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Lori Grinker: Mike Tyson

From November 03, 2022 to January 07, 2023
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Lori Grinker: Mike Tyson
247 West 29th Street, Ground Floor
New York, NY 10001
CLAMP is pleased to present Mike Tyson, an exhibition of photographs by Lori Grinker. The exhibition coincides with the release of Grinker’s monograph titled Mike Tyson (powerHouse Books, New York: 2022).

Grinker first met Mike Tyson in the early 1980s, when he was 13 years old training with legendary manager Cus D’amato in Catskill, New York.

Initially photographing D’amato and his young fighters, including Tyson, for a term assignment at Parsons, Grinker continued to work with the young prodigy, and their photographic relationship continued to flourish as Tyson’s star rose.

Eventually, Grinker was traveling the globe with Tyson as he racked up championships, rubbing elbows with celebrities like Madonna, Warren Beatty, Jack Nicholson, Jesse Jackson, and Donald Trump, to name a few.

The photographs presented in the exhibition “Mike Tyson” span this timeline, from Catskill in the early 1980s to Tokyo in 1990, where Tyson would lose his World Boxing Council title.

Image: © Lori Grinker, Untitled (Mike Tyson on a flight to Tokyo. . .) Mike Tyson on a flight to Tokyo, where he will train for the Tony Tubbs fight, February 17, 1988
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Alone Together: Criticall Mass 2023 Top 50
Colorado Photographic Art Center CPAC | Denver, CO
From February 23, 2024 to April 13, 2024
Featuring outstanding contemporary photographs by 50 artists from 10 countries, selected by the who’s who of the international photography community Organized by Photolucida, Critical Mass invites photographers at any level, from anywhere in the world, to submit a portfolio of 10 images. Thousands of artists submit their best work. From this massive pool of entries, 200 portfolios are selected – and then voted on by 200 leading curators, gallerists, publishers, and other art-world superstars who select the Top 50. . EXHIBITING ARTISTS Streetmax21, Tracy Barbutes, Lynne Breitfeller, Jo Ann Chaus, Diana Cheren Nygren, Cathy Cone, Leah DeVun, Jesse Egner, David Ellingsen, Santiago Escobar-Jaramillo, Argus Paul Estabrook, Marina Font, Adair Freeman Rutledge, Jesse Freidin, Eva Gjaltema, Zoe Haynes-Smith, Sarah Hoskins, Shao-Feng Hsu, Allison Hunter, Michael Joseph, Roshni Khatri, Kazuaki Koseki, Jaume Llorens, Simone Lueck, Krysia Lukkason, Aimee McCrory, Diane Meyer, Frankie Mills, Kevin Bennett Moore, Lisa Murray, Bob Newman, Lou Peralta, Walter Plotnick, Ann Prochilo, André Ramos-Woodward, Nathan Rochefort, Ruddy Roye, Mateo Ruiz Gonzalez, Claudia Ruiz Gustafson, Daniel Sackheim, Leah Schretenthaler, Lauren Semivan and John Shimon, Lindsay Siu, Stephen Starkman, Jamey Stillings, Nolan Streitberger, Krista Svalbonas, Rashod Taylor, Grace Weston, and Michael Young. For most photographers the act of making an image, the moment itself, is one of ‘happy solitude’ (to borrow from Raymond Depardon). It is no secret or surprise that those who crave periods of quiet contemplation of the world around them are drawn to making images; photography gives them an opportunity to embrace and revel in their alone-ness (note that I didnt use ‘loneliness’). This alone-ness allows us space to process, to ponder, to despair, and to accept – it is most craved when lifes challenges confront us. Famously Masahisa Fukase’s much-lauded photobook Ravens (originally published in 1986, and republished more recently by MACK), emerged from a period of grief after the collapse of his marriage and from his desire to escape to his childhood home island of Hokkaido (Japan’s northernmost island) for solitude. He sought out alone-ness. In the postscript to the book, Akira Hasegawa wrote: “In the case of Masahisa Fukase, the subject of his gaze became the raven. For him, the ‘raven’ was both a tangible creature and a fitting symbol of his own solitude”. During the process of looking through hundreds of photographs with the remit to select one from each of the 50 shortlisted artists (all of whom, it must be noted, deserve a solo exhibition), with the goal to entwine them together with a thematic thread, it occurred to me that simplicity was the best policy. It is