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Francesca Woodman

From March 13, 2024 to April 27, 2024
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Francesca Woodman
522 West 21st Street
New York, NY 10011
Gagosian is pleased to announce its inaugural exhibition of works by Francesca Woodman. Opening on March 13 at 555 West 24th Street, New York, it will feature more than fifty lifetime prints—many of which have not been previously exhibited—including Blueprint for a Temple (II) (1980), the largest work she accomplished.

The exhibition presents key prints from approximately 1975 through 1980. Photographing in Providence, Rhode Island; Rome; Ravenna, Italy; and New York, Woodman situated herself and others within dilapidated interiors and ancient architecture to compose her tableaux. Using objects such as chairs and plinths along with architectural elements including doorways, walls, and windows, she staged contrasts with the performative presence of the figures, presenting the body itself as sculpture. In the Self-Deceit series (1978), she photographed herself nude in a room with crumbling walls, standing, crawling, or crouching with a frameless mirror. Through compositional fragmentation and blurring, Woodman throws into question the conceit that photography offers a revelation of the self.

On view for the first time since spring 1980, when it was included in Beyond Photography 80, a group exhibition at the Alternative Museum in New York, Blueprint for a Temple (II) is a collage assembled from twenty-four diazotype elements and four gelatin silver prints. Using diazotype, a medium typically employed to create architectural blueprints, allowed Woodman to work at a monumental scale. The composition depicts the right half of a temple façade and features four caryatids—female figures who form columns in classical architecture. The most famous examples of these features are on the Erechtheion at the Acropolis in Athens, which Woodman visited multiple times.

Made together with her Caryatid photographs (1980) and printed in sepia and inky blue diazotype, this work is one of two large-scale compositions realized. Blueprint for a Temple (I) (1980), now in the collection of the Metropolitan Museum of Art, New York, has a related composition. Approximately life-size, the four figures in Blueprint for a Temple (II) support an entablature and pediment assembled from photographs of tile mosaics, the claw feet of a tub, and other bathroom fixtures taken in friends’ New York City apartments, likely the same friends who posed as Woodman’s caryatids. Below the figures is a print joining multiple head profiles and a figure with arms occluded by marks Woodman made on its negative. On the work’s lower right are gelatin silver prints taken in bathrooms and a diazotype print that functions as a proposal or diagram of the work through sketches, photographs, and the following inscription:

Project A Blueprint for a Temple
For a temple of contemplative classical proportions
made out of classically inspired fragments of
its modern day counterpart the bathroom

Bathrooms with classical inspiration are often found in
the most squalid and chaotic parts of the city. They
offer a note of calm and peacefulness like
their temple counterparts offered to wayfarers
in Ancient Greece

A culmination of Woodman’s representation of the figure in space, the Blueprint for a Temple works prompt consideration of how she drew on classical themes throughout her career. In an untitled photograph made in 1978 at the Pastificio Cerere in Rome, a headless, half-dressed figure leans against an aged wall, her arms behind her back, emphasizing her torso. With her skirt sitting low on her waist and blurred by a gentle movement captured by the camera, the photograph anticipates Woodman’s preoccupation with caryatids and the body as sculpture. The same can be seen in earlier works, such as From Space² or Space² (1976), in which a figure emerges from behind torn wallpaper. As the artist noted around 1976–77, “I’m interested in the way that people relate to space. The best way to do this is to depict their interactions to the boundaries of these spaces. Started doing this with [ghost] pictures, people fading into a flat plane—ie becoming the wall under wallpaper or of an extension of the wall onto floor.”

A catalogue will accompany the exhibition, with an essay by Brooke Holmes, the Susan Dod Brown Professor of Classics at Princeton University. A public conversation between Holmes and Lissa McClure and Katarina Jerinic of the Woodman Family Foundation will take place in the gallery on April 17.

The exhibition in New York coincides with Francesca Woodman and Julia Margaret Cameron: Portraits to Dream In, a major survey at the National Portrait Gallery in London, on view from March 21 to June 16, 2024, before traveling to IVAM Institut Valencià d’Art Modern, Spain. With over 150 prints spanning the careers of both artists, the exhibition explores thematic affinities between two influential photographers who worked a century apart. A selection of Woodman’s photographs will also be presented by Gagosian at Burlington Arcade, London, from March 18 to April 6, 2024.

