleased to announce its upcoming exhibition, Sage Sohier: Passing Time. This solo exhibition will feature a remarkable selection of black and white photographs from Sohier's recently published Nazraeli Press monograph of the same title. The show will run from February 17th - April 27th, with a reception and book signing with the artist from 5-7pm, on Saturday the 17th of February. This will be the artist’s second solo exhibition at the gallery. The images that comprise the exhibition are drawn from the photographer’s compelling and kindhearted portraits made between 1979-85 of people living in working class and ethnic neighborhoods in her hometown, as well as in the towns she visited each summer during her annual road trips through the eastern and southern regions of the country. The exhibition will showcase both a selection of vintage gelatin silver prints, as well as 16 x 20 inch modern gelatin silver prints, which are the result of the photographer revisiting her archive of negatives and contact sheets from the early 1980s where she discovered a trove of captivating images that had never been printed. Of the work, Sohier observes, “ I noticed a kind of relaxed sensuality in many of the pictures. A kind of theater of the streets emerged”. Sage Sohier has been photographing people in their environments for more than 30 years, and has been awarded fellowships from the No Strings Foundation, the John Simon Guggenheim Memorial Foundation, the National Endowment for the Arts, and the Massachusetts Artists Foundation in recognition of her work. Sohier received her B.A. from Harvard University and has taught photography at Wellesley College, Massachusetts College of Art, and Harvard University. Her work is included in numerous public and private collections, including those of the Museum of Modern Art, New York; Museum of Fine Arts, Houston; San Francisco Museum of Modern Art; Cleveland Museum of Art; Nelson-Atkins Museum of Art; Portland Museum of Art; and the Brooklyn Museum. Books by the artist include: Perfectible Worlds (Photolucida, 2007), About Face (Columbia College Chicago Press, 2012), At Home With Themselves: Same-Sex Couples in 1980's America (Spotted Books, 2014), Witness to Beauty, Kehrer Verlag, 2016), Americans Seen, (Nazraeli Press, 2017), Animals (Stanley/Barker, 2019), and Peaceable Kingdom (Kehrer Verlag, 2021) and Passing Time, (Nazraeli Press, 2024).

Pace is pleased to present an exhibition of work by Josef Koudelka at its 540 West 25th Street gallery in New York. On view from March 29 to April 27, this will be the artist’s first solo show in New York in nearly a decade, bringing together six large-scale panoramas he created between 1987 and 2010 as part of a project titled Industries. The exhibition will also include a display of small-scale, accordion-style maquettes of Mission Photographique Transmanche, Beyrouth Centre Ville, The Black Triangle, Reconnaissance-Wales, Lime Stone, Teatro del Tempo, Camargue, Piemonte, WALL, Ruins, and Solac. This presentation at Pace coincides with the release of Josef Koudelka: Next, the definitive and only authorized biography of the artist, published by Aperture. The book will be available for purchase on-site at the gallery during the run of the exhibition. Born in Czechoslovakia in 1938, Koudelka trained as an aeronautical engineer but began photographing Romani people—their everyday lives, their struggles, and their traditions—mainly in central European countries in the early 1960s, making a full-time commitment to photography later that decade. In 1968, he photographed the Soviet invasion of Prague, publishing his works under the initials P.P. (Prague photographer). Koudelka, who was anonymously awarded the Overseas Press Club’s Robert Capa Gold Medal for those photographs, left Czechoslovakia seeking political asylum in England, with assistance from the Magnum Photos cooperative, in 1970. His first book, Gypsies, was released by Aperture in 1975, and he has since produced more than a dozen publications of his work. Koudelka’s interest in the social and political dimensions of photography, evident in his earliest bodies of work, would endure through the following decades. He has been working in large-format, panoramic photography since 1986, capturing images of changing landscapes around the world—places that have been reshaped, altered, and in some cases devastated by the effects of industry, time, and war. Adopting a semi-nomadic lifestyle in pursuit of documenting these haunting, elegiac scenes, Koudelka produced deeply interconnected bodies of work that speak to the ways that the weight of history lingers within the natural world. During the late 1980s and early 1990s, the artist photographed the Berlin Wall; the streets of Beirut immediately following the Lebanese Civil War; outsized industrialization and pollution in the Black Triangle, a border region between Germany, Poland, and