easy to forget sometimes that each image that is ‘made’ has to have a maker, who invariably was ‘there, then’, in the moment. A human was present and necessary for that idea to become physical; the instance was recorded when someone made a decision, and in that moment there was silence, there was the photographer, a camera, a direction and a choice to press the shutter. In that specific time-space the photographer was alone, obsessed with that one frame, brain whirring, and fingers tensed. Alone-ness then is essential to the practice of making photographs. In the selection process for this exhibition I became obsessed with choosing images that caused me to slow down, to pause, and to consider what alone-ness truly means. I wanted to see if we could reclaim a positive space for being alone. I started to feel that photography IS solitude, (to amend a famous line from Italo Calvino), that one photographs alone, even when in another’s presence. When one is being photographed, as a subject, they are similarly alone faced with a lens and the apparatus behind which the photographer works. The look at the lens, the pose, the freeze, signals the instant of alone-ness. Each photograph in this exhibition provides space for you to ponder, to observe and to be alone in your thoughts. In doing so I ask you to occupy a spot in front of each image, pause, and consider the space each image provides, what does it mean to you? Where does your mind go when you consider the alone-ness presented here? Perhaps being alone is almost impossible, we are constantly around people, being watched, judged, observed by cameras, and if not our minds are flooded with thoughts of others, and what they would say or do at any given moment. At the same time we can feel entirely alone in the midst of a heaving mass of people, we can be overcome with alone-ness standing within touching distance of someone else. We are forever alone together, or somewhere in-between. – Daniel Boetker-Smith, Director of Australian Centre for Contemporary Photography
Desire to See:  Photographs by Agnès Varda
Fahey/Klein Gallery | Los Angeles, CA
From February 29, 2024 to April 13, 2024
The Fahey/Klein Gallery is pleased to present “Desire to See: Photographs by Agnès Varda”, the first exhibition in the United States dedicated exclusively to Agnès Varda’s photographic work. This retrospective exhibition delves into the rich photographic history of the French New Wave filmmaker and provides a comprehensive visual narrative of Varda’s life and creative pursuits through a diverse selection of photographs spanning from vintage lifetime prints developed and printed by Varda to newly discovered posthumous works. “Desire to See: Photographs by Agnès Varda” showcases Varda’s self-portraits, offering an introspective look into the artist’s identity alongside portraits of fellow artists (Alexander Calder, Salvador Dalí, Delphine Seyrig, Federico Fellini, Catherine Deneuve, Luchino Visconti, and more), highlighting her radical vision and passionate engagement with the world. Documentary photographs from her extensive travels through diverse locations such as Cuba, China, and Los Angeles, as well as her beloved home in Paris, illustrate her keen observational eye. Varda’s photographic career predates her filmmaking and intersects fluidly throughout her six decades of creative pursuits. Still photographs often influenced and inspired her films, as is the case of Le Pointe Courte and Ulysse, and likewise filmmaking was the subject and context for her still photographs. Varda’s eternally free spirit guided her restless curiosity and imagination while defining a strong, clear, experimental, feminine voice visible within every frame.  