Image: Untitled, ca. 1977–78 © Francesca Woodman - Woodman Family Foundation/Artists Rights Society (ARS), New York
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Exhibitions Closing Soon

Jeff Brouws: Just About Everything, Someplace Else
Robert Mann Gallery | New York, NY
From October 17, 2024 to December 06, 2024
Robert Mann Gallery is pleased to announce our return to Chelsea, the vibrant art community where we first relocated to in 1999. For the inaugural exhibition in our new gallery space, and in celebration of our 25+ year relationship with artist Jeff Brouws, Robert Mann Gallery is pleased to announce Jeff Brouws: Just About Everything, Someplace Else, on view from October 17 - December 6, 2024. This exhibition will showcase a selection of Brouws’s iconic photographs alongside several previously unseen works. In Just About Everything, Someplace Else, Jeff Brouws brings together images that act as artifacts of history while continuing to speak to themes that resonant today: a sense of abandonment, loneliness, alienation, and the influence of technological change, in essence all suggestive of an American Dream that isn’t quite what it seems. In this show Brouws incorporates photographs from several series including his Ed Ruscha-influenced Language in the the Landscape, the Hopperesque images from the series Approaching Nowhere, and the discarded and franchised elements of our collective commercial environments that pay homage to, and update, the New Topographics. Throughout his career Brouws has created a rich archive with an emphasis on documenting our built environment, a practice that he terms “visual anthropology.” In preserving the remnants of the American landscape he has created a photographic anthology that allows us to see the impact of economic and social forces as they play out, especially across non-urban areas of America. In these images a connecting thread is the highway, a central character and place upon which so much of American life unfolds. Brouws' photographs are included in the permanent collections of The Whitney Museum of American Art, The Nelson-Atkins Museum of Art, The J. Paul Getty Museum, among others. His monographs include Approaching Nowhere (2006), Readymades (2003), Inside the Live Reptile Tent (2001), and Highway: Americaʼs Endless Dream (1998). He is also the co-editor and co-creator of Various Small Books: Referencing Various Small Books by Ed Ruscha (2013, MIT Press). Born in 1955, Brouws lives in Stanfordville, New York.
Notes on Care by Rachel Cox
University of New Mexico Art Museum | Albuquerque, NM
From August 23, 2024 to December 07, 2024
Notes on Care is a new exhibition of photographs by Rachel Cox from the series Portrait of a Woman. This highly personal body of work chronicles Cox’s experience accessing fertility treatment to start a family. The selection of photographs at the UNM Art Museum “reflects on the action of care,” says Cox, “the various moments that require care, starting with the self, and extending to the care taken to honor an embryo meant for implantation.” Representation is important for Cox; her photographs depict a medical procedure that is rarely observed by the public or depicted in the media, yet over 300,000 people in the United States underwent IVF cycles in 2020 alone, according to the Center for Disease and Control. By making her own body and treatment visible, Cox’s photographs serve as sources of information and comfort.br> “The photographs I make examine personal and cultural stigmas associated with female infertility while also raising awareness for the millions of people who seek to build their families through assisted reproductive technologies (ART),” says Cox.br> “We are at a critical moment in history where birthing people have lost federal protections for the right to decide how and when they will build their families. The lack of fact-based information around reproductive health is widespread and contributes to mass misinformation which infects the social, cultural, and political landscape of this country.” br>
Michelle V. Agins: Storyteller
Zimmerli Art Museum | New Brunswick, NJ
From March 06, 2024 to December 08, 2024
