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Adam Ekberg: Minor Spectacles

From January 14, 2023 to August 06, 2023
Adam Ekberg: Minor Spectacles
900 East Avenue
Rochester, NY 14607
Whatever transpires in the blink of an eye can be either a minor occurrence or a great spectacle, depending on our perception of that event. What happens when we are the sole witness to an event? There is an inherent loneliness in not being able to share something, whether mundane or astonishing, with others.

This loneliness permeates Adam Ekberg’s whimsical photographs that document the climax of orchestrated events. While the camera freezes them into still lifes, a sense of continuity—like the arc of a story—happens as one realizes that Ekberg (American, b. 1975) invented, manifested, documented, and concluded these events. The objects take on lives of their own, even though we know that such agency is impossible for a roller skate, a pumpkin, or a balloon to have without human intervention. Ekberg’s presence is underscored by his absence in the resulting pictures.

Ekberg works with an intense focus on imagining, generating, and capturing each precise moment of whimsy. Through this absurdist approach, he invites us to slow down, be present, and pay attention to the ordinary. In doing so, this work suggests that we might find the extraordinary in the fleeting moment.

This exhibition includes more than 20 inkjet prints from Adam Ekberg’s ongoing body of work.

Image: Lawn Chair Catapult, 2017 © Adam Ekberg
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Issue #27
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Exhibitions Closing Soon

Rafael Soldi: Rafael Soldi: A body in transit
Miami, FL
From August 20, 2022 to December 04, 2022
In his practice, Rafael Soldi examines how queerness and masculinity intersect with immigration, memory, and loss. The artist writes, “I stem from a family of immigrants and my identity has always felt transient, as if built from a collective memory. I was aware of my queerness in an abstract sense from an early age, and this difference added another layer that I never felt empowered to assert. As is often for queer people, I felt my identity existed in a slightly different dimension than everyone else’s. Growing up in Perú, I knew that whatever society expected of me as a man, I was destined to disappoint.” Soldi’s photographs are at once powerful and intimate; they reflect deep retrospection by the artist, a process navigated by many, especially when one experiences displacement and feels neither rooted in one place or another but exists in the spaces in-between. Soldi uses various methods to create works including the nineteenth-century technique of photogravure and the contemporary photobooth. This exhibition includes works from three interconnected series, Imagined Futures, Entre Hermanos, and Cargamontón. The thirty-six self-portraits that comprise Imagined Futures re-imagine the photobooth experience. Instead of making hyperbolic or silly poses for the camera, Soldi appears with his eyes closed. For the artist, the photobooth evokes a Catholic confessional and offers a nuanced space for reflection, and ultimately a mechanism for bidding farewell to his previous ideas about the future. Related to this series, Entre Hermanos, turns the camera toward queer male-identifying Latinx immigrants. The subjects, with their eyes closed, are sensitively portrayed as the portraits challenge traditional ideas of masculinity. Cargamontón mines vernacular video archives that mirror the artist’s experience in an all-boys Catholic school in Lima, Perú where horseplay was common and acceptance of difference was not always felt. Each series offers deeply personal ruminations on identity while simultaneously presenting universal yet complex implications of fragility, struggle, and resilience. Born in Perú, Soldi lives and works in Seattle, Washington. This presentation marks the artist’s first solo exhibition at a museum. The Frost Art Museum FIU presents Rafael Soldi: A body in transit to complement FIU’s Common Reading Program and First Year Experience courses. This year, FIU’s entering class and other new students read App Kid: How a Child of Immigrants Grabbed a Piece of the American Dream by Michael Sayman.