Agnès Varda, (1928 - 2019), was a film director, screenwriter, photographer, and visual artist. Born in Belgium, she studied art history and photography, working as a professional photographer before making her first feature film in 1954 at the age of 26, the ultra-low budget independent film La Pointe Courte. Her pioneering work was central to the development of the widely influential French New Wave film movement of the late 1950s and 1960s. Drawing on art history, literature, and philosophy, her films, photographs, and art installations focus on documentary realism, feminist issues, and social commentary with a distinctive experimental style. Throughout her life she maintained a fluid interrelationship between photographic and cinematic forms. Varda produced some of her most significant work in Los Angeles. Moving to L.A. in 1967 with her husband, filmmaker Jacques Demy. Living in Beverly Hills, driving a convertible, and mingling with movie stars and directors, among them Harrison Ford, Jane Fonda, and Michelangelo Antonioni. Varda made three films in L.A., Lions Love (…and Lies), Uncle Yanco and Black Panthers, films made in response to Varda’s keen awareness of the politically and socially charged times of the day. Agnès Varda returned to L.A. alone in 1981 to film Murs Murs and Documenteur, intent on turning the mirror back into the City of Angels. During the last 15 years of her life, Agnès Varda continued to explore ways to bring her work into totally new and exciting contexts. In 2003 Hans Ulrich Obrist invited Varda to participate in the Venice Art Biennale with Patatutopia, a three-screen video installation complete with 700 kilos of potatoes, giving her renewed vigor and engagement. She was now “not an old filmmaker but a young visual artist.” In 2017 Varda joined forces with French photographer and artist, JR, to make Faces Places, an unlikely collaboration in which the two traverse rural France in search of lost traditions and changing mores. The film was nominated for the Academy Award for Best Documentary Feature. In 2015 Varda was awarded the Palme d’or d’honneur for lifetime achievement at the Cannes Film Festival. She received an honorary Oscar in 2017, becoming the first female filmmaker to receive the award. Varda died in Paris in 2019 at the age of 91. The work of Agnès Varda is featured in many international collections such as: the Fondation Cartier pour l'Art Contemporain (Paris), the FRAC Lorraine (France), the MoMA (New York), the Musée Paul Valéry (France), the CAFA Art Museum (Bejing China), the Institut Culturel Bernard Magrez (France), and LACMA (Los Angeles), Le Centre Pompidou (Paris). Director’s Inspiration: Agnès Varda is currently on view at The Academy Film Museum, Los Angeles until January 5, 2025. Viva Varda, a retrospective organized by the Cinémathèque Francaise will open at the Centre de Cultura Contemporània de Barcelona, July 2024. Hans Ulrich Obrist Archive, Chapter Three: Agnes̀ Varda is at LUMA Arles, Arles, France through May 2024. “Desire to See: Photographs by Agnès Varda” is curated in collaboration with Rani Singh.
O Man!
Silver Eye Center for Photography | Pittsburgh, PA
From February 22, 2024 to April 13, 2024
In o_ Man!, Kelli Connell and Natalie Krick use collage, reappropriation, and wordplay as subversive tools to interrogate photography’s past. In 1955, Edward Steichen organized The Family of Man exhibition at the Museum of Modern Art in New York. Steichen, photographer for Vogue and Vanity Fair and director of the photography department at MoMA, ambitiously sought to describe universal aspects of human experience. The exhibition was an unprecedented success, even as scholars, writers, and artists quickly critiqued its Western-centric and sentimental narrative. Connell and Krick expand this long legacy of critical-looking by reinterpreting Steichen’s images, and photographs and original language from The Family of Man catalog. o_ Man! challenges the male dominated history of photography and raises questions of patriarchal authority, power, and bodily autonomy vital to our political time.
Endless
The Museum of Contemporary Art Chicago - MCA | Chicago, IL
From April 14, 2023 to April 14, 2024
Endless brings together artworks that touch upon the concept of infinity. Impossible to convey in full, the idea of the infinite prompts artists to reckon with the limits of what they can depict, leading to poetic and open-ended artistic approaches. This focused exhibition features key works from the MCA’s collection that approach the infinite through painting, sculpture, drawing, and photography. The four artists represented in the exhibition use repetition, abstraction, and processes of change to suggest endlessness—whether spatial, temporal, or spiritual—and to reflect the immeasurable depth of our inner lives. The exhibition is curated by Nolan Jimbo, Marjorie Susman Curatorial Fellow. It is presented in the McCormick Tribune Gallery on the museum’s second floor.