the Czech Republic; the Auschwitz concentration camp in Poland; and other places forever transformed by sociopolitical turmoil, violence, and environmental destruction. Also among Koudelka’s famous panoramic projects are his Ruins series, for which he photographed more than 200 archeological sites across Greece, Italy, Libya, Syria, and other countries between 1991 and 2015, and his body of work on Israel’s West Bank Wall, which he created over the course of seven trips to Israel and Palestine between 2008 and 2012. “The face of the wounded landscape—it is marked by trouble, by suffering,” Koudelka tells his biographer, Melissa Harris. “It is the same as the face of people who have a difficult life. I am interested in real people, real faces ... In this wounded landscape, I admire the fight for survival ... Nature is stronger than man.” The artist’s upcoming exhibition with Pace in New York, his first solo show in the city since 2015, will be presented on the gallery’s seventh floor against sweeping views of the Chelsea skyline. Measuring some nine feet in width, each of the six monumental panoramas that Koudelka has selected for the exhibition—captured across the United States, France, Germany, Italy, Azerbaijan, and Israel between 1987 and 2010—tells a different story.

We are delighted to present the first exhibition in the United States, of Dutch photographer David van Dartel. The exhibition is presented in collaboration with Elliott Gallery, Amsterdam. This Time Tomorrow brings together a selection of ten color photographs from two of the photographer’s acclaimed projects—On Vlieland and What Once Was—that explore an intimate portrayal of friendship and masculinity. Initially exploring and documenting his close circle of friends on Vlieland, a remote island in the north of The Netherlands, Van Dartel then photographed subjects as he travelled across several European countries; constructing a vivid portrait of young adults, and raising questions about male friendship and the classical discourse of masculinity. The photographs portray young men, located in soft, quiet landscapes, isolated from the external noise and distractions of society. Although stylized and constructed, the immense power of the photographs come from their success in conveying emotion across a succession of itimate scenes.

CLAMP is pleased to present The Colossus, an exhibition of photographs by Ian Lewandowski, the artist’s second solo show in New York. Lewandowski collects source imagery like a bird canvasing for materials to build a nest. The world that the artist documents and builds in his images is populated by the poses and visual artifacts of the past—from art, history, queer life, pornography, erotica, and Instagram. Lewandowski moved from Indiana to New York in 2011 to study photography at the Pratt Institute clinging to a MTA subway map and a camera phone. Thirteen years post-arrival, Lewandowski no longer needs to carry the now crumpled and outdated map, and instead lugs around his large format camera and tripod. Many of the photographs in The Colossus were created by the artist during the COVID-19 pandemic and trace the navigation between domestic and public spaces, and a complex negotiation between safety and exposure. The earlier images in the series, often shot in private interior spaces in New York, communicate a level of intimacy between the photographer and subject in a shielded collaborative environment. During the lockdown, the artist was driven outdoors to maintain a level of comfort and safety for both him and his subjects—the public realm pierced the frame. Bedrooms became parks and the shrouded, intimate process the artist had been executing evolved into something that extended to the landscape of neighborhoods, and as an extension, the entire city. In “Self Portrait on Studio Floor II (after Tabboo!),” Lewandowski sits on the floor holding a shutter release, shirtless, wearing only thermal long underwear. His torso is adorned in an array of tattoos, each with a distinct visual style and their own respective source materials. The artist’s pose is based on a painting by contemporary artist Tabboo! depicting the photographer, Mark Morrisroe. Photographing friends, acquaintances, and strangers, Lewandowski makes his images as an inheritor and author of queer history and visual culture. In his reference of an image created through a collaboration of two artists and friends (Tabboo! and Morrisroe), Lewandowski is simultaneously memorializing a past instance of belonging and erecting a new structure for the photograph as blueprint through which to model one’s present and future. The Colossus presents a contemporary existence imbued with the contours and indentations of multiple histories. The Colossus of Rhodes, a monument to the sun god Helios, was one of the seven manmade wonders of the ancient world before it collapsed. The Colossus