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Publish your work in AAP Magazine Street and win $1,000 cash prizes - Deadline: November 12, 2024
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Alone Together: Criticall Mass 2023 Top 50

From February 23, 2024 to April 13, 2024
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Alone Together: Criticall Mass 2023 Top 50
1070 Bannock Street
Denver, CO 80204
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
Our printed edition showcases the winners of AAP Magazine call of entries
All About Photo Magazine
Issue #42
Stay up-to-date  with call for entries, deadlines and other news about exhibitions, galleries, publications, & special events.

Exhibitions Closing Soon

Chloe Sherman: Renegades: San Francisco, The 1990s
Leica Gallery San Francisco | San Francisco, CA
From September 02, 2024 to November 02, 2024
The Gallery at Leica Store San Francisco is thrilled to present Renegades: San Francisco, The 1990s, a documentary project by artist Chloe Sherman. This exhibition captures a generation of young, self-identified queers in San Francisco, showcasing their collective creativity, pride, and bold defiance of cultural norms Renegades: San Francisco, The 1990s is a photographic look into a pivotal moment in San Francisco history as a queer cultural renaissance unfolded. It’s a glimpse of the freedom and flamboyance of a gender-bending community. In the early 1990s, Sherman began documenting a generation of young, self- identified queers in San Francisco's Mission District. Rent was affordable, community was palpable, and gay youth, artists, and free spirits migrated to the city to find each other. Women-owned bars, clubs, tattoo shops, galleries, and cafés proliferated, and cultural norms were eschewed in favor of a vibrant and resilient lifestyle. Sherman was there as a new wave of feminism embraced gender bending, butch/femme culture flourished, and transgender pioneers forged a new path. The Mission District was Sherman's home during this pivotal time as an intoxicating subculture emerged against the backdrop of mainstream society. This exhibition is showing a small selection of the thousands of photographs this project comprises.
 this is a test:  Jason Hendardy
Solas Gallery | Seattle, WA
From September 21, 2024 to November 02, 2024
Solas Gallery is proud to present Jason Hendardy’s This Is A Test. This Is A Test reflects on a family’s shifting identity as they assimilate into a new culture, and a child’s view of that process. Building on childhood experiences of documenting family moments with a Hi8 camera, Hendardy interrogates the role of media, the camera, and the screen in shaping and controlling society. Through the use of vintage and contemporary images, some translated through the Hi8 camera, This Is A Test explores how different generations experience the same process of assimilation into American society, the relationship between documentation and memory, and questions our idealized concepts of the American Dream. The title refers to the Emergency Broadcast System messages that aired on American televisions from 1963 to 1997, a system intended as a public safety measure that also cultivated a sense a danger and threat. Jason Hendardy is a photographic artist born in the San Francisco Bay Area to Indonesian immigrants, currently residing in Seattle, WA. His visual work is characterized as existential and subjective documentary, featuring layered narratives that often delve into themes of assimilation and Foucault’s disciplinary society. He studied photography and media arts at the California College of the Arts and is currently pursuing an M.F.A. in photography at the University of Hartford. The book, This Is A Test, will be released in late 2024 with independent publisher Gnomic Book. Image: Untitled (2022) from This Is A Test (2024), Jason Hendardy
More Avant-Garde
Gitterman Gallery | New York, NY
From September 07, 2024 to November 02, 2024
I am always on the lookout for art that will contribute to my understanding, art that will broaden my perspective or make me feel a sense of connection. Most importantly, it needs to be distinctive enough that I want to experience it again. The exhibition includes a selection of recent additions to the gallery inventory, mostly from my trip to Paris this summer. They are a diverse group and made in the 1920s through 1960s, yet all were created with an avant-garde style, ranging from Modernism to Surrealism to abstraction to conceptual portraiture. It is fascinating to see how well these works from periods gone by hold up and speak to a contemporary perspective. They were created by artists, some heralded, some lesser known, who were adding their own original expression to an ongoing discourse. Artists included are: Laure Albin-Guillot, Pierre Boucher, Émeric Feher, Raymond Journeaux, Francois Kollar, Helmar Lerski, Daniel Masclet, Ralph Eugene Meatyard, Jean Moral, Jean Painlevé, Roger Parry, Jaroslav Rossler, Frederick Sommer, and Raoul Ubac.
Trevor Paglen Cardinals
Altman Siegel Gallery | San Francisco, CA
From September 05, 2024 to November 02, 2024
Altman Siegel is pleased to present CARDINALS, a new body of work marking Trevor Paglen's fifth solo exhibition with the gallery. The show is composed of photographs of novel aerial phenomena taken by Paglen over the last two decades. In conjunction with the exhibition, Minnesota Street Project Foundation will screen Paglen's single-channel video Doty (2023) from September 19 through October 5, 2024. "The calls started around 2006. I'd spent years poking around and photographing classified Air Force installations, talking to former workers on top-secret airplanes, visiting CIA 'black sites,' and hunting down anyone I could find with knowledge of the Pentagon's 'black world.' I was furiously working on a book about what I'd discovered. That's when the calls started. Every few weeks, I'd end up in long conversations with people alleging to be sources deep in the military and intelligence establishments. One man, claiming to work on top-secret projects at Edwards Air Force Base told me about a highly-classified manned spaceflight program, and described an obscure unit patch fabricated from material found on experimental space-suits. Another told me about crash-recovery teams charged with collecting debris from downed foreign satellites and even more 'exotic' technologies, while acknowledging an active CIA misinformation campaign around said tech. UFOs were a constant theme. I never met any of these characters in person, and I didn't make much of those calls at the time. As far as I was concerned, anything I couldn't validate was irrelevant. I forgot about them. Only in retrospect did I come to believe that I may have been the target of a disinformation campaign. More recently, I made a video installation profiling Richard Doty, an Air Force counterintelligence officer and 'Mirage Man' who used UFO lore to spread disinformation about Air Force technology programs. Doty is a strange and mercurial character: after leaving the Air Force he came out as a UFO 'whistleblower,' telling stories about 'real' UFO programs he was tasked with protecting. In our conversations, he mentioned that the Air Force has an unofficial code name for exotic aircraft of unknown origin: CARDINALS. Why UFOs? Why have they been so closely linked to technology and disinformation? UFOs are deeply weird: they simultaneously exist and do not exist. Like quasi-magical objects, they blur lines between perception, imagination, and 'objective' reality (whatever that may or may not be). UFOs live in the latent space between the material, the sensible, and the perceptual. They inhabit the crossroads of fear, desire, logic, and hope. They produce communities of believers and debunkers, and dreams of divine salvation, endless energy, impossible physics, dark conspiracies, and existential fears. They conjure a fantasy that somewhere, somehow, someone knows a 'Truth' so powerful that it could spell the end of modernity and capitalism. Against this backdrop, Erik Davis, author of the book 'Techgnosis' on the interplay of technology and mysticism, puts it, 'the question of whether or not UFOs are real is… too crude and too philosophically taxing to broach.' I don't think it's an accident that a proliferation of UFO sightings is concomitant with the emergence of Artificial Intelligence. Each comes with their own forms of optimism and pessimism, wonder and doomsaying. Nor do I think it's a coincidence that the UFO has reemerged in this era of synthetic media, disinformation, and political and cultural fracture. A historical moment wherein our relationships to text, images, information, and media are being entirely upended. An emerging media environment characterized less by crude forms of spectacle or surveillance than by ubiquitous psyops. In many ways, UFO photographs distill the essence of photography itself. The photograph is a record, but it's not clear what of. An exposed sheet of film has some relationship to the light that facilitated that exposure, but it's impossible to pinpoint the exact nature of that relationship (over the last 150 years, the best answer the theorists have been able to come up with is: 'it's complicated.') Like UFOs, photographs lack context; they don't explain themselves no matter how loudly they speak. They lend themselves to laborious forensic analysis but make no promise of yielding anything conclusive, much less constructive. In other words, all photos are UFO photos. The works in this series are made with various cameras: a Phillips Compact II 8x10, a Wista 4x5 field camera, a Pentax medium-format handheld, a Canon 35mm, and two digital medium-format cameras, one modified to shoot infrared. The vast majority are shot on analog film - usually Kodak Portra, T-Max, and Fuji FP instant. They are undoctored." - Trevor Paglen
Motohiro Takeda: Something To Remember You By
Alison Bradley Projects | New York, NY
From September 05, 2024 to November 02, 2024
Alison Bradley Projects is thrilled to announce Motohiro Takeda: Something To Remember You By, the artist’s debut solo exhibition in New York City. On view from September 5th, the exhibition runs until November 2nd, with an artist reception on September 12th from 6:00 - 8:00pm. The work of Motohiro Takeda (b. 1982, Hamamatsu, Japan) resists the speed, spectacle, and excess of contemporary life by channeling a deeply interdisciplinary mode—encompassing sculpture, installation, charcoal on canvas, photography, ceramics, and concrete wall works. For the solo presentation Something To Remember You By, Takeda creates an environment where viewers experience a renewed relationship with the passage of time, into a place slowed to stillness. The visitor will encounter Takeda’s masterful range of objects; imbued with a timeless quality and created through his variety of techniques, and sensitivity to materials. He offers us a concept of relationality—between viewer, object, and space. Emblematic of Takeda’s practice is his use of raw materials, namely found wood, stone, and concrete, activated by fire. A central work of the show, Untitled (Spear), demonstrates Takeda’s reworking of materials in a cyclical closed-system, harnessing the metamorphic power of fire to both construct and destroy. His transformation ritual begins with a narrow tree trunk foraged from a forest floor in upstate New York. Takeda ceremoniously creates a mold of the wooden form and casts it in concrete, producing two formally identical objects—one created by man and the other by nature. The artist then burns the concrete facsimile in fire fueled by the original wood, browning the stoney surface until it begins to mimic tree bark. The emerging sculpture stands as an uncanny memorial to the natural form, ironically destroyed in its creation. Takeda blackens his works through shou sugi ban or yakisugi, a Japanese wood-burning technique that involves charring wood to weatherproof and preserve it. Through burning—what the artist describes as “a dance between chance and control”—Takeda also creates his own charcoal, which is used on canvas works and often as an ashy wall treatment. The monumental canvas triptych Something To Remember You By, from which the show takes its name, captures a jagged mountainscape of push-and-pull gestures with his self-produced charcoal. By applying his own measured hand over the wild and chaotic energies of open fire, Takeda forges a unique relationship with natural processes and material transformations. The works on display exemplify Takeda’s signature visual language, and its focus on dualities: chaos and order, reason and emotion, life and death, resurgence and decay, time and space, human and environment. In his Hanaikada (Flower Boat) series, the artist suspends delicate cherry blossoms in concrete, the extreme contrast of materials highlighting the ephemeral nature of the blooms. Conceptualized during fatherhood, Takeda’s photographic works are created by a unique process he created using expired film to image light and then contact printed on gelatin silver paper. These gridded pieces consider the memories that could have been, or photographic images that cannot be captured. In the words of the artist: “Ultimately, I am cultivating a garden of time or something that encompasses the garden within itself, like a Japanese stone garden or karesansui, which contains the universe within. In our increasingly urban and digital world, I believe there is a pressing need for this kind of artistic practice that strives to connect us with earthly and cosmic timescapes and encourage us to reflect on our existence.” Something To Remember You By references the nature of transformation, creating works conceived by the destruction of matter and their reconstitution. In a city brimming with energy and ever-constant motion, Takeda’s quiet practice and the metamorphic quality of his objects inspire reflection. Image: Hanaikada (2024) Concrete, cherry blossoms, delphinium © Motohiro Takeda
Doris Mitsch | Locked Down Looking Up
Clamp | New York, NY
From September 06, 2024 to November 02, 2024
CLAMP is pleased to announce Doris Mitsch’s solo show, “Locked Down Looking Up”—the artist’s fourth inclusion in an exhibition at the gallery. “Locked Down Looking Up” started as a series of images made over time from a fixed point—outside the artist’s front door—during the San Francisco Bay Area’s lockdown to slow the spread of Covid-19. Multiple shots were combined to show the flight trails of birds, insects, and bats. While most everything in Doris Mitsch’s life had come to a standstill, up in the air, there was still a lot going on. Later, when she started to be able to move around a little more, she began to explore other locations. The photos of flight trails (birds, bees, etc.) are not time-lapse images, but composite digital photographs combining hundreds and sometimes thousands of shots taken over the course of a few seconds or a couple of minutes, showing the same animals in different positions in space over time. The artist discusses the work at length in her TED talk from April 2023, which is accessible online, where they describe the project as follows: Artist Doris Mitsch invites us to revel in the wonders of nature through her dazzling photography: stacked images of starlings in flight, hawks surfing thermal updrafts, bats echolocating through the night sky and more. Revealing the hidden trails created by creatures in flight, her work offers unique insight into the intelligence behind nature’s invisible rhythms. The artist comments: “We humans have invented whole digital worlds, but sometimes we still need to be reminded that there’s more in this heaven and Earth than is dreamt of in our philosophy; and that there are endless ways to look at familiar sights, like a bird in flight, with fresh eyes—to expand our shared experience in a way that connects us with the rest of the living world; to feel both kinship with our fellow creatures and respect and even reverence for their otherness.” Image: Lockdown Gulls (Sea Ranch), 2021 © Doris Mitsch
Dag Alveng: Photographs from Telemark
Deborah Bell Photographs | New York, NY
From September 12, 2024 to November 02, 2024
Deborah Bell Photographs presents Dag Alveng: Photographs from Telemark, an exhibition showcasing large-scale black-and-white photographs taken by the artist in Norway's scenic Telemark region between 2020 and 2021. The exhibition will be on view from September 12 to November 2, 2024. In 2015, the historic Rjukan-Notodden Industrial Heritage Site in Telemark was added to the UNESCO World Heritage List. Shortly after, the Telemark Kunstmuseum commissioned Dag Alveng to create an exhibition and accompanying catalogue to celebrate the preservation of this significant area. Five of these photographs are featured in the current exhibition. Telemark is a vast county in southern Norway, extending from the mountains to the North Sea. This picturesque region was not only a hub of Norway’s technological progress and economic growth during the first half of the 20th century but also the site of Norway’s extraordinary achievement in preventing an atomic disaster during World War II. Alveng traveled through various municipalities in Telemark — Fjone, Nesland, Notodden, Rjukan, and Tinn — capturing its stunning landscape of clear lakes, wide rivers, deep gorges, cliffs, and magnificent waterfalls, which provided the backdrop for Norway’s industrial development story. The photographs in this exhibition are presented in large-scale formats, measuring 49 x 60" (120 x 150 cm). Staying true to the analog tradition, Alveng captures his images on sheet film using an 8 x 10" Deardorff view camera. His negatives are developed by hand, and his prints are made on gelatin-silver fiber paper using an 8 x 10" enlarger and processed in a wet darkroom. The result is a collection of photographs with a luminous and captivating presence. Image: Misty Morning, Vemork, Rjukan, 2020-2021 © Dag Alveng
Photographica
Galerie Lucida | Red Bank, NJ
From September 14, 2024 to November 03, 2024
Galerie Lucida welcomes the fall season with Photographica, a group exhibition of conceptual photographic imagery showcasing nine internationally-recognized artists, each of whom is well-represented in major museum and private collections. The exhibition will run from September 14 to November 3, with an opening reception for the artists, on Saturday, September 14, from 4 PM to 7 PM. Photographica explores the themes of transformation inherent in the work of boundary-pushing photographers known for their distinctive, innovative, and often radical approach to the medium. Co-curated by Michael Mazzeo and Gerald Slota, the exhibition features the work of Zeke Berman, Michael Flomen, Robert Flynt, Muriel Hasbun, Chris McCaw, Anne Arden McDonald, Andreas Rentsch, Gerald Slota, and Terry Towery. Zeke Berman’s time-lapse Sculptural Animations begin with frozen blocks of colored water that slowly melt away and evaporate over time leaving the trace of their existence in the form of an abstract color image on paper. A most basic thermodynamic process is apparent as the subject transforms from solid to liquid to vapor while creating a new generative work of art in the process. Though the entire process may take a day or more from start to finish, the durational activity is reduced to just a few minutes by combining thousands of still images into short video animations. Armed with boxes of photographic paper, Michael Flomen takes to the woods of Vermont, the Laurentians of Quebec, or elsewhere, collaborating with nature to create camera-less abstract images. Various forms of water, firefly light, wind, and other natural phenomena are the inspiration for his picture making. His photographs transform the unseen world into vivid visual documents of intangible elements. Using a 1920’s-era book of geometric diagrams and text (El Trazador Moderno) as his substrate, Robert Flynt integrates his graceful male nude figures into the arcs, grids, and graphs by printing them directly onto the book’s fragile pages. With the sensitive pairing of precise drawings and vulnerable bodies, Flynt creates a delicate state of safety and equilibrium between figure and diagram. Muriel Hasbun draws upon generations of artifacts, documents, and memories from a rich and complicated family history to create thought-provoking and consequential narratives. Her X Post Facto project repurposes dental x-rays from her late father’s office as a means of examining migratory history, familial loss, and the collective trauma related to the Salvadoran Civil War. These sumptuous black and white images, enlarged and removed from their original purpose, prove a useful forensic device to challenge official histories. Chris McCaw’s Sunburn images document time and place unlike any other photographs. Using photographic paper in lieu of film, he focuses his large format camera and lens on the landscape and directly into the path of the sun. During the hours-long exposure, the sun traverses the sky, forming an image on paper, while simultaneously recording its path through time. Remarkably, what remains is a photograph of the landscape with the path of the sun burned completely through the paper. Anne Arden McDonald works with light and chemistry to create abstract camera-less images on paper that appear to oscillate between the scientific and the spiritual. Orbs resembling cells or planets blur the line between the microscopic and galactic. Despite the seemingly arbitrary nature of the process, the images suggest a natural or universal order is in play. The labor-intensive practice of Andreas Rentsch involves photographing subjects and altering the image with the selective application of chemistry and light. In his photographs, amorphous, faceless figures suggest spiritual entities that seem to exist in a purgatorial void. They gather and perform ritualistic scenes, invoking memory and longing, as if seeking redemption. Gerald Slota is widely known for his deeply personal, enigmatic imagery and aggressive, manual manipulation of photographs. With his recent project, Frenzy, he trades film for pixels and the darkroom for apps, while maintaining his stream of consciousness approach to the narrative image. His thoroughly engaging, and sometimes disturbing images simultaneously invoke familiarity and mystery. They demand attention and invite interpretation. Terry Towery assembles his exquisitely printed, copper- and selenium–toned miniature photographs into arrangements that suggest a journey but defy a clear destination. Employing spatial relationships, iconic imagery, and collective memory, he creates dreamlike open-ended narratives, inviting viewers to imagine their own adventures. Image: Frenzy (The Kiss) © Gerald Slota
Norman Mauskopf: Descendants
Obscura Gallery | Santa Fe, NM
From September 06, 2024 to November 03, 2024
Obscura Gallery presents Norman Mauskopf: Descendants, a photographic exhibition of rare and vintage, black and white gelatin silver prints that were made by the photographer for the publication by the same name, published by Twin Palms in 2010. The prints in the exhibition include both published and unpublished images made for the book, which focuses on the Hispanic peoples and cultures of Northern New Mexico. Many of the prints were included in the application for the very first W. Eugene Smith Fellowship, which Mauskopf was then awarded in 2002. Northern New Mexico is a complex weave of pride and history. In this region of ancient traditions and striking environmental and ethnic diversity, Norman Mauskopf spent a decade photographing the Hispanic people and their culture. The photographs that emerged depict the intersection of religion, injustice, community, and transcendence. The book also includes the poetry of New Mexican poet Jimmy Santiago Baca. A segment from the poem, Singing at the Gates, reads: and newborns scream their arrivals, and fathers with wrist chains and tattoos cling to their little loves in parks, and the circle widens and expands and ripples toward every closed gate, with tribal drums beating, gourds blowing and rattles rattling we are here, we are here, we are here. Born in 1952 in Santa Fe of Chicano and Apache descent, Jimmy Santiago Baca was 21 in 1973, when he was convicted on drug charges and spent five years in prison. It was there that he learned to read and began writing poetry and is now a prominent poet and screenwriter. Baca is the winner of the Pushcart Prize, the American Book Award, the International Hispanic Heritage Award, and, for his memoir A Place to Stand, the prestigious International Award. Baca has devoted his post-prison life to writing and teaching others who are overcoming hardship. His themes include American Southwest barrios, addiction, injustice, education, community, love, and cultural difference. He has conducted hundreds of writing workshops in prisons, community centers, libraries, and universities throughout the country. During a distinguished 35-year photography career, Norman Mauskopf has had four award- winning books of his photographs published by Twin Palms/Twelvetrees Press, and he has been the recipient of a W. Eugene Smith Fellowship. His most recent book, Descendants, published in 2010, was a pictorial exploration of Latino culture in northern New Mexico—its ancient traditions, striking landscapes and ethnic diversity. A Time Not Here, published in 1997, focuses on African-American musical and spiritual traditions in Mississippi and was described as “a focused documentary of astonishing beauty.” His second book, Dark Horses, published in 1988, documents the world of thoroughbred horseracing and was described as “classic photojournalism slyly refracted through prisms of drama, majesty and humor.” Norman’s first book, Rodeo, published in 1985, looks into the lives of professional rodeo cowboys. About the images in Rodeo, author Ben Maddow wrote, “They are not merely photographs but observations deeply seen and deeply felt. . . . Norman has uncovered something profound and instinctive.” Norman has also completed a rare documentary on the legal brothels of Mustang, Nevada. Norman Mauskopf’s photographs have been included in solo and group exhibitions, including two shows at the International Festival of Photojournalism in Perpignan, France. He has been a photographic educator for more than 30 years, including teaching at the Santa Fe Workshops, the Maine Photographic Workshops, and at Art Center College of Design in Pasadena, California
Leslie Gleim: In The Beginning...
Kahilu | Kamuela, HI
From September 26, 2024 to November 03, 2024
Aerial photographs by artist Leslie Gleim will adorn the walls of our Suli T. Go Gallery. Leslie Gleim is a Honolulu-based fine art photographer who has been capturing images of Hawaiʻi Island from the sky since 2017. The focus of her ongoing body of work is to ponder an understanding of the complex relationships and tensions that exist between the natural, climatic, and human impacts on the Hawaiian ʻāina. Leslie’s work has been widely exhibited and published locally, nationally, and internationally. Gleim explains: “I have been coming to the island of Hawaiʻi to frequently photograph the landscapes and natural volcanic cycles. Viewing the island from this perspective and scale has been a humbling experience. My passion for being a “voice” for the island has led me to see things others may never see.”
Craig Blankenhorn
The Space Art Gallery | Philadelphia, PA
From September 04, 2024 to November 04, 2024
The Space Art Gallery welcomes Craig Blankenhorn and his inaugural show of his fine art. Craig has worked as a still photographer on some of the most iconic television shows in America - Sex and the City, The Sopranos, Boardwalk Empire, Succession and Only Murders in the Building are a few examples. His perfectly captured dramatic moments are regularly displayed in Times Square and the like. But, unbeknown to most, Craig has also been capturing the dramatic moments of New Yorkers and others across the country. Now, for the first time, Craig is sharing his personal work—telling the stories of everyday people in a single shot.
Iconic Photographs: Pictures that Stand the Test of Time
Holden Luntz Gallery | Palm Beach, FL
From September 21, 2024 to November 08, 2024
“Iconic Photographs: Pictures that Stand the Test of Time” showcases a diverse selection of images, demonstrating what can be achieved with skillful photography, creativity, and the right tools. These photographs serve as windows to a larger world, connecting us to a grander cosmos through their visual narratives. They weave together a complex and rich fabric of shared existence, linking the past to the present and providing a universal connection to both our eyes and our souls.. All photographs are markers in time. The instant the camera shutter closes, the present gives way to the past, leaving behind a vivid impression of a singular glimpse in time. This preserved moment belongs to a time gone by. Yet, when we view a photograph, we do so from the present. Our perception is anchored in the now—our eyes acting as conduits to the present moment, where neither the future nor the past can be fully lived. In the relatively brief span of photography’s history, hundreds of millions of images have been captured through various processes. Yet, the fact that only a tiny fraction remain memorable or notable underscores the fleeting and elusive nature of most photographs. Like the written word, only a select few compositions leave a lasting impact, resonating with the wider public and standing the test of time. The transformation of a photographic representation—whether of an object, person, or landscape—into something iconic occurs when it is imprinted upon our eyes, hearts, or minds. Only a select few photographs enter the collective memory, remaining relevant and notable over time. Photographs communicate in countless ways, their two-dimensional surfaces subtly hinting at the depth and complexity of the three-dimensional world they depict. For an image to become truly memorable, it must be more than a mere record; it must be ‘breathed back’ to life, making the past present in a tangible way. This exhibition features 24 iconic photographs that are both compelling and unforgettable. In this exhibition, photographs can be broadly categorized into several distinct groups. Ansel Adams and Edward and Brett Weston focused on the natural world, capturing its grandeur and intricacies. Moving from the natural to the human realm, Bill Brandt, Arthur Rothstein, and Joe Rosenthal documented the social and economic upheavals that shaped our history. Arthur Elgort, Melvin Sokolsky, Terry O’Neill, and Frank Horvat then shift the focus to fashion and privilege, exploring these themes through memorable images. Harry Benson and Ruth Orkin highlight the era of photojournalism, capturing both survival and the fascination with larger-than-life figures. Lastly, Diane Arbus, Elliott Erwitt, and Neil Leifer showcase the ability of a skillful photographer to reveal the human spirit in its most compelling moments. “Iconic Photographs: Pictures that Stand the Test of Time” showcases a diverse selection of images, demonstrating what can be achieved with skillful photography, creativity, and the right tools. These photographs serve as windows to a larger world, connecting us to a grander cosmos through their visual narratives. They weave together a complex and rich fabric of shared existence, linking the past to the present and providing a universal connection to both our eyes and our souls. Image: A Young Waitress at a Nudist Camp, NJ © Diane Arbus
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The Jimei x Arles International Photo Festival is delighted to announce the exhibition programs for its tenth edition this year, taking place in Xiamen from 29 November 2024 to 12 January 2025.
EDEN Square Print
Magnum Photos partners with The Photo Society for the upcoming Square Print Sale, titled Eden. Running from October 21 to October 27, Eden explores the miraculous beauty of our planet’s landscapes, ecosystems, and people, while emphasizing the urgent need to protect them from an existential threat: humankind.
Arthur Tress: Observations at the Water’s Edge
With this small sampling of imagery, we’ve culled photographs from Arthur’s recent projects including his 30 years spent living in and documenting his life in Cambria and his recent project documenting Mare Island. This diamond-shaped body of work captures the essence of his ongoing obsession with shape, line, and composition. Arthur draws inspiration from beach surroundings and the people he encounters on his photographic journey. Many images in this exhibition such as Flags, Mare Island, Ferry Boat Window were photographed during the making of “Arthur Tress: Water’s Edge”, which will be screened in the Harvey Milk Center for the Arts ballroom on November 14, 2024.
VU’ at Paris Photo
Calderon de la Barca’s Life is a Dream could be used to describe our selection for Paris Photo 2024. We are presenting prints by three of our photographers whose work is closely linked to literature, poetry or fiction.
Raymond Meeks: ’The Inhabitants’ at the Fondation Henri Cartier-Bresson
Raymond Meeks, the sixth laureate of Immersion from the Fondation d’entreprise Hermès, presents his photographic series "The Inhabitants" at the Fondation Henri Cartier-Bresson, Paris, from October 9, 2024 to January 5, 2025. Curated by Clément Chéroux, Director of the Fondation Henri Cartier-Bresson
The Analog Chronicles
A collective exhibition by Mathias Depardon, Ismail Ferdous, Théo Giacometti, Gaia Squarci, and Alessandro Silvestri. On view at the 99 Cameras Museum in Studio Harcourt, Paris From November 6, 2024 to February 15, 2025
Christian Voigt: LUNAR
Wanrooij Gallery in Amsterdam is pleased to announce a solo exhibition by the German fine art photographer Christian Voigt from 25 October 2024 until 25 January 2025. The gallery presents a stunning selection of his new LUNAR series. Iconic spacesuits and technical marvels from the USA and Russia are portrayed in a previously unseen way of poetic quality. The fascinating, large-format photographs show the objects against a black background, as if they were situated in the absolute silence of space, conveying both the loneliness and the immense vastness of the cosmos.
A first look at Photo Fringe 2024 - Common Ground
The biennial, open-platform photography festival returns in October with six weeks of exhibitions and events in and beyond Brighton & Hove, Newhaven and for the first time, Portsmouth.
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