Raven Chacon: A Worm’s Eye View from a Bird’s Beak
Swiss Institute | New York, NY
From January 25, 2024 to April 14, 2024
wiss Institute (SI) is pleased to present A Worm’s Eye View from a Bird’s Beak, Raven Chacon’s first major institutional solo exhibition, organized in partnership with Nordnorsk Kunstmuseum in Tromsø, Norway. A 2023 MacArthur “Genius” Fellow and the first Native American artist to receive the Pulitzer Prize for music in 2022, Chacon works through sound, video, scores, performance and sculpture to address Indigenous sovereignty and environmental justice. The show brings together groundbreaking works from the last 25 years with a newly commissioned sound and video installation, novel iterations of pioneering works, and a major public art mural on SI’s building. The exhibition spans diverse geographic contexts: Sápmi (the Sámi homeland traversed by the present-day nation states of Norway, Sweden, Finland and Russia) and Lenapehoking, or New York, in Turtle Island. Both locations share Indigenous histories and presents that colonialism has attempted to eradicate for centuries. Yet they are also sites where resilience, or, in the words of cultural theorist Gerald Vizenor, survivance, continues to thrive. Upon entering the exhibition, the score American Ledger No. 1 (2018) displays a graphic meditation on the founding of the United States in chronological descending order. Made for sustaining and percussive instruments, coins, axe and wood, a police whistle, and a match, the piece narrates moments of contact, enactment of colonial laws, events of violence, the building of cities, appropriation of land and attempts to excise Indigenous worldviews. At the center of SI’s first floor gallery is Chacon’s sound installation, Still Life No. 3 (2015). Through a series of speakers installed in a cascading arch, a woman tells the Navajo story of origins, which comprises four worlds below and several others above. But rather than conceiving of the worlds below as the past and the worlds above as the future, in the linear way that Western narratives might suggest, in Navajo cosmogony these multiple worlds still, or already, exist. Parts of the creation myth repeat and overlap, blurring its progression and allowing multiple temporalities to coexist and affect one another. Further inside the gallery, Report (2001/2015), a composition and score for an ensemble of firearms, punctuates silence through a cacophony of both power and resistance. On the second floor, Chacon’s new video installation For Four (Caldera) (2024) features four women standing on a volcanic hollow in the Jemez Mountains of New Mexico, reading the panorama of their natural surroundings and expressing what they see through song. Also on view is video documentation of the making of the newly commissioned sculpture …the sky ladder (2024), emerging from a workshop with members of the Bål Nango family of artists, lawyers and activists in Northern Norway. There, participants drilled holes into wooden planks to trace outlines of mountain ranges and other culturally significant landscapes in reference to intergenerational and site-specific transference of knowledge. For a new iteration of Still Life No. 4, Chacon sounded a Diné drum from the collection of the Smithsonian National Museum of the American Indian that had not been played in a long time and recorded the beat, playing it back at listening stations at SI and elsewhere at different tempi ranging from fast to slow the further each station is located from the drum. Field Recordings (1999) from the American Southwest magnify sounds of silence to produce noise that reveals the vibrational patterns of these locations. In addition, throughout the building, viewers are invited to take and perform prints of scores. Painted as a large-scale mural on the outside façade of SI facing St Marks Pl, the new score for Vertical Neighbors (2024) will be activated during the exhibition with a performance, alongside expansive public programming throughout the duration of the show. A Worm’s Eye View from a Bird’s Beak highlights the multidisciplinary depth of Chacon’s prolific practice of the past 25 years. Between past, present and future, silence and noise, violence and resilience, Chacon’s work proposes new as well as ancient ways of relating through which alternative politics may be glimpsed. Chacon’s first monograph, published by Swiss Institute, Nordnorsk Kunstmuseum and Sternberg Press, will be launched on the occasion of the exhibition. The book includes newly commissioned contributions by Lou Cornum, Aruna D’Souza, Candice Hopkins, Anthony Huberman, Marja Bål Nango and Smávot Ingir, Patrick Nickleson and Dylan Robinson, Eric-Paul Riege, Ánde Somby, and Sigbjørn Skåden, with an introductory text by editors (with Alison Coplan) Katya García-Antón and Stefanie Hessler.