was also the theme of an elaborate 2004 beach party in the Fire Island Pines, an event which disbanded when it began to rain and guests sought refuge at a competing indoor event. Coinciding with Lewandowski’s exhibition at CLAMP, a risograph catalogue, designed by Liam Nolan and printed by TXTbooks (Brooklyn), will be released. There will be two hundred copies of a signed and numbered standard edition available for purchase during the run of the show as well as twenty copies of a special edition version. The special edition will be hand-bound by Sarah Smith and will include a signed and numbered gelatin silver print postcard, unique cyanotype cover, and a mini-pamphlet of Polaroid test shots from the body of work. Both versions of the publication include a foreword written by Nolan and a suite of poems by S. Eath. Ian Lewandowski (b. 1990) is a photographer from Northwest Indiana. His first solo exhibition, Community Board, was exhibited at The Java Project in Brooklyn in 2019. The Ice Palace Is Gone, his body of large-format color portraits made from 2018-19, was published as his first monograph by Magic Hour Press (Montréal) in 2021. My Man Mitch, his body of photographs and photo-based material native to his home state of Indiana, was published by Kult Books (Stockholm) in 2022. He teaches undergraduate and continuing education courses in photography at The New School and Gowanus Darkroom and manages and prints the photo work of Kenny Gardner (1913-2002). He lives in Brooklyn with his husband, Anthony, and their dog named Seneca.

CLAMP is pleased to present “Networks—George Platt Lynes + PaJaMa,” an exhibition of photographs exploring the web of professional and personal relationships instrumental in the conception and reception of work by George Platt Lynes (1907-1955) and PaJaMa [Paul Cadmus (1904-1999), Jared French (1905-1988), and Margaret Hoening French (1906-1998)]. Photographer George Platt Lynes functioned as a nucleus in the highly interconnected world of New Yorkers, particularly in the 1940s. Moving between high fashion magazine publications, celebrity portraiture, dancers and choreographers, gallery and museum contacts, and the overlapping circles of fairly visible homosexuals of the day, Platt Lynes connected a wide range of individuals through both his professional and personal interactions. Paul Cadmus, Jared French, and Margaret Hoening French, while primarily regarded as painters, collaborated extensively with the camera beginning in 1937 through the 1940s, and occasionally as late as 1957 under the moniker PaJaMa (comprised of the first syllable of each of their first names). Connected romantically and sexually (Paul Cadmus and Jared French were longtime lovers, while Jared and Margaret French were husband and wife), the ménage à trois often incorporated their social sphere into their photographs, including writer Glenway Wescott, his partner and MoMA coordinator Monroe Wheeler, actor Sandy Campbell, writer and editor Donald Windham, among many others. The photographs not only acted out psychological dramas among the three key players, the process of collaborative art making was a singular “type of game into which any member of their social circle was invited to enter.”(1) In Body Language: The Queer Staged Photographs of George Platt Lynes and PaJaMa, the first critical study of George Platt Lynes and PaJaMa in tandem, scholars Nick Mauss and Angela Miller extensively discuss the employment of the artists’ extended social networks in the production of their photographic imagery, and the influence the artists projected onto one another. Mauss writes of Platt Lynes: “Fashion models, dancers, artists, assistants, choreographers, editors, curators, novelists, poets, ‘trade,’ and lovers pulsed in and out of the studio with a frequency that was matched only decades later by Andy Warhol’s Factory.”(2) For Platt Lynes, as with PaJaMa, the process of producing photographs was not a proprietary act of “singular originality,” but rather a “condition of play” to which both the photographer and his model claimed a certain degree of agency. The studio of Lynes represented “a space in which the intimate, the social, the imaginary, the commercial, and the personal coexisted.”