Justin Michael Emmanuel: A Facefull of Mangoes
Winchester, MA
From November 03, 2022 to December 04, 2022
The Griffin Museum of Photography is pleased to announce the winner of the 2021 John Chervinsky Emerging Photographer Scholarship, Justin Michael Emmanuel. His series A Facefull of Mangos captivated this years jury to earn him a monetary award, an exhibition and artist talk at the Griffin Museum as well as a volume from the collection of photographer John Chervinsky. Now in its sixth year, over 171 photographers submitted applications to be considered for the scholarship. The jurors, Tricia Capello, Bruce Myren and Connie and Jerry Rosenthal have selected Justin Michael Emmanuel as the 2021 recipient of the John Chervinsky Emerging Photographer Scholarship. About A Facefull of Mangos With this photographic series, I present to the viewer a resistance to systemic racism and also a window into understanding what makes us human. I hope that by showing imagery of touch, warmth, laughter, and love, I may begin to unravel and break down any preconceived notions or ideas that do not give resonance to those qualities in regards to Blackness in the mind of the viewer. I am desperately attempting to declare my own humanity and have it recognized by others. By showing the gentle side of our human nature I am hopeful that the viewers will recognize their own familial behaviors and interactions, thus bridging gaps that are set by race, ethnicity, nationality, culture, and economic social-political forces. This work desires to deconstruct and challenge the mainstream historical imagery that has described Blackness in a light that wasn’t its own. I hope that the importance of these images are not only determined by what they express visually or culturally but also by the fact that they are documents of the human capacity to care for and feel empathy towards one another. Most importantly, the purpose of this work is to create empathy among people by showing the human aptitude to love. In the Bible, it is said that at the tower of Babel, God, frustrated and threatened by the power of human cooperation, fractured our language so that we could no longer understand each other and work together. And while an ancient story that reverberates with myth, the essence of this still rings true. That when we work together, not even the heavens will be the limit of our greatness. That God himself will pale in comparison to the vastness of our achievements. If only we could work together, we could become so much more. It is as the writer Eric Williams once said, “Together we aspire, together we achieve.” Image: © Justin Michael Emmanuel, Celeste 1
Aline Smithson: Fugue States
Winchester, MA
From November 03, 2022 to December 04, 2022
The Griffin Museum presents new work from creative artist Aline Smithson, Fugue States. On the walls of the Atelier Gallery in Winchester this November, Smithson won the Directors Prize in 2021 during the Members Juried Exhibition, selected by Executive Director and Curator Paula Tognarelli. The exhibition is accompanied by a catalog of the works included in the exhibition. Join us on Sunday November 6th from 4 to 6pm for a reception with the artist at the museum in Winchester. From Aline Smithson’s Artist Statement Fugue States is an on-going exploration of the future legacies of photography, currently with two areas of focus: the disappearance of the physical print and the life span of digital files. For the past several decades, I have considered how photographs move through time and how they are appreciated and stored in preparation for the future. Photography is an ever-changing medium, morphing and shifting with new technologies, some profoundly impacting our ability to access our photographic histories. As an analog photographer, I have watched my practice diminished and altered by the loss of materials and methodologies. Over the years I have collected and created hundreds of portraits, some acquired are almost a century old and it’s made me consider the formal portrait amid the shifting sands of photography, the loss of photograph as object, and most importantly, the loss of photographic legacies. Fugue States speaks to the potential loss of the tangible photograph in future generations. I observe my children, part of the most documented generation in history, creating thousands of images for their social media outlets, but am painfully aware that they have never made a photographic print and will most likely have no physical photographs to pass down to their grandchildren. This loss of the photograph-as-object, as something tangible to be circulated through the decades, reflects the fading away of specific memories and identities, and the loss of cultural and familial histories in forms that we associate with family preservation. The photographs created for this series sit in an in-between space of the future and the past, demonstrating the clash between images and materiality, where materiality, unfortunately, seems to be losing ground. For this project, after creating analog portraits of people in my life, I have damaged the emulsion of my negatives, wounding