 2023 CPA Artist Grant Recipients Andrea Orejarena, Caleb Stein, and Chanell Stone
The Center for Photographic Art (CFPA) | Carmel, CA
From March 09, 2024 to April 14, 2024
The Center for Photographic Art is pleased to present the work of the 2023 CPA Artist Grant Recipients. Visit the gallery to see new work by the CPA Exhibition Grant Recipients including the artist duo, Andrea Orejarena & Caleb Stein, and Chanell Stone. Don't miss the artist talk by CPA Artist Support Grant Recipient Granville Carroll on January 17 to discover how the grant affected his project. We are honored and excited to support these talented artists and bring their work to Carmel. The 2024 grants cycle will be opening soon, including a new grant selection committee. Stay tuned! Chanell Stone Project Description: Continuum is a collection of images exploring the metaphorical relationship between the 'body 'and the 'scape'. Made across rural Louisiana, Stone presents a melange of riverscapes, lyric and contour offering glimpses into her practice of empiricism and remembrance. Andrea Orejarena & Caleb Stein, Artist Duo Project Description: American Glitch looks at the slip between fact and fiction and how this manifests in the U.S. landscape, which is our adopted home. An ocean of information leaves us perpetually asking what's real and what's fake. In an era defined by screens, conspiracy theories, and the advent of the Metaverse, the notion that we're existing within a simulation has become increasingly popular, often in a satirical collective protest to late stage capitalism, disinformation and increased dependence on technology. This notion that we're living in a simulation appears online where images are posted as personal evidence of spotting a “glitch in real life”. This vernacular builds on ideas explored in movies like The Matrix and The Truman Show. The notion of a glitch reflects a generation’s experience where the digital and physical worlds are merging. We spent years treating the internet as our collective subconscious, collecting posts on social media and reddit threads of people’s “evidence of glitches in real life”. These threads and images become a place for a new form of community and connection across time and space. We then photograph sites around the U.S. which remind us or people on the internet of real-life glitches. What does it mean when the same image, in varied forms, is circulating on the Internet? Sometimes, it's the same exact photograph being reposted -- you can see the pixels getting larger and larger showing the life the image has had on the internet. Other times, it's the same location being revisited by hundreds of people, showing all of our different, or similar, interpretations alongside posts on social media threads like Tumbler, or websites like Atlas Obscura with discussions of the uncanny. There are thousands of photos being made every day, that's the beauty of photography, and this project is about the flood of images in conversation with each other. We're searching for the intersections of the personal, and collective. This intersection is powerful, and full of its own type of hope.
Master Class: Photographs By Four African American Photojournalists
Keith de Lellis Gallery | New York, NY
From February 13, 2024 to April 19, 2024
Keith de Lellis is pleased to present an exhibition of four distinguished African-American photographers who professionalized their passion for the photographic arts by establishing careers as masters in the world of photojournalism. Eli Reed, Coreen Simpson, Ozier Muhammad and Beuford Smith all brilliant and savvy picture makers, are shown here documenting the world around them in images of historical and cultural significance. The exhibition consists of a sampling of about a dozen images per artist, each revealing a distinctive vision and a keen ability to capture the moments that tells us so much not only about their subject but about the picture maker themselves. Eli Reed has the distinction of being the first black photographer to become a member of the elite photojournalists collective Magnum Photos along with its’ prestigious international roster of some of the finest photographers in the field. Reed’s images are a study of the human condition. While many focus on the lives of people of color in all strata of society from the impoverished to the gifted and celebrated, he treats all his subjects with dignity and deference. Reed’s 1994 canny portrait of Gordon Parks and his daughter Toni taken in London, reveal their faces etched with what feels like a complicated and perhaps difficult moment in a father-daughter relationship. Coreen Simpson is the rare African-American female artist whose portraiture whether it be her powerful studio work or on location pictures in art galleries, performance venues or celebrity photo ops, convey her empathy for her subjects. A touching 1989 photograph of Oprah Winfrey at one such photo-op where Winfrey has completely fixed her gaze on Coreen’s camera ignoring the gaggle of other photographers. It’s that moment that makes one wish they could read Oprah’s mind as she is confronted by another professional black woman, perhaps seeing herself in Coreen’s lens. Ozier Muhammad, a Chicago born Pulitzer Prize winning photographer, has photographed some of the most historical moments of the past 30 years including hunger in Africa, Nelson Mandela’s Election and the Obama Campaign for the Presidency. We chose to exhibit some of Ozier’s earlier work for its prototypical purity and clean lines that reveal an honesty and authenticity that are the hallmark of his later work. His portrait of Chicago’s Mayor Richard J. Daley at Congressman’s Funeral in 1973, reveals a fully formed artist who knew how to get a picture and get it right from his earliest efforts as a photojournalist. Beuford Smith is a natural born photographer, and powerhouse in the world of African American Photography. His accomplishments include President and founding member of Kamoinge, founding editor of the Black Photographers Annual, Photography exhibition curator and owner of the Cesaire picture agency. His contribution to the exhibition is a suite of photographs taken the day after Martin Luther King, Jr. was assassinated. This tragic and historic event moved Smith to deal with the shock and pain of losing such a pivotal figure in the civil rights movement by grabbing his camera and preserving the fleeting moments that must have been achingly sad on that day. Image: Homeless March for shelter. Missouri, USA. 1986 © Eli Reed
Bodies of Work:  Katinka Herbert
Harvey Milk Photography Center | San Francisco, CA
From March 02, 2024 to April 20, 2024
This exhibition explores the commodification of athletic bodies. Bringing two projects into dialogue, Katinka Herbert delves into the lives of Mexican wrestlers and Cuban athletes. In doing so, her images capture the dilemma of physical performance: a tense relationship between economic necessity and the human form. While some athletes experience their bodies as vehicles of financial stability and international travel, many grapple with unpredictable incomes, visa barriers, and the looming threat of career-ending injuries. As such, ‘Bodies of Work’ is a study of precarious labor. Here, lives that are ordinarily defined by movement are frozen in the photographic frame. Their muscles resonate with tension and potential; their poses strain under personal and political weight. ‘Slam’ This project offers unprecedented access to the stars of the Mexican wrestling scene. Notoriously secretive about their true identities, it follows these hyper-masculine stars from the drama of the ring to the intimacy of their own homes. Eight years in the making, Slam is a story of trust. In documenting each costumed character, the project unmasks their private lives and alter-egos. Because concealed behind each disguise, many legends of Lucha Libre are a mess. Their foreheads are covered in scar tissue, their lives are marked by self-harm. This series brings a dignified lens to the characters hidden behind a uniquely Mexican ritual of performance, spectacle and machismo. ‘The Movers’ This project explores the subject of mobility through portraits of Cuba’s top athletes. Their lives are dictated by movement: running, dancing, leaping and jumping. For a lucky few, this opens up new kinds of mobility – geographic, economic and social. But most of them remain trapped: frozen inside a communist regime. The Movers captures this dilemma. Each subject is perfectly motionless within the frame. Each static body resonates with tension and potential. Their bodies are either a means of escape – a ticket to freedom – or the very obstacle to it. This exhibition invites us to consider the labor conditions that determine the lives of professional athletes, and the economic architectures that construct their performing bodies. These are bodies under tension: suspended between action and transaction, poised between freedom and constraint. KatinKa Herbert – Katinka is a commercial portrait photographer based in London. Her projects explore identity, performance and extroversion. Brought up among filmmakers and circus performers, she is fascinated by characters who visibly manufacture their own identities: wrestlers, cross-dressers, movie stars and burlesque dancers. Her work is highly-constructed, immersing her subjects in a world of seduction, theatre and enigmatic humor. This approach has fueled a highly-acclaimed career in commercial portraiture, capturing A-listers from Beyonce to Brian Blessed, Hulk Hogan to Heston Blumenthal. Alongside these assignments, she regularly works on commission for clients such as Adidas, English National Opera, Coutts, Casely-Hayford, Iris Worldwide, Gillette, Jaguar Land Rover, Dazed & Confused, The Observer, Guardian, Telegraph, The Times, Wunderman Thompson and Martin Agency. Her accolades include a catalog of international award shows. Recent highlights include Portrait of Humanity (2019), Portrait of Britain ( 2018), IPA Lucie awards (2018), Taylor Wessing shortlist (2018), LensCulture (2018), SIPA (2018), AOP Open (2017) and the Royal Photographic Society International Photography Exhibition (2017) Finalist in the Sony World Photography Awards (2020) and Shortlisted for the Alpha Female Award, Sony World Photography Awards (2020).
Nightlife: Photographs by Berenice Abbott, Brassaï, Bill Brandt, Helmut Newton, Irving Penn, and Weegee
Marlborough New York | New York, NY
From March 07, 2024 to April 20, 2024
Marlborough New York is pleased to present Nightlife, a group exhibition featuring iconic images by six of the most prominent photographers of the twentieth century whose images all celebrate the nocturnal hours of city life. Featuring works by Berenice Abbott, Brassaï, Bill Brandt, Helmut Newton, Irving Penn, and Weegee, this exhibition unites photographs which capture underground subcultures, illicit activities, subversive fashions, and those otherwise existing on the fringes of society searching for hedonistic escapism. Ultimately, Nightlife will pay homage to the joyous freedoms experienced from dusk to dawn. Working in Paris and London respectively, Brassaï and Bill Brandt captured the joie de vivre of night-goers in the 1930s, as the recent invention of the flashbulb allowed for the new genre to be possible. Brassaï would often walk around the city at night, carrying his camera, tripod, magnesium flash powder and a box of 24 glass plate negatives to photograph Parisian nightlife. Wandering the dimly lit streets, he captured the excessive nightlife of the demi-monde in bars and brothels, creating a unique visual topography of the city and a colorful chronicle of its subcultures. Inspired by Brassaï’s Paris de Nuit published in 1936, Brandt’s second photobook, A Night in London, chronicles the events transpired on a London evening out, oscillating between capturing a variety of social classes. Interested in shadows, Brandt often used the darkroom to alter his photographs in decisive ways, using the “day for night” technique employed by cinematographers to transform images photographed in daylight into night scenes. New York-based photographers Berenice Abbott and Weegee employed a documentarian approach when photographing their nighttime scenes. Abbott is most notable for her book Changing New York, which documents the modern skyscrapers, harbors, highways, city squares, neighborhoods, storefronts of New York City as it swiftly evolved. On view in this exhibition will be New York at Night, one of the most iconic images featured in Changing New York which depicts an aerial view looking north on New York’s West Side. Taking a bleaker approach, legendary news photographer Weegee would listen to a police scanner radio installed in his 1938 Chevrolet in order to arrive first at crime scenes to produce gruesome, yet compassionate, photographs of murders, fires, car accidents, burglaries, and brawls. With a penchant for eccentric trends influenced by nightlife subcultures, Helmut Newton and Irving Penn both produced fashion photography for Vogue magazine. As one of fashion’s most prolific photographers, Newton is most notable for his provocative images which draw from influences such as film noir, Expressionist cinema, S & M, and surrealism. Penn’s fashion photography exercised a more pared-down aesthetic, often staging his motifs in front of white backdrops with minimal lighting. Nightlife celebrates a pivotal period in the history of photography, when the medium firmly established its position as an independent art form. The show also pays tribute to the critical role Marlborough played at the forefront of exhibiting photography during the 1970s and 80s. Many of the photographs on view have not been seen in decades and are from the gallery’s extensive collection. Marlborough’s program continues to highlight historical shows and artist estates alongside leading contemporary artists.
Gordon Parks: Born Black
Jack Shainman Gallery | New York, NY
From March 07, 2024 to April 20, 2024
Jack Shainman Gallery is pleased to present Born Black, an exhibition of Gordon Parks’s photographs—curated in collaboration with The Gordon Parks Foundation. This presentation is inspired by the 1971 book Gordon Parks: Born Black, A Personal Report on the Decade of Black Revolt 1960-1970, which brought together a collection of essays and photographs by Parks that were originally created for Life magazine. Translating the essential themes of the text into an exhibition, Jack Shainman explains, “We seek to commemorate Parks’s ground-breaking 1971 anthology, and the enduring impact of his photographs and writing today. This exhibition is an act of expansion—presenting both seminal and lesser-known works from his renowned photographic series, offering contemporary meditations on his incisive eye and insightful prose.” Gathered in this presentation are images that were featured in, relate to, and extend beyond the photographs illustrated alongside the nine essays in Born Black. In each photo essay, it is clear that Parks’s images capture momentous scenes that exceed the limitations of language, and simultaneously, the frankness of his prose grounds the accompanying images with vital sociopolitical context and his personal perspective. Through his photography and writing—but also clear in his films, literature, and musical compositions—Parks demonstrated the value of empathy and compassion when creating art. Before picking up his camera, he took a vested interest in getting to know his subjects when embarking on a new project, taking time to situate himself both on the frontlines and front porches of the events and lives he covered. Though positioned as an outsider with his camera and pen, as a Black man in America, Parks never shied away from incorporating his nuanced impressions and