(3) Angela Miller discusses PaJaMa’s preferred practice of collaborative staging over “the decisive moment,” akin to the method by which Platt Lynes meticulously staged and lighted compositions in his studio. “PaJaMa’s stories had to be conveyed . . . through the expressive language of the body: through pose, gesture, expression, gaze, attitude, and spatial intervals; through props; and through dramatic stagings”(4), which is not dissimilar from the presentation of a dance, which so intrigued Platt Lynes throughout his life. Further, PaJaMa’s triad found its mirror in Platt Lynes’s own sometimes stormy ménage à trois with Glenway Wescott and Monroe Wheeler, who lived together in a New York apartment and shared a weekend home in New Jersey, which was often visited by members of their New York circle. Lastly, the photographs of Platt Lynes and PaJaMa were promoted and disseminated by the same networks involved in the art’s conception and production. Platt Lynes’s imagery was circulated through the pages of popular magazines as both editorial spreads and fashion shoots and well as advertisements; as prints on the walls of public museums and private galleries; in the pages of dance performance programs; and more quiet exchanges as gifts among friends as with his now celebrated male nudes. PaJaMa’s small scale photographic prints were handed out like “play things” or carte de visites, never intended for exhibition or sale. They were given to friends and members of a chosen family who would recognize and appreciate the interpersonal dynamics and tensions enacted and exorcized through calculated compositional strategies. All of this is underpinned by exhaustive, solid scholarship by writers such as Allen Ellenzweig, whose astounding biography of George Platt Lynes was published by Oxford University Press in 2021(5). Ellenzweig will be presenting a talk on the life of work of Platt Lynes at the gallery on April 13th, toward the end of the exhibition.

Gagosian is pleased to announce its inaugural exhibition of works by Francesca Woodman. Opening on March 13 at 555 West 24th Street, New York, it will feature more than fifty lifetime prints—many of which have not been previously exhibited—including Blueprint for a Temple (II) (1980), the largest work she accomplished. The exhibition presents key prints from approximately 1975 through 1980. Photographing in Providence, Rhode Island; Rome; Ravenna, Italy; and New York, Woodman situated herself and others within dilapidated interiors and ancient architecture to compose her tableaux. Using objects such as chairs and plinths along with architectural elements including doorways, walls, and windows, she staged contrasts with the performative presence of the figures, presenting the body itself as sculpture. In the Self-Deceit series (1978), she photographed herself nude in a room with crumbling walls, standing, crawling, or crouching with a frameless mirror. Through compositional fragmentation and blurring, Woodman throws into question the conceit that photography offers a revelation of the self. On view for the first time since spring 1980, when it was included in Beyond Photography 80, a group exhibition at the Alternative Museum in New York, Blueprint for a Temple (II) is a collage assembled from twenty-four diazotype elements and four gelatin silver prints. Using diazotype, a medium typically employed to create architectural blueprints, allowed Woodman to work at a monumental scale. The composition depicts the right half of a temple façade and features four caryatids—female figures who form columns in classical architecture. The most famous examples of these features are on the Erechtheion at the Acropolis in Athens, which Woodman visited multiple times. Made together with her Caryatid photographs (1980) and printed in sepia and inky blue diazotype, this work is one of two large-scale compositions realized. Blueprint for a Temple (I) (1980), now in the collection of the Metropolitan Museum of Art, New York, has a related composition. Approximately life-size, the four figures in Blueprint for a Temple (II) support an entablature and pediment assembled from photographs of tile mosaics, the claw feet of a tub, and other bathroom fixtures taken in friends’ New York City apartments, likely the same friends who posed as Woodman’s caryatids. Below the figures is a print joining multiple head profiles and a figure with arms occluded by marks Woodman made on its negative. On the work’s lower right are gelatin silver prints taken in bathrooms and a diazotype print that functions as a proposal or diagram of the work through sketches, photographs, and the following inscription: Project A Blueprint for a Temple For a temple of contemplative classical proportions made out of classically inspired fragments of its modern day counterpart the bathroom Bathrooms with classical inspiration are often found in the most squalid and chaotic parts of the city. They offer a note of calm and peacefulness like their temple counterparts offered to wayfarers in Ancient Greece A culmination of Woodman’s representation of the figure in space, the Blueprint for a Temple works prompt consideration of how she drew on classical themes throughout her career. In an untitled photograph made in 1978 at the Pastificio Cerere in Rome, a headless, half-dressed figure leans against an aged wall, her arms behind her back, emphasizing her torso. With her skirt sitting low on her waist and blurred by a gentle movement captured by the camera, the photograph anticipates Woodman’s preoccupation with