Michelle V. Agins is a Pulitzer Prize-winning photojournalist whose images tell unforgettable stories about life in America. The second Black woman ever hired as a staff photographer at The New York Times, Agins’s groundbreaking assignments offer some of the most important documentation of race relations, celebrity culture, sports, spirituality, and economic disparity in America. Over the course of her five-decade career as a photojournalist, Agins has covered a vast array of news moments, from her early pictures of the protests surrounding the murder of Black teenager, Yusef Hawkins, and the 1992 Democratic National Convention, through more recent images of the Kamala Harris campaign and portraits of Storme DeLarueri, a Stonewall Riots survivor. Agins has captured other iconic figures, such as James Baldwin, Prince, Aretha Franklin, Serena Williams, Anthony Mason, and Anita Hill, among many others. Each photograph demonstrates Agins’s powerful humanizing vision. “Storytelling is the only way I’ve done my work,” Agins said, and “my words are my images.” Her visual storytelling also brings to light the lives of many New Yorkers (some on view here) who have been aided by The New York Times Neediest Cases Fund, now called the Communities Fund. Her series Another America: Life on 129th Street (1994), also on view here, studies the effects of gun violence on a Harlem neighborhood. This museum exhibition, Agins’s first, comprises sixty-eight images taken during her thirty-five years at The New York Times. Organized by Maura Foley, Picture Editor, The New York Times, and Maura Reilly, Director, Zimmerli Art Museum. Image: Michelle V. Agins, James Baldwin introduces his new book "Evidence of Things Not Seen" at the home of Lerone Bennett in Chicago, 1983. © Michelle V. Agins
Women at War: 12 Ukrainian Artists
Chicago Cultural Center | Chicago, IL
From August 17, 2024 to December 08, 2024
Yevgenia Belorusets | Oksana Chepelyk | Olia Fedorova | Alena Grom | Zhanna Kadyrova | Alevtina Kakhidze | Dana Kavelina | Lesia Khomenko | Vlada Ralko | Anna Scherbyna | Kateryna Yermolaeva | Alla Horska (1929–70) | curated by Monika Fabijanska Women at War features works by a selection of the leading contemporary women artists working in Ukraine, and provides context for the current war, as represented in art across media. Several works in the exhibition were made immediately following February 24, 2022, when Russia began the full-scale invasion of Ukraine; others date from the ten years of war following the annexation of Crimea and the creation of separatist Donetsk and Luhansk “People's Republics” in Donbas in 2014. War is central to history. History has been written (and painted) by men. This exhibition provides a platform for women narrators of history and also examines gendered perspectives of war. Women are generally absent from the historical accounts of war, but violating a woman is seen as a violation of land and nation. Media images reinforce the perception of gender divide. But is war indeed gendered? Women comprise c. 25% of the Ukrainian armed forces. Russian soldiers rape Ukrainian civilians of all and no genders, including adult men. Yet, the majority’s experience remains tied to the traditional gender roles. Many artists in this exhibition struggle with the notion of victimhood and pose the question in what way women have agency during war. The exhibition also offers an insight into Ukrainian and other Eastern European feminisms, which are significantly different from the Western mold. It contributes to the discourse about how national identity is tied to the perception of women’s role in society. There are parallels between the fight for Ukraine’s independence and the fight for the equality of Ukrainian women. They stem from the paradoxes of the Soviet Union, where early modernist, anti-nationalist, and feminist promises became but a fig leaf of propaganda for the increasingly brutal and misogynist patriarchal regime. An independent Ukraine, burdened with its colonial past, the unimaginable wounds of the 20th century (the Holodomor, two world wars, and the Holocaust), and the actuality of a crisis, became obsessed with history. Ukrainian art of the 2010s was largely focused on the discussion of whether national identity should draw directly upon the short period of pre-Soviet independence or include the legacy of the Ukrainian SSR. The new generation of artists turned their attention to historiography – how history is written, who writes it, who and what remains invisible. Soviet painting, especially the interpretations of WWII, came into focus for many. Others organized around the critique of decommunization – the destruction of Soviet monuments and mosaics in Donbas spearheaded by the post-Maidan government – and turned towards the blanked-out pages of history. Image: © Alena Grom
The Eyes of the Audience
Holden Luntz Gallery | Palm Beach, FL
From November 22, 2024 to December 10, 2024