political solidarity with his subjects, nor did he conceal his personal investment in the experiences, movements, and history he depicted. Situating himself between the mainstream and the radical, this selection of works display his efforts to portray Black Americans from youth to adulthood, a multigenerational archive that expresses the inextricable links between the urban and rural, the individual and communal, and the center and periphery. Whether anonymous or celebrated, each of his subjects prompts the viewer’s participation in critically contemplating what it means to be born into, to be shaped by, and to strive to reimagine life in the United States. His images hold both the force of who is represented and what is symbolized, like the memorialized portraits of Muhammad Ali, Stokely Carmichael, and Malcolm X shown alongside photographs of crowds gathering to protest against police brutality. In the final essay of the book, Parks reflects on his conversation with Eldridge Cleaver in which the Black Panther Party leader invited Parks to serve as their minister of information. In response, and reflection, he explained, “my interests go beyond those of the Black Panthers, to other minorities and factions of the black movement who want change…Looking back to that moment I find that I am displeased with my answer. I should have said: Both of us are caught up in the truth of the black man’s ordeal. Both of us are possessed by that truth which we define through separate experience. How we choose to act it out is the only difference. You recognize my scars and I acknowledge yours.” Parks was attuned to the importance of singular moments, everyday and monumental, in developing a comprehensive portrait of his time—a precise but inclusive vision of Black life in the twentieth-century. This spring, Steidl, in partnership with The Gordon Parks Foundation, will release an expanded edition of Born Black that illuminates Parks’s vision for the book and offers deeper insight into the nine series within it through additional images, related manuscripts, and scholarly essays. Reflecting on the book’s enduring legacy, Peter W. Kunhardt, Jr., Executive Director of the Gordon Parks Foundation shares, “Born Black, the first book to unite Parks’s writing and photographs, illustrates his thorough effort to platform first-person narratives of Black lives and experiences across America at a time of unequivocal revolution. We are also pleased to include two new essays by renowned critics Jelani Cobb and Nicole R. Fleetwood.”
Mixed Up - Connected: Joe Ramos Photographs
Monterey Museum of Art | Monterey, CA
From January 18, 2024 to April 21, 2024
Mixed Up – Connected presents the works of California photographer, Joe Ramos. The exhibition merges intimate portraits of family and friends with captivating landscapes, reflecting themes of identity, belonging, and the intricate interplay between humanity and nature. The portraits capture a lifetime of cherished faces, while the landscapes reveal the artist's profound connection to the Salinas Valley. As a person of mixed Filipino and Mexican heritage, Ramos navigates the complexities of identity, echoing the experiences of many. These photographs, from birth to the end of life, remind us that we are all connected, regardless of our backgrounds. Joe Ramos, a San Francisco-based photographer hailing from Salinas Valley, has dedicated over four decades to the art of photography. Trained at the San Francisco Art Institute under Richard Conrat, a close associate of Dorothea Lange, Ramos specializes in documentary photography, capturing profound imagery from the Salinas Valley and San Francisco's Mission District. Beyond documentary, his botanical images reflect a deep appreciation for nature, emphasizing the sculptural essence and vibrant hues of plants, often bordering on abstract representation. Ramos's forte lies in portrait photography, evident in the depth and strength of his images—a testament to the mutual trust between the photographer and the subject. Since 2006, he has significantly contributed to San Francisco's Project Homeless Connect, capturing over 1,000 portraits, which culminated in a notable exhibition at the San Francisco Main Branch Library in 2012. Drawing inspiration from legends like Robert Frank, Edward Weston, and Henri Cartier Bresson, Ramos's work transcends mere imagery, encapsulating the essence of both everyday and profound moments. Image: ​Monique as a Child, 1980/2023 © Joe Ramos
Dorothea Lange: 1935 – 1942
Monterey Museum of Art | Monterey, CA
From January 11, 2024 to April 21, 2024
As one of America's most notable documentary photographers, Dorothea Lange offers a compelling glimpse into a pivotal period in American history. Marked by the Great Depression (1929-1939) and the tumultuous years leading up to World War II (1939-1945), this exhibition displays Lange's seamless ability to capture the essence of human experience in times of profound hardship. The photographs in this exhibition – selected from the Oakland Museum of California's Dorothea Lange Archive and the United States Library of Congress – showcase Lange's unwavering commitment to documenting history. Focused on the impacts of life in California, these photographs reveal Dust Bowl migrants, braceros (Mexican laborers brought to the U.S. as seasonal agricultural workers), and life within the migrant labor camps. Image: Filipinos cutting lettuce. Salinas, California, 1935
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