caryatids and the body as sculpture. The same can be seen in earlier works, such as From Space² or Space² (1976), in which a figure emerges from behind torn wallpaper. As the artist noted around 1976–77, “I’m interested in the way that people relate to space. The best way to do this is to depict their interactions to the boundaries of these spaces. Started doing this with [ghost] pictures, people fading into a flat plane—ie becoming the wall under wallpaper or of an extension of the wall onto floor.” A catalogue will accompany the exhibition, with an essay by Brooke Holmes, the Susan Dod Brown Professor of Classics at Princeton University. A public conversation between Holmes and Lissa McClure and Katarina Jerinic of the Woodman Family Foundation will take place in the gallery on April 17. The exhibition in New York coincides with Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In, a major survey at the National Portrait Gallery in London, on view from March 21 to June 16, 2024, before traveling to IVAM Institut Valencià d’Art Modern, Spain. With over 150 prints spanning the careers of both artists, the exhibition explores thematic affinities between two influential photographers who worked a century apart. A selection of Woodman’s photographs will also be presented by Gagosian at Burlington Arcade, London, from March 18 to April 6, 2024. Image: Untitled, ca. 1977–78 © Francesca Woodman - Woodman Family Foundation/Artists Rights Society (ARS), New York

Haines Gallery proudly presents Sea of Glass, an exhibition of new work by San Francisco photographer John Chiara. Focusing on the dynamic forces that continually re-shape the city, Sea of Glass features a striking new body of work created during the Chiara’s recent residency on Treasure Island—located in the waters separating San Francisco and Oakland—as well as images made on nearby Yerba Buena Island and elsewhere along the bay. The exhibition marks Chiara’s fourth solo exhibition with Haines. Chiara describes his creative process as “part photography, part sculp- ture, and part event.” Using large-scale cameras that he builds himself, he prints directly onto photographic paper, controlling the exposure time as he dodges, burns, and filters the images. The resulting works of art are luminous and one-of-a-kind, inviting us to contemplate their content while they point to the physical and chemical aspects of their creation. In 2022, Chiara was invited by the San Francisco Arts Commission to document changes being made to Treasure Island, a 400-acre man- made island just minutes from the city. Originally constructed to host the 1939 Golden Gate International Exposition, Treasure Island is currently in the midst of a massive, decades-long redevelopment plan. Mirroring the conditions of its creation, the site’s narrative is once again one of possibility and invention, shaped by complex socio-economic forces. Chiara’s Treasure Island works reinterpret the experience of meandering through a neighborhood that straddles the old and the new. Carefully composed images of aged and industrial exteriors draw our attention to shifting elements of the landscape and shed new light on seemingly non- descript places. Navy Mound, Center of Treasure Island (2023) appears at first glance like one of his oceanscapes, but the work’s horizon line is marked by wire and nails, and glittering light reflects off of a crinkled plastic tarp instead of water. Other images combine the remaining wooded areas on Yerba Buena Island with flora in San Francisco’s Golden Gate Park. Exposing these prints for a third time, Chiara turns the paper around and exposes it to sunlight, allowing the unfiltered light to directly hit the back of the emulsion. Elements of the landscape emerge and recede from these complex, layered compositions. Dense with wildlife, they hint at how it might have felt to have experienced the island when it was still an Ohlone fishing village called Tuchayune. They are also fictive landscapes, a place that is both and neither, speaking to the subjectivity of our memories and experience. Within these evocative, atmospheric photographs, the changing light and fog so distinctive to San Francisco parallels the story of a city in transition. Sea of Glass also includes a selection of large-scale photographs of San Francisco, shot from across the bay on Treasure Island, the city’s skyline bisecting a wide expanse of sea and sky. These latest land- scapes capture the effects of light and its movement, as it animates the water’s surface or filters through dense clouds and marine layer. Here, Chiara’s inventive methods yield images that subvert and refresh our reading of these familiar, postcard-perfect vistas, as the stylistic signatures of his process—uneven hand-cut edges, subtle chemical streaking, tape marks, and the unexpected placement of recognizable landmarks—lend a sense of disorientation and discovery.

Haines Gallery proudly presents Earth and Sky, a new exhibition with the celebrated photographer Linda Connor. Her 7th solo exhibition at Haines, Earth and Sky will highlight seminal images from Connor's distinguished practice, reproduced as luminous sublimation prints on aluminum. ''Above all, I’m interested in the power of imagery—in how a medium as factual as photography can evoke responses on the border between the world we know, and the one we can’t.'' Throughout her career, Connor has traveled extensively with her 8x10 view camera, investigating remote landscapes and the sacred and spiritual worlds across multiple continents. Her peripatetic approach to photography demonstrates a longstanding interest in the relationship between systems of belief and the natural landscape, resulting in profound images of wide-ranging subjects. Bridging the terrestrial and the celestial, Earth and Sky includes images from Connor’s ongoing series Once the Ocean Floor, which depicts the intricately jagged cliff faces in the mountainous Ladakh region in Northern India—carved over millennia by the power of nature, as well as iconic images of the cosmos. In 1995, Connor began printing with the historic glass plate negatives in the archives of California’s Lick Observatory, located at Mt. Hamilton just east of San Jose. Numbering in the thousands, the Lick Observatory has one of the most extensive collections of glass plate negatives, most of which have not been used to make prints since their original production in the late 19th century. In both cases, time—the latent subject of every photograph—moves both backward and forward, as we traverse its geological and astronomical aspects in order to locate ourselves within a universe defined solely by flux. In Connor's hands, the camera is not an instrument of precise control; instead, she leaves her process open to unknown possibilities. She usually makes unmetered exposures and has a proclivity for photo- graphing in uncontrollable situations. What results are contemplative, quietly powerful images invoke a sense of timelessness and invite us to contemplate our place in the world, and emphasize the ethereal, diffused light so signature to her imagery.

Dolby Chadwick Gallery is thrilled to announce Abodes, an exhibition of recent work by French photographer Éric Antoine, on view for the month of April. The show’s titular series Abodes speaks to how inextricably linked Antoine’s work is to his home and memories. Different configurations of numbered boxes represent the artist’s past residences, which begin and end in the secluded forest of France’s Alsace region. Within the expansive wooded landscape, Antoine developed his intense fascination for trees, documenting their lives through his anthropomorphic “tree portraits.” Continuously returning to the same arboreal sitters, Antoine’s images illustrate the passage of time. Much attention has been brought to Antoine’s use of the archaic wet collodion process, one of the earliest forms of photography. However, his images are far from nostalgic: “I don't use the medium because it's something old. I use it because it's the sharpest, most organic material process. What’s important to me is the deep black and shimmering silver.” Moreover, the fluidic medium affords Antoine the ability to render his more abstracted works in the same manner as his paintings. For the Shore series, the artist deftly manipulates the flowing emulsion to create abrasions that give dimension and movement to the water within these somber vignettes. Image: Abodes III, 2023 | Ambrotype © Éric Antoine

Celebrate this groundbreaking, internationally renowned photographer and painter whose remarkable Richmond-based career spans over six decades. Presenting 63 photographs and 9 paintings by the Richmond native, born in 1924, this is the first major exhibition to explore the trajectory of her impressive 60-year career. From playful and irreverent scenes of everyday life to ethereal evocations of the past, Willie Anne Wright’s experimental paintings and photographs examine pop-culture, feminine identity, the pull of history and the shifting cultural landscape of the South. With a focus on photography’s role in shaping collective understandings of history, place, and gender, the exhibition draws from VMFA’s recent acquisition of Wright’s work, including more than 230 photographs and 10 paintings, as well as a comprehensive artist archive. Image: Anne S at Jack B’s Pool, 1984 © Willie Anne Wright