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WOMEN A Century of Change

From October 22, 2019 to March 01, 2020
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 WOMEN A Century of Change
1145 17th Street, NW
Washington, DC 20036
As we approach the 100th anniversary of the U.S. constitutional amendment confirming women's right to vote, a powerful new exhibition and book from National Geographic showcases iconic women around the world. WOMEN: A CENTURY OF CHANGE illuminates, celebrates and reflects on where the world's women have been, where they are now and where they are going.

The exhibition's stunning photographs, drawn from National Geographic's unparalleled image collection, span nine decades and feature a myriad of countries. Each image creates a portrait of some aspect of women's existence and shows exhibition visitors how the depiction of women has evolved since National Geographic's founding in 1888.

Featuring additional behind-the-scenes stories from famed female National Geographic photographers, including Lynsey Addario, Jodi Cobb and Ami Vitale, about some of their most arresting images of women, this provocative exhibition examines women's lifestyles across world cultures, from historic images to the haunting green-eyed "Afghan girl."

Complementing the exhibition is an additional section: Portraits of Power. These are 24 intimate portraits and biographies of an iconic group of activists, luminaries, politicians and celebrities who were interviewed for the book by National Geographic magazine's first female editor-in-chief, Susan Goldberg. Among those featured are Oprah Winfrey, Dr. Jane Goodall, gun control activist Emma González, House Speaker Nancy Pelosi, and New Zealand Prime Minister Jacinda Ardern. WOMEN is a compelling, timely and richly diverse exhibition. It honors groundbreaking women everywhere who've made it possible to say, definitively, that the future is female.
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Exhibitions Closing Soon

Tree Stories: Kate Breakey
Santa Fe, NM
From November 22, 2019 to February 22, 2020
Some of the oldest living things on earth are trees. Simultaneously fascinating and daunting in their endurance, trees are seemingly still and eternal, yet are constantly growing and changing. Trees have many stories to tell, as forests provide the backdrop for countless fairytales, ghost stories, and ancient mythologies. Home to a variety of creatures, intelligent beyond our full understanding, and vital to many of earth's ecosystems, these deciduous beings connect many aspects of life on our planet. Trees can experience the equivalent of many human lifetimes and have become symbols for the cycles and mysteries of the natural world. photo-eye Gallery is excited to announce Tree Stories, a solo exhibition of work by Kate Breakey. Tree Stories encompasses a wide array of approaches to a singular subject as the exhibition will include a combination of the many photographic materials and techniques Breakey is known for. Shimmering gold leaf orotones of trees bring richness and a dazzling quality of light to this selection of work, hand colored photographs of trees are traditionally illustrative and straightforward, while delicately hand-embroidered photographs of bird nests on silk embody grace and elegance through their exquisite detail. This exhibition also coincides with photo-eye's 40th Anniversary celebration. Founded as a mail order photography book source in 1979 in Austin, Texas by Rixon Reed, photo-eye has grown into one of the leading contemporary photography galleries while continuing as the oldest and largest photography bookstore in the country. Today, photoeye.com is recognized as one of the foremost websites devoted to contemporary photography and our online bookstore includes the world's largest selection of contemporary photobooks. photo-eye Gallery and Bookstore have been in Santa Fe since 1991. ABOUT THE ARTIST Kate Breakey was born in Adelaide, Australia and received her MFA in photography from the University of Texas, Austin in 1991. Breakey is known for working in a multitude of photographic techniques, including large-scale hand colored archival pigment prints, gold leaf backed orotones printed on glass, and hand embroidered images printed on silk. Since 1981 her work has appeared in more than 75 solo exhibitions and more than 50 group exhibitions in the United States, France, Japan, Australia, China, and New Zealand.
Ans Westra: Urban Drift
New York, NY
From December 05, 2019 to February 22, 2020
Ans Westra is responsible for the most comprehensive documentation of Māori culture over a 60 year period of significant political and cultural change in New Zealand. Regarded for their realism and spontaneity, Westra's images bear witness to the post-war urban drift of historically rural Māori as they moved to urban areas and began living in a very different world, alongside Pākehā (New Zealand Europeans), often for the first time. Between 1945 and 1986, the proportion of Māori living in New Zealand cities grew from 26% to nearly 80%. This deliberate urban migration fueled by industrialization, employment opportunities, and the allure of a 'modern' lifestyle, has been described as the most rapid migratory movement of any population. Westra emigrated from The Netherlands in 1957 and in 1962 began her career as a fulltime freelance documentary photographer, primarily working for the School Publications Branch of the Department of Education and Te Ao Hou, a Māori magazine published by the Department of Internal Affairs. Westra's work for these two publications led her to travel extensively throughout New Zealand and the South Pacific. Her Humanist style was greatly influenced by Edward Steichen's landmark international exhibition The Family of Man which Westra saw when it traveled to Amsterdam in 1956. Westra's historic work has resounding relevance in the current climate of diaspora and cultural pluralism. Central to her pictorial documents lie the tensions Māori faced in "the dual challenge of adapting to the demands of the urban industrial system and successfully transplanting their culture into urban centers." The enduring and intimate observation of Māori in Westra's work has, in the words of renown author, Witi Ihimaera, served as "confirmation that the photographer herself has become inextricably involved in the recording of the artistic and political imperatives of our time. In doing so, Ans continues to give us a pictorial whakapapa of our lives, a genealogy which charts the ever-changing destiny of the Māori."
DOMESTIC BALLADS: Patty Carroll
Richmond, VA
From January 03, 2020 to February 22, 2020
Since the mid-1990s, Patty Carroll has been examining female identity, both by way of and through domesticity. Anonymous Women is a series of portraits of shrouded women in exuberant drapery, manifested as homespun vignettes of mannequins, inundated with household objects. Carroll approaches the topic of domesticity through the lens of her own life and through other cultures. With a wry but lighthearted humor, the weight of the accouterments is couched comfortably between absolute suffocation and mere decoration. Works from Carroll's recent series, Flora and Fauxna will also be on view. Carroll creates ornate still-lifes, styled with ceramics birds camouflaged between colorful fabrics, artificial flowers, and household tchotchkes. The installations are gorgeous, filled with both vibrant color and subtle nuance. When peeled away, each layer recursively reveals excessive materiality, often all consuming.
Louis Draper: True Grace
New York, NY
From January 09, 2020 to February 22, 2020
Bruce Silverstein is pleased to present Louis Draper True Grace. This is the gallery's first exhibition of the artist's work since announcing exclusive representation. The show will include nearly fourty gelatin silver prints spanning from the late 1950s through the 1990s. Louis Draper worked between Harlem, New Jersey, where Draper taught at Mercer County Community College between 1982-2002, and Senegal, where he traveled to in 1977-1978. The unifying concern of his practice was to portray his subjects with respect, and what Draper referred to as "true grace". Coming of age in the South, and living in New York City during the Civil Rights movement greatly impacted not only Draper's politics, but also the kind of images he created, and how they served as their own form of resistance. Draper was a young man during events such as the lynching of Emmett Till and saw how those powerful and purposeful images were absorbed by the world at large. Of his own photographs, Draper wrote: "I want to show the strength, the wisdom, the dignity of the Negro people ... I do not want a documentary or sociological statement, I want a creative expression, the kind of penetrating insight and understanding of Negros which I believe only a Negro photographer can interpret." Such an undertaking required multiple perspectives and a strong, like-minded community. In 1960 Draper founded The Kamoinge Workshop with Ray Francis. Kamoigne, translating to "group effort" from the language of the Kikuyu people of Kenya, grew to include fellow artists Anthony Barboza, Adjer Cowans, Danny Dawson, Al Fennar, Herman Howard, Earl James, Jimmy Mannas, Herbert Randall, Herb Robinson, Beuford Smith, Ming Smith, Larry Stewart, Shawn Walker, and Calvin Wilson. Roy DeCarava served at the group's esteemed mentor and friend. Through the varied practices of the Kamoinge members, which range from street photography to abstraction to portraiture, global African- American and African communities were portrayed as having agency rather than being victimized by social and political oppression. The work spoke to the collective and deeply textured experiences of people of color, the reverberations of which continue today.
The World to Come: Art in the Age of the Anthropocene
Ann Arbor, MI
From September 21, 2019 to February 23, 2020
Take Your Pick invites you-the Museum's visitors-to select photographs for our permanent collection. What belongs in a permanent collection, and why? Who and what should be represented, and how should we decide? This exhibition considers these questions in regard to 1,000 amateur photographs on loan from the private collection of Peter J. Cohen, who has gathered more than 60,000 snapshots while exploring flea markets in the United States and Europe over two decades. The images he has collected depict all aspects of daily life and reveal the dynamic histories of amateur photography. Such pictures have particular significance in the current digital age, when it is much less common to make physical copies of personal photographs. They constitute important artifacts of twentieth-century visual culture and precedents for the photographs we still make today. You are invited to make your voice heard in the selection process by voting for the photographs that resonate most with you!
The Polaroid Project: At the Intersection of Art and Technology
Cambridge, MA
From October 11, 2019 to February 23, 2020
In its heyday, Polaroid and its products were loved by millions of amateurs and embraced by countless professionals. ThePolaroidProject tells the fascinating and instructive story of the Polaroid company, and presents all aspects of Polaroid photography, including the technology that made it possible. After traveling around the world, this critically acclaimed exhibition will make a stop at the MIT Museum, approximately a block from where instant film was first invented. This unique exhibition explores various dimensions of the art-technology relationship through the exhibition of both art and artifacts. Featured will be over two hundred original works by 120 artists, including Ansel Adams, Chuck Close, Barbara Crane, Harold Edgerton, Walker Evans, Hans Hansen, David Hockney, Dennis Hopper, Gyorgy Kepes, Robert Mapplethorpe, Robert Rauschenberg, Andy Warhol, and William Wegman. The exhibition also showcases more than 75 artifacts--including cameras, prototypes, experimental films and other technical materials--from the MIT Museum's own historic Polaroid collection. Due to the sensitivity of the photographs, the exhibition will be shown in two parts, with a complete re-installation mid-way through.
LOST Carmel, curated by Kris Graves
Carmel, CA
From January 11, 2020 to February 23, 2020
LOST artists include Saleem Ahmed, Tim Carpenter, Nelson Chan, Isaac Diggs, Kris Graves, Sergio A. Fernández, Mercedes Jelinek, Shane Lavalette, Zun Lee, Andrea Modica, Wendy Red Star, Griselda San Martin, Steven B. Smith, Aline Smithson, Jules Slütsky, Jared Soares, Young Sohn, Shawn Theodore, Giovanni Urgelles, and Cristina Velásquez.
Ellie Davies: Stars
Ketchum, ID
From January 28, 2020 to February 27, 2020
There is magic in British photographer Ellie Davies forest images. In her series “Stars” dense forests of the United Kingdom twinkle with overlaid images from the Hubble Telescope of the Milky Way, and other celestial phenomena evoke folktales of fairies and woodland creatures. I have been working in UK forests for the past nine years, making work which explores the complex interrelationship between the landscape and the individual. Our understanding of landscape can be seen as a construction in which layers of meaning that reflect our own cultural preoccupations and anxieties obscure the reality of the land, veiling it, and transforming the natural world into an idealization. UK forests have been shaped by human processes over thousands of years and include ancient woodlands, timber forestry, wildlife reserves and protected Areas of Outstanding Natural. As such, the forest represents the confluence of nature, culture, and human activity. Forests are potent symbols in folklore, fairy tale and myth, places of enchantment and magic as well as of danger and mystery. In more recent history they have come to be associated with psychological states relating to the unconscious. Against this backdrop my work explores the ways in which identity is formed by the landscapes we live and grow up in. Making a variety of temporary and non-invasive interventions in the forest, my work places the viewer in the gap between reality and fantasy, creating spaces which encourage the viewer to re-evaluate the way in which their own relationship with the landscape is formed, the extent to which it is a product of cultural heritage or personal experience, and how this has been instrumental in their own identity. Throughout my practice small acts of engagement respond to the landscape using a variety of strategies, such as making and building, creating pools of light, suspending smoke within the space, or using craft materials such as paint and pigment. The final images are the culmination of these interventions. The forest becomes a studio, forming a backdrop to contextualize the work, so that each piece draws on its location, a golden tree introduced into a thicket shimmers in the darkness, painted paths snake through the undergrowth, and strands of wool are woven between trees mirroring colours and formal elements within the space. These altered landscapes operate on a number of levels. They are a reflection of my personal relationship with the forest, a meditation on universal themes relating to the psyche and call into question the concept of landscape as a social and cultural construct. Most importantly they draw the viewer into the forest space, asking the them to consider how their own identity is shaped by the landscapes they live in.
A History of Photography: Selections from the Museum’s Collection
Houston, TX
From October 03, 2019 to February 28, 2020
A History of Photography: Selections from the Museum's Collection comprises a series of installations that trace the course of photography from its invention to the present day, showcasing important new acquisitions and treasured masterpieces. Every six months, a new selection of photographs, drawn from the rich collection the Museum has built over the past half century, presents the medium's history in a slightly different light. In this way, an increasingly complex picture of photographic history emerges, encouraging visitors to look closely, move slowly, and return for more. Each new installation also includes a focused look at the work of a single artist or theme held in depth by the Museum, plus a selection of photographically illustrated books highlighting the key role that publications have played in the development of the medium. This installation showcases photographs by artists including Berenice Abbott, Charles Aubry, Walker Evans, Heinrich Kühn, László Moholy-Nagy, Patrick Nagatani, Kiki Smith, Carleton E. Watkins, and Ishimoto Yasuhiro. Also on view is a selection of photographs by Josef Sudek, along with Czech and Slovak photo books.
Texture
New York, NY
From November 21, 2019 to February 29, 2020
Nailya Alexander Gallery is pleased to present TEXTURE, on view Thursday 21 November 2019 through Saturday 29 February 2020. TEXTURE focuses on photographs as unique art objects whose visual, material, and emotional qualities are brought to life by the distinctive philosophy and hand of the artist. On view are photographs by Albarrán Cabrera (b. 1969, Barcelona and Seville), Denis Brihat (b. 1928, Paris), Ingar Krauss (b. 1965, East Berlin), Ann Rhoney (b. 1953, Niagara Falls), Marcia Lippman (b. 1944, New York), Christopher Burkett (b. 1951, Pacific Northwest), Pentti Sammallahti (b. 1950, Helsinki), Lynn Stern (b. 1945, New York), and Alexey Titarenko (b. 1962, Leningrad). For some, texture is profoundly physical and tactile; for others, texture is a visual phenomenon, closely tied to the experience of light and color. Yet for all of these artists, texture is a vital dimension in our appreciation of their work. Denis Brihat's gold-toned gelatin-silver print of the thin, wrinkled skin of an onion is luminous; while in Albarrán Cabrera's prints, the combination of gold leaf, handmade Japanese gampi paper, and swathes of rich, amber light imbue the viewer with a sense of insight and tranquility. Other artists bring forth the texture of the past: Marcia Lippman uses works of the Old Masters to explore beauty and the passage of time by drawing attention to the cracks in the surface of a painting, and Lynn Stern finds echoes of ancient sculpture in the taut muscle and ivory skin of the human torso. The animating force of texture is present in the prints of Ann Rhoney and Ingar Krauss, both of whom apply oil paint to the surface of their gelatin-silver prints. Rhoney's portrayals of intimate, everyday scenes transport us into warm interiors or to an outdoor table on the streets of Paris; her Silk Dress evokes the masterfully rendered fabrics of Renaissance paintings, with folds and hues of lavender and peach. Krauss's meticulously painted hare seems ready to jump out of its frame. Alexey Titarenko's winter scenes from New York and St. Petersburg show the city streets awash in snow and rain, suffused with moisture and silvery light, while Pentti Sammallahti's prints shine with the light and depth of the lakes of Finland and Japan. Christopher Burkett, a master in Cibachrome printing, depicts a mass of green veratrum in Alaska, whose curling leaves and striking green, yellow, and purple hues create movement and an intricate palette.
Tim Greathouse: Albeit
New York, NY
From January 09, 2020 to February 29, 2020
Daniel Cooney Fine Art is honored to present a solo exhibition of drawings, paintings and photographs by Tim Greathouse. Greathouse was a celebrated figure in the East Village art scene of the 1980's as both an artist and gallerist. Greathouse studied art at West Liberty State College in West Virginia, and maintained a studio at the Boston Center for the Arts before moving to New York in 1977. Greathouse first showed his photographs of his commrades on the Lower East Side in an exhibition titled "Work Prints" at Gracie Mansion Gallery, Loo Division in 1982. That exhibition, held in the tiny water closet of Mansion's East Village apartment garnered him a review in the Village Voice. The review was the very first bit of press for the storied Gracie Mansion Gallery. He opened his own gallery dedicated to photography, Oggi Domani, in a storefront on East 11th Street in 1984. In 1986 he moved to a larger space on the north side of Tompkins Square Park, renamed the gallery T. Greathouse and showed sculpture in addition to photography. He then moved the gallery to the northeast corner of the park and continued to expand his oeuvre to painting and drawing. Artists to whom he gave first or early shows include Kathe Burkhart, Anne Messner, Andrew Masullo, Zoe Leonard, Ken Schless, Jimmy de Sana, Paul Smith and Hope Sandrow. Greathouse closed his gallery in 1988 when the East Village boom ended and worked as an art consultant and graphic designer. Greathouse died on October 18, 1998 at the age of 48 from complications of AIDS. While many people knew Greathouse as an art dealer and later as a graphic designer, even some of his closest confidants did not know he continued to make photographs. Since Greathouse's death his artwork has been archived with great care with the hope that it would one day be exhibited. Almost all of the work in this exhibition has never been seen publicly. This will be the most inclusive exhibition of Greathouse's work to date. As Greathouse seems to have been ignored in most historical reconciling of the East Village's art scene during the 1980's this exhibition hopes to correct that omission and share the important contributions of one of the most prolific figures of that time.
Hearts Road by Colin Finlay
Daytona Beach, FL
From November 12, 2019 to February 29, 2020
Hearts Road was photographed in 95 countries and produced over a period of 30 years. It represents one man's journey of evolution, his deep spiritual growth and ultimately his return to the seat of his soul. Transformative and prodigal, it also becomes a journey for every one of us. Take your innermost mind and, through his eyes, and his lens, discover a world that few have ever seen. Through some of the darkest and brightest times in our history, his photographs take us through a portal, exploring disappearing traditions, the path of religious pilgrims, war in the Middle East, Apartheid in South Africa, Antarctica, the Arctic Circle, Alberta Tar Sands, Mountaintop Removal, the Grizzly Bears of the Brooks Range, and literally dozens of other amazing experiences. Colin Finlay seamlessly stitches together the common links that unite us all in our struggle to comprehend both the staggering beauty of nature and the plight of our common humanity.
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