In the world of entertainment, the performers we adore often exist as larger-than-life figures, their identities shaped by the roles they play and the moments they share with us. The Eyes of the Audience: Performers Seen Behind the Lens invites viewers to step into the intimate space between the audience and the artists, exploring the profound connections that bridge the gap between the stage and the spectator. “Fame has been with us for quite some time, but celebrity was a nineteenth-century invention,” as Vicki Goldberg aptly notes. This sentiment echoes through the powerful imagery of iconic photographers such as Lawrence Schiller, Terry O’Neill, Barbara Morgan, Harry Benson, Roy Schatt, Douglas Kirkland, and Norman Seeff. Their photographs capture the essence of the performers who have transformed our cultural landscape—actors, musicians, dancers, and athletes—freezing moments that resonate with our collective memory. This exhibition celebrates the photographers who have expertly chronicled these performers, offering glimpses into the lives of cultural icons such as Marilyn Monroe, David Bowie, and Muhammad Ali. Each image captures a moment in time, allowing us to revisit the electric energy and creativity of these larger-than-life figures. The photographers featured here have used their artistry to transform fleeting moments into enduring legacies, highlighting the intricate relationship between performer and audience. In the spirit of Barbara Morgan, whose iconic dance photography immortalized the movements of stars like Martha Graham, this exhibition showcases how photography conveys the emotions and dynamics of performance. Morgan famously stated that “form and content meet in action,” a sentiment echoed in the work of contemporary photographers like Douglas Kirkland and Norman Seeff, who capture the essence of their subjects through spontaneous interactions and intimate moments. As we navigate through the exhibition, the cultural narratives woven into each photograph evoke feelings of nostalgia, longing, and admiration, prompting reflection on our personal connections to these performers and their art. The energy captured by the photographers transforms into a resonance that reflects the impact these entertainers have had on our lives—the soundtracks to our memories, the dialogues of our dreams, and the shared moments of cultural significance. The interplay of stillness and motion, of the personal and the universal, creates a dialogue that transcends time. Each photograph serves as a testament to the artistry of both the performers and the photographers, illuminating the beauty of their collaboration. Through these images, the audience becomes part of a shared experience that celebrates the magic of performance art. The Eyes of the Audience serves as a testament to the artistry involved in both performance and photography, resonating as documentation and dialogue between the past and present, celebrating the enduring influence of performers on our collective cultural narrative. Image: Arthur Miller and Marilyn Monroe on the set of “The Misfits” © Eve Arnold
The Good Life
JL Modern Gallery | Palm Beach, FL
From November 08, 2024 to December 14, 2024
Life’s finest moments often emerge in the spaces between obligations—where joy, relaxation, and beauty naturally unfold. Whether through quiet reflection, playful escape, or shared celebration, these experiences remind us to savor the present. The Good Life: Experiencing Leisure, Joy & Luxury captures the essence of these fleeting, meaningful moments. The exhibition features the works of Slim Aarons, Rodney Smith, and William Helburn, three photographers whose images embody levity, pleasure, and elegance. Through their distinct visions, The Good Life offers an invitation to embrace life’s finest experiences. These works celebrate joy, luxury, and lightness—not as extravagances, but as moments that enrich our everyday existence. The photographs on display go beyond simple documentation; they breathe life into the present, inviting us into a world of unencumbered joy and indulgence. Whether capturing refined leisure or whimsical elegance, these images transcend time to evoke emotions that resonate today. Each frame holds a fragment of freedom, exuberance, or nostalgia—reminding us that even the simplest pleasures can carry a timeless allure. Slim Aarons (1916–2006) dedicated his career to capturing the lives of the rich and glamorous. Known for striking images of high society at leisure—whether by the pool in Palm Springs or on the slopes of Gstaad—Aarons embodied his philosophy of “photographing attractive people doing attractive things in attractive places.” His photographs immortalize leisurely pursuits against stunning backdrops of luxurious estates and sun-drenched beaches, revealing a visual archive of mid-20th-century elegance and opulence. Beginning his career as a combat photographer during World War II, Aarons transitioned to society photography post-war, establishing a signature style marked by vibrant colors and natural light. His influential body of work has