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Chris Marker: 100

From November 20, 2021 to January 21, 2022
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Chris Marker: 100
20 West 57th Street
New York, NY 10019
Peter Blum Gallery is pleased to present Chris Marker: 100, a survey across seven decades of the artist's career through almost 250 photographs, film stills, and prints. This is the gallery's fifth exhibition featuring Chris Marker (1921-2012) and coincides with the centenary of his birth. The exhibition runs from November 20, 2021 - January 21, 2022 at 176 Grand Street, New York.

Visionary filmmaker, photographer, writer, and multimedia artist, Chris Marker emerged in postwar Paris initially gaining renown for his films that include the seminal work, La Jetée (1962). Subsequently he would create a lasting influence across media and through his writings on the ways in which we consider time, memory, and observation of contemporary life. The centenary of his birth offers an ideal occasion to look back at his legacy through a survey of several disparate bodies of work. Totaling almost 250 selected images, and spanning the 1950s to the 2010s, they demonstrate Marker's reach across the globe and time. Whether chronicling political dissent, or postwar North Korea, poetically documenting the famous, or the anonymous of the Paris Metro, the exhibited works ultimately create a telling self-portrait of the legendarily reclusive artist. They offer a revealing look at his ironic yet impassioned view of the modern world and people coping with it, illustrating his perpetual inquisitiveness directed toward people's lives. Also evoking or counterpointing his films that often question the linearity of narration and history, these exhibited works explore Marker's archive of memory. They create new dialogues and new connections, while recalling definitive moments of a life lived behind the camera.
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Exhibitions Closing Soon

Chasing Light: Clarissa Bonet
Chicago, IL
From March 04, 2022 to May 21, 2022
Catherine Edelman Gallery is thrilled to present our second solo exhibition, Chasing Light, featuring new work by Clarissa Bonet. The show opens March 4 and runs through May 21, 2022. There will be an opening reception on Friday, March 4, from 5:00 - 7:30 pm. The artist will be in attendance. Face masks are required to enter the gallery. The concept of place, and our relationship to it, is at the heart of Clarissa Bonet's work. Bonet (b. 1986) was born and raised in Tampa, Florida - a coastal port city known for its amazing climate, sports teams, national defense outposts, and healthcare businesses. In 2010, Bonet moved to Chicago to attend graduate school at Columbia College Chicago. She immediately noticed the density of the city, its people, and its traffic. As she wandered the city, she was stunned by the isolation she felt among the throngs of people rushing along the sidewalks. It was this feeling that led her to City Space, an ongoing body of work about individuality in a large city. In 2014, Bonet embarked on a second ongoing project, Stray Light, which looks at the anonymity of people in their homes at night. Once the sun sets, Bonet photographs the colorful glow emanating from hotels and high-rise windows that fill the sky. Back in her studio, she downloads her images into a computer, and carefully constructs each image from multiple photographs, transforming the urban cityscape into a constellation. In 2020, Bonet created her newest series, From Shadow to Sun, which started during the pandemic shut down. While being confined to her home and studio, Bonet noticed light streaking into her space, bisecting everything in its path; the same harsh light she embraces in City Space. The resulting series continues her fascination with light, and its unique ability to transform a space. Bonet's work can be found in numerous collections including the Southeast Museum of Photography (Daytona Beach, FL), The Haggerty Museum (Milwaukee, WI), Museum of Contemporary Photography (Chicago, IL), and Museum of Fine Arts (Houston, TX), among others.
John Divola: Swimming Drunk
New York, NY
From April 16, 2022 to May 21, 2022
Yancey Richardson is pleased to present Swimming Drunk, an exhibition of photographs by John Divola. The exhibition includes two photographic series that represent the breadth of the artist’s more-than-40-year career: Zuma (1977-1978), and Daybreak (2015-2020). Both series are a result of Divola’s engagement with abandoned buildings, and his interest in transforming a situation through photography. Thus, the photographs do not serve as mere descriptions of the scenes depicted but instead are offered as artifacts from the artist’s physical and experiential interventions within these environments. Spanning over 40 years, John Divola’s work has consistently questioned the limits of photography, interweaving sculpture, installation, and performance to highlight the inherent tensions within the medium. Divola’s imagery often examines the Southern Californian landscape, including urban Los Angeles or the nearby ocean, mountains, and desert. Initially inspired by Minimalist and Conceptual work while in college, which he accessed predominantly through photographic reproductions, Divola was one of the first artists to highlight the role of photography in mediating our experience of the world and our surroundings. Between 1973 and 1975, without a studio of his own, Divola travelled across Los Angeles in search of dilapidated properties in which to make photographs. Armed with a camera, spray paint, string and cardboard, Divola vandalized vacant homes with abstract constellations of graffiti-like marks, ritualistic configurations of string hooked to pins, and torn arrangements of card, before cataloguing the results. Entitled Vandalism Series, this early body of work informed the trajectory of Divola’s career, in which he deliberately blurs the boundaries between reality and artifice. Over the course of his career, Divola has produced many similar projects involving an extended engagement with a particular site over time. In a more recent series, George Air Force Base (2015-2020), Divola photographed the abandoned housing area at the decommissioned George Air Force Base in Victorville, California. We are shown scenes of dereliction – crumbling walls revealing layers of paint and plaster, in which Divola’s gestural interventions in the form of painted shapes offer a surprising contrast. Here, Divola captures the tension between the observation of the specific and the insistence of the abstract. Born in Los Angeles in 1949, Divola earned an MFA from University of California, Los Angeles in 1974, where he studied under photographer Robert Heinecken. Since 1975 he has taught photography and art at numerous institutions including California Institute of the Arts (1978-1988), and since 1988 he has been a Professor of Art at the University of California, Riverside. Since 1975, Divola’s work has been featured in numerous solo exhibitions in the United States, Japan, Europe, Mexico, and Australia, including Galerie Marquardt, Paris, 1990; Laura Bartlett Gallery, London 2012: Kunstverein Freiburg, Germany; Los Angeles County Museum of Art, 2013; Wallspace Gallery New York, 2014; and Palm Springs Art Museum, 2019. His work can be found in numerous public collections including Centre Pompidou, Paris, France; Getty Museum, Los Angeles, CA; Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; Victoria and Albert Museum, London, England; and The Whitney Museum of American Art, New York, NY. Among Divola's Awards are Individual Artist Fellowships from the National Endowment for the Arts (1973, 1976, 1979, 1990), a John Simon Guggenheim Memorial Fellowship (1986), a Fintridge Foundation Fellowship (1998), a City of Los Angeles Artist Grant (1999) and a California Arts Council Individual Artist Fellowship (1998).
Unremarkable Handiwork: Translations and Collections
Staten Island, NY
From March 05, 2022 to May 25, 2022
During 2021 and early 2022 Michelle Grabner collaborated with the Alice Austen House to create a new series of paintings and photographs inspired by the home, studio and collections of trailblazing photographer Alice Austen. Drawing on her own studio-focused practice and Austen’s photographic documentation of her home’s interior decoration and fabric collections, Grabner’s work re-examines fabric patterns and materiality in doily making, expanding on repetitive design and layering. “As an inventor, translator, copier and re-articulator of patterns, I predictably embrace Gombrich’s general observation that ‘the arrangement of elements according to similarity and difference and the enjoyment of repetition and symmetry extend from the string of beads to the layout of the page in front of the reader, and, of course, beyond to the rhythms of movement, speech and music, not to mention the structures of society and the systems of thought.’ When researching Alice Austen and her collections I was most taken with her negligible lace collection, a small box of snippets likely a practical assembly of remnants collected for mending Victorian collars and cuffs. Lace, like doilies and other domestic ornamental handiwork has varied craft and materials qualities but pattern invention is undemonstrative and mostly undeviating. Gombrich notes that decoration ‘changes slowly.’ Domestic ornamental work is practiced, produced and influenced by habit. Moreover domestic ornamental artifacts occupy habitual spaces, punctuating daily routine. ‘Radical invention is nonexistent, considerable invention the exception, and the gradual evolution of decorative motifs, some of which can be traced back for millenia, the rule.’ It is not for the lack of invention that compelled me to rearticulate and rearrange the excessively ornate patterns of lace and doilies but to challenge my aesthetic aversion to the white delicate complexity of lacework while at the same time pressing on painting’s suspicion of unoriginal abstractions. The works made for this exhibition seek to upend the Gombrichian pronouncement that ‘painting, like speaking, implicitly demands attention whether or not it receives it. Decoration cannot make this demand. It normally depends for its effect on the fluctuating attention we can spare while we scan our surroundings.’ “ – Michelle Grabner
Christiane Feser: Accurate Illusion
New York, NY
From March 15, 2022 to May 27, 2022
Gitterman Gallery is proud to present an exhibition of Christiane Feser’s three-dimensional unique photographic based work from three ongoing series; Felder, Gitter and Nullpunkte. Christiane Feser’s works are photographs of complex assemblages of repeated forms and shadows with actual elements from the assemblage projecting three-dimensionally from the surface of the photograph. Feser flattens a sculptural object through the act of photography and then reconstitutes that dimension in a new way by turning the photograph into a relief sculpture. The works challenge our perception of dimension and perspective as well as our assumptions about what a photograph is. They also introduce a tension between the past and present: the original photograph is of a thing that has existed, but it has been transformed into a new object that now exists. And in this new form, the constant change of light and shadow across the relief surface will continue to keep the work in the present moment. The German word Felder has two meanings, it may refer to an agricultural field or field of color, or it may refer to a part of a grid. Each work in this series starts with a drawing of a grid that has been distorted from a flat plane into a sort of topography with dots or spheres of different sizes along the lines. What at first seems to be a perspectival, is quickly revealed as something that does not follow the rules of perspective: various parts go in and out of focus, and the dots vary in size as if closer or further away from the camera lens. Feser further confounds the rules of optics by introducing non-photographic, lacquer semicircular spheres protruding from holes in the paper’s surface. The works are therefore about both photography and sculpture. They are simultaneously images and objects that play with flatness and depth, and engage with histories of the photograph as a physical thing in space. The works in both the Gitter (Grid) and the Nullpunkte (Zero points) series are photographs of assemblages of sewing pins and their shadows alongside actual pins in the paper. Both series are a bit like drawing, line based, using shadows instead of ink, and allude to the origin of the word photograph which was derived from the Greek words photos (light) and graphein (to draw). The work is always evolving because the shadows created by the actual pins on the photograph change significantly depending upon the play of light across the surface. In each Gitter work, Feser tries to draw a grid from the placement of the pin at the end of the previous pin’s shadow. In Nullpunkte, Feser follows the same rule for placing the pins but, instead of trying to create a grid, she allows the composition to evolve without a preconceived compositional structure. Feser was born in Würzburg, Germany in 1977 and studied photography at the Offenbach University of Art and Design. She had a solo exhibition at Opelvillen, Rüsselsehim, Germany in 2019 and was included in the exhibition Cut! Paper Play in Contemporary Photography at The J. Paul Getty Museum, Los Angeles, CA in 2018. Other museum exhibitions include the Solomon R. Guggenheim Museum, New York; Centro di Cultura Contemporanea Strozzina, Firenze, Italy; the Mönchehaus Museum, Goslar, Germany; Frankfurter Kunstverein and the Museum for Konkrete Kunst, Ingolstadt, Germany. Her work is in the public collections of Brown University, DZ Bank Art Collection, J. Paul Getty Museum, Solomon R. Guggenheim Museum, Foundation Juan March, Fotografische Sammlung Schloss Kummerow, Minneapolis Institute of the Arts, Mönchehaus Museum, Zentrum für Kunst und Medien.
Gordon Parks: Homeward to the Prairie I Come
Manhattan, KS
From September 07, 2021 to May 28, 2022
This exhibition features photographs donated by Gordon Parks to Kansas State University (K-State) in Manhattan, Kansas, in 1973. It was the first time that the artist personally curated a set of photographs to donate to a public institution, a kind of self-portrait directed towards the home crowd. The exhibition title includes the first line of a poem written by Parks in 1984, commissioned by and published in the Manhattan Mercury. K-State's New Prairie Press will publish an accompanying open-access digital catalogue with new research on Parks and Kansas. Image: Uncle James Parks, 1950, printed in 2017, gelatin silver print, 14 x 11 in., gift of Gordon Parks and the Gordon Parks Foundation, 2017.448
Considered Interactions
San Francisco, CA
From April 16, 2022 to May 28, 2022
John Divola Tarah Douglas Steve Kahn Raymond Meeks & Adrianna Ault One considers the origin of a search as an extended view into the effort of returning to a place or idea and seeking the differences instead of dwelling in sameness. The attention provided to place suggests a challenge since distinctions vary from multiple points of control: change of environment, change of body dynamics, to what is beyond our control: light, weather, time. Even disappearance is an available risk given the dependence of a return. This exhibition considers a generative process of image making and the visual distinctions from one moment to the next that call attention to the process of its very creation through each frame. In each of these works a series of considered interactions result in the inquiry into the real and representative, the natural and artificial and how we designate space for ourselves in the world. In 'Enso: 36 Right-Handed Circumference Gestures' John Divola signals evidence of time, place and being. Between June 7th and August 12th, 2018, Divola performed a gesture using the circumference of his right arm in the abandoned housing tract of what was previously George Air Force Base in Victorville, California. The circular marks are made in various rooms but always in the morning. Understood as a single work, each frame offers an index of a place and a time and an index and trace of physical being. In ‘Untitled (no 1-15)’ Tarah Douglas inserts her body into the frame of natural environment as a gesture of admission, a nod to the visibility of body language and the signals and narratives it projects to the viewer. Douglas's movements are at once various and theatrical: climbing, reading, exploring, observing. The landscape and the body exist together in an orbicular way. 'Running' (1976) was captured as a self portrait by Steve Kahn while shooting in a run-down apartment complex in Los Angeles between 1974-76. Kahn turned his attention to his body in motion using framing and scale to present an illusion in space and time. The cropping of each frame allows for the minute difference and the illusion of speed. Raymond Meeks and Adrianna Ault created the photographs titled ‘Winter Farm Auction’ (2019) in response to the event itself. Each farm tool selected is thrown into the air and captured in motion, a compositional choice that provides the tool with its own life separate from that of the user. The motion of the tools captured on film pierce the frame nearly marking time.
In Focus: Writing for the Camera
Los Angeles, CA
From February 22, 2022 to May 29, 2022
This exhibition, drawn largely from the Getty’s collection, explores how various photographers active since the 1970s have represented the connection between photography and writing. Many of these photographs showcase text or include subjects in the act of writing, emphasizing the shared contemplative and performative nature of these mediums. Artists include Laura Aguilar, Shirin Nishat, Allan Sekula, and William Wegman.
James Van Der Zee’s Photographs: A Portrait of Harlem
Washington, DC
From November 28, 2021 to May 30, 2022
Photographer James Van Der Zee created an extraordinary chronicle of life in Harlem during the 1920s and 1930s and beyond. Residents of this majority Black neighborhood in New York City turned to Van Der Zee and his camera to mark special occasions. His carefully composed, cosmopolitan photographs conveyed the personalities, aspirations, and spirit of his sitters. Some 40 works from the National Gallery’s collection feature Van Der Zee’s studio portraits, along with his photographs of Harlem nightclubs and storefronts as well as religious, social, political, and athletic community groups. Together they provide a glimpse into Harlem’s rich social life as it became an influential center of American culture during the Harlem Renaissance.
The New West, An Old Story: Photographs by Joan Myers and Steve Fitch
Boone, NC
From January 21, 2021 to June 04, 2022
Photographers have been reimagining the American West ever since cameras were ferried across the Mississippi River in the 1850s; photographs being the primary way people in the East could see what wonders lay in the then uncharted and mythical territories far to the West of the “Great River.” According to the Native Languages of Americas website (www.native-languages.org/state-names), “Misiziibi” is the native name of the river in the Ojibwe language. Since the 1860s when the first photographs of Yosemite Valley were made, photographs—both still and moving images—have been instrumental in promoting the West as an unexplored wilderness and the land of opportunity. Although unacknowledged when convenient, as it often was, the lands west of the Mississippi were traditional homelands to many First Peoples and a diverse cross-section of Hispanic peoples who moved into the land with the Spanish Friars and Conquistadors funded by the Spanish Crown long before the West was Anglicized. In the past few decades, a growing number of photographers have challenged the romantic myth of the American West to reflect the cultural, environmental, and racial complexities of our shared histories more accurately in an on-going conversation about what it means to be an American, how identity and the landscape are intertwined and what the real West looks like today. Photographers Joan Myers and Steve Fitch have both lived in the West for most of their lives. They document the changing landscapes of which they are a part; their lives intimately intertwined with the history of the arid lands they call home. Their images capture landscapes made famous in countless Western narratives of both literature and film, but they move in closer with their lenses to reflect the details often overlooked in a sweeping landscape narrative, gently critiquing the myth of the oversized cowboy with his long gun, the absurdity of the oversized teepee selling espresso, the oversized sombrero, the seedy roadside hotels bedazzled with garish flashing neon, the derelict movie theaters and drive-ins hawking a fading American Dream. Both artists expose the cracks of co-opting other cultures to romanticize a fabricated fable when the truth is harsher. They invite their viewers to pull back the veil and unpack the complicated narratives exposed in the landscapes they reveal with a clear-eyed mixture of love and regret. - Mary Anne Redding, Exhibition Curator
Joseph Minek: Rewind
Los Angeles, CA
From April 23, 2022 to June 04, 2022
Von Lintel Gallery is thrilled to present Rewind, an exhibition of vibrant chemigrams created by Cleveland-based artist Joseph Minek. This show will be displayed in the Project Room and will run from April 23rd until June 4th. Fascinated by the infinite possibilities of camera-less photography, Minek experiments with the foundational materials of photographic practice – light-sensitive paper and photo lab chemicals – to produce one-of-a-kind, chromatically exuberant images. His work delights in exploring the physical makeup of the photographic medium itself, rather than capturing any external reflection of reality, so he first exposes his high-gloss metallic paper to light – rendering it useless for its intended purpose. Strips of paper are then organized into compositions on its surface before he rolls, dips, squeegees, or sprays his prints with a variety of chemical compounds. The resulting works are infinitely varied and wildly luminous. Within a prismatic array of chartreuse, fuchsia, emerald, indigo, cyan, mustard seed, mauve, lavender, and blood orange, the overlapping pools and striations of the chemicals in the tray leave their traces not only in the explosive palette but in the intricate patterns and oil-slick parabolas, which the liquid traces and eventually settles on. