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Revelations II

From March 27, 2021 to September 05, 2021
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Revelations II
925 Camp Street
New Orleans, LA 70130
Revelations II: Recent Photography Acquisitions presents a sweeping survey of documentary and fine-art photographic traditions practiced in the American South from the early 20th century to the present. Acquired by the Ogden Museum of Southern Art over the past decade, these photographs represent diverse perspectives and experiments within the medium, and reflect the depth and complexity of the region.

Revelations II highlights an array of photographic processes and techniques made by twenty-five photographers working within the traditional art genres of landscape, portraiture and still-life. In recent years, emerging and underrepresented photographers have been a focus of the Museum's photography exhibitions, programming and acquisitions. These emerging voices join established masters within the Ogden's collection to illustrate the rich tradition of photography in the South.

Since Roger Ogden's original donation of over 600 works of art in 2003, the Museum's permanent collection of paintings, drawings, prints, sculpture and photographs has grown to more than 4,000 works - all acquired through the generosity of artists, patrons and collectors. Today, Ogden Museum's permanent collection of more than 1,500 photographs represents one of the most important and comprehensive collections of photography made in the American South.
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Exhibitions Closing Soon

Meghann Riepenhoff: Ice
San Francisco, CA
From November 16, 2021 to January 29, 2022
Haines Gallery proudly presents Meghann Riepenhoff: Ice, an exhibition of new and recent works created in winter landscapes across Colorado, Wisconsin, and the artist's home state of Washington. This is Riepenhoff's first solo exhibition with Haines Gallery.Meghann Riepenhoff (b. 1979, lives and works in Bainbridge Island, WA) creates her camera-less cyanotypes in collaboration with the elements, placing paper coated with homemade emulsion directly within the landscape. As they make contact with photographic materials, weather and water work together to produce lush, complex surfaces that invite us to consider the power and grace of the natural world. Ice features works from Riepenhoff's latest series of the same title, which she began in 2015. Expanding on her earlier bodies of work-Littoral Drift and Ecotone-Riepenhoff creates her Ice cyanotypes in freezing waters, from the snow banks of Aspen to remote creeks in western Washington. Riepenhoff's Ice works contain a surprising diversity of colors, forms, and textures, from inky indigo and glacial white in the triptych Ice #64 (18-29°F, Aspen, CO 02.10-12.20), created over three days-the time it took for the work, frozen in the landscape, to thaw-to flashes of orange in Ice #129 (28-32°F, Big Creek, WA 03.09.20). Subtle crystalline forms bloom across their surfaces, where water freezes on the paper over exposures lasting several hours or days. In some areas, this delicate feathering coalesces into solid, graphically jagged masses; in others, it softens into painterly, gestural pools. Each evokes and is dependent on the environments and specific conditions in which they were made, a portrait of a time and place that is both literal and abstract, and wholly unique. Also on view are a selection of Ecotone works, created in collaboration with precipitation such as snow, rain, fog, and even melting icicles. The series title is a geographic term that describes a transitional zone where two habitats meet-aquatic and terrestrial, grassland and woodland, natural and manmade. Here, paper is draped over branches or fences, laid on the ground, or packed in snow, recording the movement of water across both natural and built topographies. In the vertical, scroll- like Ecotone #950 (Bainbridge Island, WA 02.15-16.21, Draped on Bar 99 Fence, Snowstorms), the cloud-like imprint of softly packed snow transforms into vertical striations as it melts over time. So dependent on the elements, the beauty and unpredictability of Riepenhoff's cyanotypes evoke the natural world at its most powerful and sublime. “The work expresses how water moves through topographies," the artist explains, and “how we are disrupting the surface." A photographic record of the changing states of water and its constant motion, Ice and Ecotone invite us to meditate on the passage of time, and on our impact on the environment, as we change the earth's temperatures and topographies. This exhibition is complemented by the release of Riepenhoff's highly anticipated second monograph, which includes expertly rendered reproductions of several of the works on view. Jointly published by Radius Books, Santa Fe and Yossi Milo Gallery, New York, Meghann Riepenhoff: Ice will feature works from the same series, with text by celebrated author Rebecca Solnit. To pre-order this book, available this winter, contact art@hainesgallery.com for details.