graced major publications like *Life* and *Harper’s Bazaar* and continues to inspire artists and designers, reflecting the complex narratives of identity and privilege that define his legacy. Rodney Smith (1947–2016) was a prominent fashion and portrait photographer whose whimsical black-and-white imagery evokes the surrealism of René Magritte. Known for his un-retouched, dreamlike compositions, Smith masterfully balanced elegance and humor, creating enchanted worlds filled with playful surprises. His photographs reflect a keen understanding of light and composition, inviting viewers into a realm where joy and optimism reign. With a career spanning over 45 years, Smith’s work continues to inspire and captivate, celebrating the beauty of life through his unique artistic vision. William Helburn (1924-2020) was a pioneering figure in fashion and advertising photography, whose work epitomizes the creative revolution of the 1950s and 1960s. His innovative approach to visual storytelling transformed how fashion was portrayed, blending elegance with an unexpected sense of humor and whimsy. Helburn’s photographs not only captured the era’s most iconic models, such as Dovima and Sharon Tate, but also illustrated the vibrant spirit of postwar America. By pushing the boundaries of traditional studio settings and utilizing urban environments as backdrops, he created dynamic compositions that resonated with the youthful optimism of the time. His distinctive aesthetic—marked by bold colors and striking contrasts—mirrors the exhibition’s theme of redefining identity and exploring the interplay between fashion, culture, and societal norms. Helburn’s legacy as a master of both technique and vision continues to influence contemporary photography, making his work a vital part of this narrative. Together, the works of Aarons, Smith, and Helburn invite us to experience The Good Life—a celebration of life’s finer moments, where joy, beauty, and elegance intertwine. This exhibition reminds us that sometimes, the simplest pleasures are the most meaningful and luxurious of all. Image: Palm Beach Idyll © Slim Aarons
Fire Island: The Art of Liberation
Long Island Museum | Stony Brook, NY
From July 18, 2024 to December 15, 2024
Only eight miles away from Long Island’s south shore, but a world apart from Long Island’s suburbia. This barrier island seashore offers residents and visitors the freedom to express themselves, both personally and artistically. It has offered a warm-weather respite to Long Islanders and New Yorkers for more than a century, with ferry service beginning in the mid-19th century, soon after the first hotels were built. The Hamlets of Cherry Grove and Fire Island Pines have provided LGBTQ+ New Yorkers the freedom to express themselves since the mid-20th century, and these communities have been celebrated worldwide as a place of acceptance, drawing artists seeking inspiration. Featuring works by Paul Cadmus, Meryl Meisler, John Laub, Joanne Mulberg, TM Davy, Doron Langberg, Louis Fratino, and more.
Victoria Sambunaris Traces of the Manifest
Photographic Center NW | Seattle, WA
From October 24, 2024 to December 15, 2024
Traces of the Manifest encompasses photographs, ephemera and video made by Victoria Sambunaris between 2015 and 2023. The exhibition uncovers new meanings and alternative perceptions beyond Sambunaris’ well-known or customary large-scale murals of American landscape which examine the external imprint from deep time to human time. By showing artifacts, found objects and photographs this exhibition reveals the working method, perceptions, intimacies and even unconscious views that are part of the essential and incidental elements of Sambunaris’ work as a photographer and explorer. Photographs from the Texas Gulf Coast to the desert regions of southern California reveal three dimensions of the animating forces behind Sambunaris’ larger concerns: the impact of industrial sites, geological forces and human traces found in landscape today. The intimate scale of this exhibition has given Sambunaris the opportunity to include journals, road logs, gifts, mineral collections, books, and snapshot documentation to reveal a personal story of her time on the road.
Revisions: Celebrating Fifty Years of the UMBC Photography Collections
Albin O. Kuhn Library Gallery | Baltimore, MD
From September 03, 2024 to December 15, 2024
Revisions: Celebrating Fifty Years of the UMBC Photography Collections features highlights and lesser-known gems from UMBC’s considerable photography holdings. Looking back at a half-century of collecting, the exhibition offers thematic groupings and visual juxtapositions of photographs from the nineteenth century to the present. The display asks viewers to approach the history of photography with fresh eyes. Among the artists featured are Berenice Abbott, Diane Arbus, Kerry Coppin, Cary Beth Cryor, Judy Dater, Robert Frank, Roland Freeman, Ralph Gibson, Lewis Hine, and Alfred Stieglitz. Image: Elba, 1983 © Ralph Gibson
Angela West and John Chiara: In Conversation
Jackson Fine Art | Atlanta, GA
From October 01, 2024 to December 20, 2024
West’s work reimagines her earlier series of photographs of Dahlonega, GA (the artist’s hometown) through a reorientation of format and painting layers of impressionistic brushstrokes. The interplay of the glossy photograph and texture of paint creates a wholly new experience of subject and ground, and results in fantastical compositions that blur distinction between photography and painting. Utilizing inventive cameras he designed and built himself, Chiara shoots directly onto positive color photographic paper, leaving behind visible traces of his process. The artist was invited by the San Francisco Arts Commission in 2022 to document the redevelopment taking shape on nearby Treasure and Yerba Buena Islands, and the exhibition focuses on works from this new series. His images draw our attention to shifting elements of the landscape and tell a thoughtful, complex story about the changing urban terrain. Image: Facing another way, where I am, 2024 © Angela West
Michael Stipe: Even the birds gave pause
Jackson Fine Art | Atlanta, GA
From October 01, 2024 to December 20, 2024
Jackson Fine Art is delighted to announce our Fall 2024 exhibitions with Michael Stipe, Angela West, and John Chiara opening on Tuesday, Oct. 1 at 6 p.m. with a reception celebrating the artists. Even the birds gave pause features work of artist and former R.E.M. frontman Michael Stipe and presents a sampling of the breadth of Stipe’s creativity - photographs of family and friends, an installation of folded portraits printed on delicate rice paper, brightly painted bronze fox sculptures, and book art portraits of his muses. In Conversation is an inspired pairing of John Chiara’s dreamy, richly colored camera obscura photographs with Angela West’s painterly mixed media works. Both West and Chiara play with reflection, light and abstraction to create deeply evocative landscapes that are less about depiction of place but rather the memory of it. Stipe, West, and Chiara each embody a contemporary sensibility that addresses memory, identity, and the evolving relationship between people and nature. Stipe’s exhibition, Even the birds gave pause, takes imagery from his most recent book published by Damiani of the same name as the foundation and expands from there. The artist’s continual exploration of portraiture is the show’s central theme. Stipe’s portraits reflect a variety of different approaches - candid, conceptual, and classical – but always with a poignant sensitivity to the vulnerability of his subjects. The curation of images and objects presents a view into how the artist sees and interprets the world around him. This is Stipe’s first exhibition with the gallery. Image: Megan & Lucy (Homage to Lee Friedlander), 2020 © Michael Stipe
Joshua Lutz: Orange Blossom Trail
Clamp | New York, NY
From November 07, 2024 to December 21, 2024
CLAMP is pleased to present “Orange Blossom Trail,” an exhibition of photographs by Joshua Lutz, drawn from his recently published book of the same name, a collaboration with esteemed writer George Saunders. Lutz’s “Orange Blossom Trail” delves into the complex realities of life in Central Florida, a region often romanticized for its sunshine and theme parks, yet grappling with economic hardship, social inequality, and environmental fragility. Lutz’s lens captures this dichotomy, revealing a landscape imbued with both beauty and struggle. The exhibition features a selection of Lutz’s evocative photographs, offering glimpses into the lives of individuals navigating this challenging terrain. Images of lush landscapes interspersed with portraits of residents hint at the underlying tensions between the idyllic façade and the lived experiences of those who call it home. Lutz’s photographs capture moments of both quiet desperation and unexpected beauty. We see evidence of the region’s struggles in images of dilapidated buildings, neglected neighborhoods, and individuals grappling with poverty and isolation. Yet, amidst these challenges, Lutz also finds moments of resilience, hope, and human connection. Lutz’s work prompts viewers to consider the complexities of place and identity, and the human capacity for perseverance in the face of adversity. “Orange Blossom Trail” offers a nuanced and compassionate portrayal of a region often overlooked and misunderstood.
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