the film stock with a variety of chemicals. I then reinterpret the image in the digital darkroom in the original, negative state where the potential for both the restoration and erasure of memory are present. I am in fact, damaging my own photographic legacy to call attention to this shift from the physical to the visual. Fugue States Revisited was created after the loss of a hard drive that held 20 years of analog scans. In my attempt to recover the files, only half came back in a format that was accessible. The rest of the files were corrupted, each totally unique in how the machine damages and reinterprets the pixels. This alarming result made me begin to consider ever-shifting digital platforms and file formats, and I realized that much of the data we produce today could eventually fall into a black hole of inaccessibility. As an analog photographer, rather than let the machine have the last word, I have cyanotyped over my damaged digital scans. I use silhouettes of portraits from my archives to conceal and reveal the corruption. By using historical processes to create a physical object, I guarantee that this image will not be lost in the current clash between the digital file and the materiality of a photographic print. Fugue States Revisited calls attention to the fact that today’s digital files may not retain their original state, or even exist, in the next century. The Getty Research Institute states, “While you are still able to view family photographs printed over 100 years ago, a CD with digital files on it from only 10 years ago might be unreadable because of rapid changes to software and the devices we use to access digital content.” As we are reliant on technology to keep our images intact for future generations, it begs the question, who will maintain our hard drives after we are gone? Will we be able to conserve photographs that speak to family histories? These are important considerations for our visual futures, as we may be leaving behind photographs that will be re-imagined by machines or no longer cherish physical markers of proof that we existed. Image: © Aline Smithson
Baldwin Lee
La Jolla, CA
From October 22, 2022 to December 10, 2022
Joseph Bellows Gallery is pleased to announce its upcoming exhibition, Baldwin Lee. The exhibition will open with a reception for the artist on Saturday, the 22nd of October, from 4-6pm, and continue through December 10th. This will be the second solo exhibition of the photographer’s work presented by Joseph Bellows Gallery. The gallery first showcased Lee’s epic project online, from April 18th – June 26, 2020. The upcoming show will present a remarkable selection of vintage prints from this critically acclaimed and highly celebrated body of work taken within Black communities in the South, that began in 1983, and continued throughout that decade. The resulting collection of images from this seven-year period contains nearly ten thousand black-and-white negatives taken with a 4 x 5-inch view camera. Lee’s graceful pictures from this project perfectly balance the photographer’s presence and the subject’s will, honoring both through the resulting, beautifully printed 16 x 20-inch black-and-white photographs. The esteemed photography curator Joshua Chuang has noted that, “The pictures stand apart, not because they are depictions of Black subjects by a first-generation Chinese-American, but because they were made by a photographer of rare perception and instinct.” Baldwin Lee studied photography with Minor White at the Massachusetts Institute of Technology, receiving a Bachelor of Science degree in 1972. Lee then continued his education at Yale University, where he studied with Walker Evans. He received a Master of Fine Arts in 1975. After school, Lee began teaching photography at the Massachusetts College of Art and then at Yale, while creating his own photographs, which at the time were rooted in the exploration of the contemporary built environment. Lee's later work from the early to late-1980s entitled, Black Americans in the South (from which this exhibition is drawn), is a compelling and empathic portrait that represents its subjects within their rural environments, expressing the joys of childhood, the gravity of adult life, and the places in between. Images from Lee’s Southern work were featured in Aperture Magazine, Issue 115, New Southern Photography: Between Myth and Reality (1989), and now form the newly published monograph, Baldwin Lee (Hunters Point Press, 2022). Lee's work has been exhibited at the Museum of Modern Art, New York, the Chrysler Museum of Art, the Knoxville Museum of Art, the Southeast Center for Contemporary Art, and the Museum of Contemporary Art of Georgia. His photographs are in the permanent collections of the Museum of Modern Art, the Virginia Museum of Fine Arts, the University of Michigan Museum of Art, the University of Kentucky Art Museum, the Yale University Art Gallery, The Morgan Library, and the Museum of the City of New York. He has been honored with fellowships from the John Simon Guggenheim Foundation (1984) and the National Endowment for the Arts (1984 and 1990).
Alex Prager: Part Two: Run
Palm Beach, FL
From November 19, 2022 to December 11, 2022
Lehmann Maupin presents Part Two: Run, an exhibition of new photographs, film, and sculptures by Los Angeles-based artist Alex Prager. The multi-part exhibition will culminate in the debut of Prager’s ambitious new film at the gallery’s New York location in January 2023. Directly responding to a period of cultural ambivalences and uncertainties, the exhibition urgently examines the collective will to exist and explores the opportunities for empathy, participation, and action present both within art and everyday life. Throughout the ten photographic works that comprise Part Two: Run that will be featured in Palm Beach, Prager examines the cultural mythologies and archetypes that shape our shared existence. Fervently cinematic, works such as Claire and Frances, Diner, and The West craft richly developed characters and interrogate genres such as the noir and the Western as they probe contemporary concerns and anxieties. Occupying a tenuous relationship to time and place, the carefully staged figures remain suspended between the past and the present. Across her practice, Prager crafts rich, often ambiguous narratives. Slyly suspended in action, Prager’s carefully staged but ultimately open-ended scenes invite questioning and active engagement from viewers. Prager’s work suggests a relentless, unyielding movement forward through time even in the face of suspended uncertainties and anxieties, but her nostalgic and cinematic body of work also evokes a notion of contemporary experience that looks to the past to interpret the present and explore themes about common humanity. The Palm Beach exhibition builds upon a solo presentation of the artist’s work at Lehmann Maupin London earlier this year. In this new body of work, Prager engages theatrical strategies and cinematic conventions, exploring how both our senses of self and our engagement with others are often mediated by identification with familiar narratives and tropes. Shot from above, Mime is a vivid, intricately orchestrated image of a group. The work’s sharp angle renders the scene uncanny, at once exposing its artifice and undermining it. Present in the lower edge of the work is the titular mime, gesturing expressively with her hands, but the mime as the idea of a farcical drama is present in the entirety of the frame. In Prager’s work, the mime is not only a character, but also, perhaps, a method for thinking through strategies of representation: here, and across Prager’s practice, figures assume familiar postures and poses in order to inhabit character; to engage and reflect; and ultimately, to understand and empathize with others. Viewers, too, become active participants in Prager’s works. At the center of Mime is a woman with a camera, who faces the viewer and points her lens toward them. Here, as throughout the exhibition, Prager invites viewers into her visually and symbolically saturated works, suggesting that they, too, have critical parts to play. The foundation for this new body of work is the artist’s powerful new film, Run, which will be exhibited at the gallery’s New York location in January 2023. Featuring musical compositions by Ellen Reid and Philip Glass and starring Katherine Waterston, the film deploys cinematic archetypes and absurdist humor as it examines human resilience in the face of catastrophe. An otherwise ordinary day in an uncannily generic setting erupts into chaos when a massive, mirrored sphere propels itself through a community. Here, forward motion is countered by retrospection, and figures collide into their own reflections in the sphere’s surface, and Prager suggests a curative, collective reckoning with those forces outside of our control. Image: Alex Prager, Diner, 2022 - Courtesy Alex Prager Studio © Steven Cuffie
The Curious and Creative Eye: The Visual Language of Humor
Palm Beach, FL
From November 12, 2022 to December 13, 2022
The Curious and Creative Eye is our way of both distracting you from your daily tasks and bringing you a light hearted smile. If there was ever a time to appreciate humor as a panacea and tonic to our souls, it is now. Our modern world can seem overly complicated. With the internet, instantaneous communication and an almost constant barrage of visual and audio information, overload our senses and give us little peace and quiet. Gone seems to be the idle time where we are left alone with our thoughts and undisturbed. Coupled with this, bad news travels faster than good news and collectively our daily stimuli weighs heavy on our spirits. Humor elicits momentary happiness and joy. It lifts us out of the routine of our daily lives. Humor and visual surprises can take many forms and are difficult to codify.
Steven Cuffie: Women
New York, NY
From October 21, 2022 to December 16, 2022
New York Life Gallery is pleased to announce our inaugural exhibition, Women, a presentation of photographs by Steven Cuffie, beginning October 21 and running through December 16, 2022. Curated by his youngest, Marcus Cuffie, the exhibition will be the first time the work has been shown outside of Baltimore, where the photographer lived and worked for most of his life. The show focuses on a rarely-seen body of work Cuffie made in the 1970s, specifically portraits of the women in his life and the city. Some are photographs of lovers and girlfriends, women who reoccur in other images from this period, while others are subjects he approached on the street, asking for a quick photo or inviting them to sit for him. Cuffie took the photographs in his late 20s and early 30s when he was first living on his own and coming into himself as an artist. The diverse execution of the images speaks to a youthful divergence and confluence of influences from other photographers he was looking at during the time. Considering the range of images selected for the exhibition, Marcus Cuffie notes that through the variety, they sought to extract a common thread in the informal nature of the women’s gazes, at ease and intimately looking toward the viewer, towards the lens of their father. “To more closely examine the intention of my father’s work, I wanted this first show to tighten its focus on one theme. These images occupy a narrow window in the 40 years my father was taking pictures, but they represent a charged period of discovery in his work.” Steven Cuffie (1949–2014) was born in North Carolina and moved to Baltimore with his family as a child. He began taking photos as a teenager, and after studying photography for three years at the University of Maryland, he dropped out to pursue a career in the field. After leaving college, Cuffie connected with a small group of Baltimore-based photographers, showing his work in a few exhibitions around the city and doing work on commission. For the majority of his life, he worked as a photographer for the City of Baltimore, taking pictures of city events, crime scenes, and politicians – everything mundane and extraordinary required for public record. Cuffie’s day job meant most of his hours were spent taking photos and his practice extended to his time at home, where he built a darkroom in his basement and turned the laundry room into his studio. Here, he had all the necessary equipment and chemicals to develop and print his own work. By the time Cuffie’s oldest daughter Morgan was born in 1982, he had stopped showing his work publicly, though he continued taking pictures, processing film, and making prints throughout his life. Image: © Steven Cuffie
 Femme Is Fierce: Femme Queer Gender Performance in Photography
Hanover, NH
From October 01, 2022 to December 17, 2022
This exhibition celebrates various ways that femme performance is depicted in photography. The subjects of these photos embrace femme as an aspect of their self-representation across genders, queer orientations, races, ethnicities, and time. The exhibition includes photography by Laura Aguilar, Andy Warhol, Darryl DeAngelo Terrell, and others. The joyous approach of Femme Is Fierce affirms that femme is not a display of fragility, but a performance of a person's right to use gender signifiers deemed feminine to their own ends, and to radically state that strength is not only found in the masculine. Organized by the Hood Museum of Art, Dartmouth, and generously supported by the Marie-Louise and Samuel R. Rosenthal Fund.
Robert Longo: Sea of Change
Los Angeles, CA
From November 12, 2022 to December 17, 2022
The show, titled Sea of Change, will put Longo’s longstanding investigations of power structures, social and political inequities, and mythmaking on full view. Running from November 12 to December 17, the exhibition will feature works on paper mounted on aluminum and created in 2022, a new video, and a selection of sculptures, marking the first time the artist’s sculptural works will be presented in LA in more than 20 years. A key figure in the Pictures Generation of the 1970s and 1980s, Longo is widely known for his ambitiously scaled, highly detailed, hyperrealistic charcoal drawings. Throughout his career, Longo has drawn inspiration for his work from art historical sources as well as enactments of protest and civil unrest, violence and war, and other social and political happenings around the world culled from news photography and the Internet. Over the past decade, Longo has increasingly turned his focus to images from American media, including coverage of the January 6 United States Capitol attack and the Black Lives Matter movement. A suite of five new ink and charcoal on vellum drawings in Longo’s forthcoming show with Pace in LA exemplify his longstanding focus on struggles for justice. Among these timely works, all of which were created in 2022, are Study of Gun Protest and Study of Supreme Court Abortion Rights Protest, both of which capture the emotional dimensions of the movements for gun control and reproductive freedom in the United States. The upcoming exhibition will also include Longo’s new charcoal drawing Untitled (The Three Graces; Donetsk, Ukraine; March 14, 2022) (2022), informed by a photo the artist encountered online. Depicting a storefront display of evening gowns in Donetsk, Ukraine, damaged by bullets from Russian forces, this poignant image and its composition reference Italian Neoclassical sculptor Antonio Canova’s marble work The Three Graces (1814-17) as an ode to women’s resilience and power. Longo’s large-scale sculptures will ground the exhibition. Death Star; The Year of 2018 (2022), a suspended globe studded with 40,000 copper and brass full metal jacket AR-10 bullets, follows Longo’s original 1993 sculpture of the same name. More than twice the size of the artist’s first Death Star sculpture, Death Star; The Year of 2018 reflects, on a formal level, the staggering increase in mass shooting incidents in the US in the past 25 years. With this work, Longo gives material form to statistical abstractions and prompts viewers to contend with the reality of gun violence in America. The artist will donate a portion of the proceeds from the sale of Death Star; The Year of 2018 to the Everytown for Gun Safety Support Fund. Untitled (A Column of Time: One Year of The New York Times, March 2020– March 2021) (2021), a vertically oriented, cast bronze memorial to the disruptive and tragic events of 2020, will also be presented in the exhibition. This towering sculpture is based on Longo’s habit of collecting and stacking issues of The New York Times at his desk throughout that year, creating a visual representation of cumulative grief and increasing social and political precarity. Longo’s composition of this work is informed by Constantin Brâncuși’s 98-foot-tall memorial to fallen Romanian soldiers in World War I, The Endless Column (1937). Other sculptures that will figure in Longo’s LA show are One Ton Earth (World Backwards, Off its Axis) (2021), a steel and graphite spherical sculpture that features precisely inverted renderings of the continents and speaks to the intersecting, global crises of the present moment, and Untitled (Rise Above) (2017), a black lacquer-coated rendering of a beheaded St Francis of Assisi with vibrant flowers emerging from the figure’s neck. Highlights in the exhibition also include the small-scale, intricate graphite drawing Untitled (After Dürer, The Four Horsemen from the Apocalypse 1498) (2022) and the artist’s new film piece Untitled (Sea of Change, An Homage to Winslow Homer) (2022), which features slowed-down, looped footage of waves crashing on the East Coast of the US. Presenting this work on the West Coast, Longo meditates on the differences between life on America’s coasts and in its center. Longo, who was recently the subject of a solo show at the Palm Springs Art Museum, is represented in the collections of the Los Angeles County Museum of Art, the Broad, and the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art in New York; Tate, London; the Stedelijk Museum, Amsterdam; and many more international art institutions.
An Expression of Absence
New York, NY
From October 28, 2022 to December 18, 2022
The Bronx Documentary Center and Magnum Foundation present An Expression of Absence, an exhibit taking inspiration from poet Mahmoud Darwish and critic John Berger to explore the ways photography conjures absence to represent time, memory, disappearance, loss, and erasure. In a context where the legacies of colonialism and political instability have imbued notions of home and belonging with impermanence and nostalgia, how can what's within the frame point to the hidden and missing? “No matter how near you come, you will remain distant. No matter how often you are killed, you will live. So do not think that you are dead there, and alive here. Nothing proves this or that but metaphor.” – Mahmoud Darwish, In the Presence of Absence “A friend came to see me in a dream. From far away. And I asked him in the dream: ‘Did you come by photograph or train?’ All photographs are a form of transport, and an expression of absence.” – John Berger and Jean Mohr, A Seventh Man The exhibit, which is divided in two parts displayed at the BDC and Magnum Foundation, features fifteen projects produced in the Arab Documentary Photography Program (ADPP). Many of these works move from the exterior realms of the public and the political to the interior domains of the mind and body, while others explore absent histories whose spirits populate the present. Founded in 2014 in the wake of the Arab Spring, ADPP provides support and mentorship to photographers from across the Middle East and North Africa, challenging entrenched stereotypes of the region. Since its founding, ADPP has supported over 86 photographers and formed an extended community of creative cross-pollination that circumvents geographies and political barriers. Featuring photography by: Abd Doumany I Ameen Abo Kaseem I Dania Hany I Hicham Gardaf I Maen Hammad I Nadia Bseiso I Omar Imam I Seif Kousmate I Thana Faroq I Zied Ben Romdhane
Kelli Connell: Double Life
Lincoln, NE
From August 16, 2022 to December 22, 2022
Sheldon presents recently acquired works by Kelli Connell from her ongoing series Double Life. Since 2002, Connell has explored the subjects of gender, intimacy, and aging through invented documentation of a couple’s quiet, personal moments. Each work is a carefully constructed image in which both partners are played by the same model. Using Photoshop software, Connell seamlessly stitches multiple images together to assemble single scenes that cause attentive viewers to question what they’re actually seeing. Connell describes Double Life as “constructed realities that, through their fictions, reveal inner truths.”
What Thoughts Look Like: The Fabric of John Cohen’s Life
New York, NY
From October 22, 2022 to December 22, 2022
John Cohen was a photographer and documentary filmmaker. He was both witness and participant in the pivotal post-war decades of American art and music. This show is a celebration of his life, work and passions. The earliest image on view is a 1954 image of a blind ragtime-church-jazz singer and musician Reverend Gary Davis taken when Cohen was just 22 years old. Others include those of Woody Cuthrie, Muddy Waters, Libba Cotton, and an iconic portrait of Bob Dylan made in 1962 on Cohen's rooftop. Image: © John Cohen, Boxer With Towel, Elm City Gym, New Haven, 1954
Solo Exhibition January 2023
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