Anita Thacher: Loose Corner
New York, NY
From December 16, 2021 to January 29, 2022
Microscope is very pleased to present Loose Corner, the third solo exhibition at the gallery of works by Anita Thacher (d. 2017). Loose Corner concentrates on an eponymous 16mm film installation, begun in 1980 and completed in 1986, employing surrealistic sensibilities and optical illusions created with analog film printing techniques to address everyday life and dreams within the domestic realm. A selection of associated photographs from a 1980 series created with optical processes, stage sets and cast of characters similar to those in the film is also on view. The exhibition follows the 16mm film component's preservation by The Academy of Motion Picture Arts and Sciences this year. In "Loose Corner," as in Kafka and Buñuel, everything looks simple, nothing is. To realize, in shock and high adventure, that we cannot "even" depend on our sense organs and customary ways of perceiving the world around us, confronts us with the imperative need to open ourselves to new visions and to let the opulent magic of a universe more complex than hitherto imagined, enter our unsuspectedly famished bodies. - Amos Vogel, May 1987 For the first time, "Loose Corner," which debuted in the exhibition "Film as Installation" at the Clocktower in New York in 1980 as a work-in-progress, is shown as an installation as originally conceived with analog rear projection of the 16mm film within the gallery space. (The film in a theatrical version premiered at the opening of the 1986 New York Film Festival and has been screened throughout the years). Described as a "comedy of sabotage" in her original concept notes, the installation involves a life-sized projection of a corner of a room onto a wall-sized screen intersecting an actual room corner to create a trompe l'oeil illusion. "Because of this congruence, the film 'steals' the three-dimensional formation for itself and 'pretends' to have physical presence," Thacher writes. The corner - a typically uninteresting and overlooked area of a room - becomes a site for various real and fantastical activities. Main characters - a woman, man, child and dog - and various objects such as a black and white cube and a red, white & blue ball materialize on screen in their real-life dimensions, but soon begin to shrink and grow, duplicate and engage with one another and other versions of themselves, often changing degrees of opacity and materiality. As the film progresses, the environment shifts as well. The bland corner with unadorned walls takes on the resemblance of a large container with a glass lid, of a beaker filling with bluish-green water, and of a sparkling sea or of a star-filled sky. Like the most skillful magical trick, but performed through the means of cinema, each action leads to the realistic manifestation of the surreal. "Subjects and objects appear in the corner film in altered and unaltered states, massacring our assumptions and liberating our perceptual beliefs." - Anita Thacher The related photographs on view are selections from a series made in early 1980 through optical printing processes that like the film involve the layering of multiple images, eventually resulting in a single picture in which the rules of space, time and gravity are defied. In the photographs, the characters of boy and dog are played by the same actors as those that appear in the final film, while the role of young woman is played by the artist Francesca Woodman, a friend and neighbor of Thacher's who lived across the hall at the time. The character of the man does not appear in the photographs, which were completed prior to the initial test shooting of the film later that year.
The New Woman Behind the Camera
Washington, DC
From October 31, 2021 to January 30, 2022
The iconic New Woman-modern, independent, stylish, creative, and confident-was a revolutionary model for women across the globe. Featuring more than 120 international photographers, The New Woman Behind the Camera explores the diverse "new women" who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. This groundbreaking exhibition will reveal the significant impact women have had on the history of modern photography. Women actively participated in the development of photography soon after its inception in the 19th century. Yet it was in the 1920s, after the seismic disruptions of World War I, that women entered the field of photography in force. Aided by advances in technology and mass communications, along with growing access to training and acceptance of their presence in the workplace, women around the world made an indelible mark on the growth and diversification of the medium. They brought innovation to a range of photographic disciplines, from avant-garde experimentation and commercial studio practice to social documentary, photojournalism, ethnography, and the recording of sports, dance, and fashion. A global phenomenon, the New Woman of the 1920s embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Her image-a woman with bobbed hair, stylish dress, and a confident stride -was a staple of newspapers and magazines first in Europe and the United States and soon in China, Japan, India, Australia, and elsewhere. A symbol of the pursuit of liberation from traditional gender roles, the New Woman in her many guises represented women who faced a mix of opportunities and obstacles that varied from country to country. The camera became a powerful means for female photographers to assert their self-determination and redefine their position in society. Producing compelling portraits, including self-portraits featuring the artist with her camera, they established their roles as professionals and artists. Commercial studio photography was an important pathway for many women to forge a professional career and to earn their own income. Running successful businesses in small towns and major cities from Buenos Aires to Berlin and Istanbul, women reinvigorated the genre of portraiture. In the studio, both sitters and photographers navigated gender, race, and cultural difference; those run by women presented a different dynamic. For example, Black women operated studios in Chicago, New Orleans, and elsewhere in the United States, where they not only preserved likenesses and memories, but also constructed a counternarrative to racist images then circulating in the mass media. The availability of smaller, lightweight cameras and the increasing freedom to move about cities on their own spurred a number of women photographers to explore the diversity of the urban experience beyond the studio walls. Using their creative vision to capture the vibrant modern world around them, women living and working in Bombay (now Mumbai), London, New York, Paris, São Paulo, Tokyo, and beyond photographed soaring architecture and spontaneous encounters on the street. Creative formal approaches-photomontage, photograms, sharp contrasts of light and shadow, unconventional cropping, extreme close-ups, and dizzying camera angles-came to define photography during this period. Women incorporated these cutting-edge techniques to produce works that conveyed the movement and energy of modern life. Although often overshadowed by their male partners and colleagues, women photographers were integral in shaping an avant-garde visual language that promoted new ways of seeing and experiencing the world. Beginning in the 1920s, new concepts concerning health and sexuality, along with changing attitudes about movement and dress, emphasized the human body as a central site of experiencing modernity. Women photographers produced incisive visions of liberated modern bodies, from pioneering photographs of the nude to exuberant pictures of sport and dance. Photographs of joyous play and gymnastic exercise, as well as images of dancers in motion, celebrate the body as artistic medium. During this modern period, numerous women pursued professional photographic careers and traveled extensively for the first time. Many took photographs that documented their experiences abroad in Africa, China, Afghanistan, and elsewhere, while others engaged in more formal ethnographic projects. Some women with access to domains that were off limits to their male counterparts produced intimate portraits of female subjects. While gender may have afforded these photographers special connections to certain communities, it did not exempt some, especially those from Europe and the United States, from producing stereotypical views that reinforced hierarchical concepts of race and ethnocentrism. Images splashed across the pages of popular fashion and lifestyle magazines vividly defined the New Woman. The unprecedented demand for fashion and advertising photographs between the world wars provided exceptional employment opportunities for fashion reporters, models, and photographers alike, allowing women to emerge as active agents in the profession. Cultivating the tastes of newly empowered female consumers, fashion and advertising photography provided a space where women could experiment with pictures intended for a predominantly female readership. Galvanized by the effects of a global economic crisis and the growing political and social unrest that began in the 1930s, numerous women photographers produced arresting images of the human condition. Whether working for government agencies or independently, women contributed to the visual record of the Depression and the events leading up to World War II. From images of breadlines and worker demonstrations to forced migration and internment, women photographers helped to expose dire conditions and shaped what would become known as social documentary photography. The rise of the picture press established photojournalism as a dominant form of visual expression during a period shaped by two world wars. Women photographers conveyed an inclusive view of worldwide economic depression, struggles for decolonization in Africa, and the rise of fascism and communism in Europe and the Soviet Union. They often received the "soft assignments" of photographing women and children, families, and the home front, but some women risked their lives close to the front lines. Images of concentration camps and victory parades made way for the complexities of the postwar era, as seen in pictures of daily life in US-occupied Japan and the newly formed People’s Republic of China. The photographers whose works are in The New Woman Behind the Camera represent just some of the many women around the world who were at the forefront of experimenting with the camera. They produced invaluable visual testimony that reflected both their personal experiences and the extraordinary social and political transformations of the early 20th century. Together, they changed the history of modern photography.
Thomas Barrow: The Automobile
La Jolla, CA
From December 20, 2021 to February 04, 2022
Joseph Bellows Gallery is pleased to announce its forthcoming exhibition, Thomas Barrow: The Automobile. This solo exhibition will showcase a selection of vintage photographs from Barrow's highly influential extended series, The Automobile, a three-part portfolio created in 1964-65. This exhibition will open on December 20th and run through February 4th, 2022. During the mid-1960s, Thomas Barrow studied with Aaron Siskind at the Institute of Design in Chicago. While there he completed a visual study comprised of 115 photographs entitled, The Automobile. This series formed his thesis project and examined the role of cars in American culture. The series presented three individual yet connecting sections, which follow the automobile from display in the showroom and at car shows, through daily travels on the street and within parking lots, and eventually to their demise, discarded at the junkyard. Thomas Barrow graduated with an M.S. in photography from the Institute of Design. He began his career as Curator of Exhibitions at the George Eastman House and then became the museum's Assistant Director in the early 1970s. Later, Barrow moved to New Mexico, where he was the Associate Director of the Art Museum at the University of New Mexico. In 1976, he began teaching photography in the university's Art Department. Thomas Barrow is Professor Emeritus of Photography at the University of New Mexico. His photographs are in the permanent collections of numerous museums, including the George Eastman Museum, the Los Angeles County Museum of Art, the San Francisco Museum of Modern Art, the Black Dog Collection, and the Center for Creative Photography at the University of Arizona, Tucson, where his archive is also housed. A career survey on Barrow's work, Inventories and Transformations: The Photographs of Thomas Barrow, was published in 1986 in conjunction with the solo exhibition of the same title at the Los Angeles County Museum of Art. In 2012 his celebrated series Cancellations was published by powerHouse books.
Allied with Power: African and African Diaspora Art from the Jorge M. Perez Collection
Miami, FL
From November 07, 2020 to February 06, 2022
Through a large donation of Cuban art in 2017, an earlier donation of Latin American art in 2011, and significant gifts through acquisition funds, Jorge M. and Darlene Pérez have added more than 500 works of modern and contemporary art to PAMM's permanent collection. Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection celebrates their most recent acquisitions, which consists of a sizable selection of international African and African Diaspora artists. Inspired by his upbringing in a number of Latin American countries, Pérez began collecting the work of Cuban and Afro-Latino artists several years ago. Recently he has expanded that focus to include artists of the full African diaspora. Allied with Power shows the result of these years of dedicated effort and exploration. The exhibition highlights artists whose works embody the possibilities and complexities of our contemporary moment. Allied with Power showcases a wide range of practices and thematics, including abstraction, representation, politics, spirituality, and race. Collapsing national borders, the artists in the exhibition ally with power, representing a kaleidoscope of voices that declare their authority.
Frida Kahlo, Diego Rivera and Mexican Modernism from the Jacques and Natasha Gelman Collection
West Palm Beach, FL
From October 23, 2021 to February 06, 2022
Frida Kahlo, Diego Rivera and Mexican Modernism from the Jacques and Natasha Gelman Collection will be the Norton's first large-scale exhibition devoted to Mexican modernism. As a film producer in Mexico City, Jacques Gelman encountered the leading figures of the artistic renaissance that occurred after the end of the Mexican Revolution in 1920. Featuring over 150 works, including paintings and works on paper collected by Jacques and Natasha Gelman alongside photographs and period clothing, the exhibition includes the largest group of works by Frida Kahlo and Diego Rivera ever on view at the Norton. Presenting these artists' creative pursuits in a broader context, the exhibition also includes work by Manuel and Lola Álvarez Bravo, Miguel Covarrubias, Gunther Gerzso, María Izquierdo, Carlos Mérida, David Alfaro Siqueiros, Juan Soriano, and Rufino Tamayo. The Gelmans' close relationship with this community is underscored by the number of portraits of them made by their artist friends in the exhibition. Photographs related to Kahlo, Rivera, and their enduring legacy by a global roster of artists including Lucienne Bloch, Imogen Cunningham, Juan Guzmán, Graciela Iturbide, Nickolas Muray, Edward Weston, and Guillermo Kahlo—Frida's father—help round out our understanding of these iconic painters.
Sarah Moon: At the still point
New York, NY
From October 15, 2021 to February 06, 2022
Curated by the artist for Fotografiska, At the still point showcases a selection of photographs, films and books produced over the last 30 years. A fashion photographer with a deeply literary approach to her work, Sarah Moon has the incredible ability to create dream-like, otherworldly photography in both her editorial work and more narrative series. Her distinctive painterly, storybook-esque visual style transports the viewer to a world where the lines between reality and fantasy blur among deep color tones, melancholic moods, and abstract shapes. Highlighted within At the still point is an installation of 46 photographs and 6 fictional obituaries around a film: The Red Thread, based on Bluebeard, or La Barbe Bleue, a French folktale by Charles Perrault published in 1697.
Imogen Cunningham: A Retrospective
Seattle, WA
From November 18, 2021 to February 06, 2022
Imogen Cunningham: A Retrospective showcases the endless innovation and profound influence of this remarkable photographer who pushed the boundaries for both women in the arts and photography as an art form. Nearly 200 of Cunningham's insightful portraits, elegant flower and plant studies, poignant street pictures, and groundbreaking nudes present a singular vision developed over seven decades of work. The first major retrospective in the United States of Cunningham's work in 35 years, the exhibition examines on the artist's Seattle upbringing and includes works by female artists such as Ruth Asawa and Martha Graham who Cunningham championed, as well as works by Group f/64 which she helped found with Ansel Adams, Edward Weston, and others. Cunningham's spark of creative possibility asserted photography as a distinct and valuable art form in the 20th century. This exhibition is organized by the J. Paul Getty Museum, Los Angeles.
Mimi Cherono Ng ok: Closer to the Earth, Closer to My Own Body
Chicago, IL
From June 18, 2021 to February 07, 2022
For more than a decade, Mimi Cherono Ng'ok has worked to understand how natural environments, botanical cultures, and human subjects coexist and evolve together. Working with an analog camera, she travels extensively across the tropical climates of the Global South constructing a visual archive of images that document her daily experiences and aid her in processing emotions and memories. For her first solo museum exhibition in the United States, Cherono Ng'ok presents photographs and a film made across Africa, the Caribbean, and South America, all as part of an ongoing inquiry into the rich and diverse botanical cultures of the tropics. She tracked flowers and floral imagery across varied contexts—enshrouding the exterior of homes, emblazoned on bedspreads, encountered in nighttime flower markets—and a range of hidden associations. Some of the plants she pictures have been used as love potions or medicines, while others have been moved around the globe as part of histories of imperial or colonial expansion. Omitting frames, titles, or any indication of place allows Cherono Ng'ok to offer viewers an experience that is immediate, intimate, and vulnerable. To expose photographic prints in this way approximates the fragile and impermanent character of their depicted contents. Cherono Ng'ok's first film, which she produced in 2020, debuts in this exhibition. Shot on 16mm black-and-white reversal film, the work concentrates on a thicket of plantain trees the artist encountered in the coastal town of La Romana in the Dominican Republic. Lacking sound or storyline, the film is a meditation on mourning that reflects the artist's own personal and profound experiences of familial loss, and the transitory nature of human and vegetal life more broadly. With stark effects of light and shadow, abrupt transitions and stationary perspective, the film shows fronds fluttering in response to gusty winds. The result is at once ethereal and mysteriously tranquil, capturing the sensitive outlook of an artist whose work is spurred by steady movement and all the introspection and memories that this entails.
Fashion: Cathleen Naundorf
Palm Beach, FL
From January 22, 2022 to February 12, 2022
Cathleen Naundorf is one of the most dynamic and creative artists working in the genre of fashion photography. Her inspiration began with the fashion statements of some of the world's greatest couture designers, such as Chanel, Saab, Lagerfeld, Dior, Gautier, etc. She uses their creations to structure her large-format black and white and color images. In her work, she often uses backdrops from museums, formal gardens, hand-painted stage sets, and exotic locales to set against the models and garments. Her work has a timeless feel - and engages our senses of mystery, desire, and beauty in the resultant images. She has primarily used large-format Polaroid film and often peels the back off the film stock - allowing the pooling dyes to transfer to another surface - abrading and transforming the image. Naundorf's photographs push the boundaries past those of commercial photography with their lush, saturated surfaces.
Patty Carroll: Anpnymous Women, Domestic Demise
Dallas, TX
From November 20, 2021 to February 12, 2022
PDNB Gallery features two solo exhibitions by gallery artists, Patty Carroll and Bill Owens. This will be the first solo show for Patty Carroll, who is based in Chicago, Illinois. In recent years, Patty Carroll (b. 1946, Chicago, Illinois) has explored the traditional and contemporary “housewife" role, by creating scenes of exaggerated chaos that often consumes the subject, which is a woman. Pots and pans, shoes and flowers, excessively colorful drapery, cakes and pies, 1950's furniture and decorative objects overwhelm the female subject in the scene. The series is appropriately titled, Anonymous Women: Domestic Demise. Patty states, "She is both a victim of her obsessions, activities and circumstances as well as the invisible creator of such; both satisfying and problematic, pathetic and humorous." The images are mostly humorous, but sometimes terrifying. Overall, we reflect on the past and current defined roles of the Suburban woman.
 Bill Owens: Suburbia
Dallas, TX
From November 20, 2021 to February 12, 2022
Bill Owens has had a large presence in the gallery since the early 2000's, when we first featured his groundbreaking series from the early 1970's, Suburbia. Speaking of suburban culture, Bill Owens (b. 1938, San Jose, California) was the early documentarian of suburbia! In the late 1960's, this photographer had an epiphany to document America's movement into the suburbs of northern California. He made a list of what he wanted to document, i.e. a Tupperware party, shag carpeting, a newly minted home with a few pieces of furniture, a family barbeque, a new lawn being rolled out, Christmas decorations, overview images of cul-de-sacs, New Development billboards, and July 4th block parties and parades. These photographs were included in the seminal 1971 publication, Suburbia, which became an important sociological study and photography series that launched Bill Owens' art career. In 2001, Suburbia was included in the list of 101 most influential photography books published in the 20th Century. This year marks the 50th anniversary of the release of this publication, which is why PDNB Gallery is revisiting the photographs and the book in the gallery.
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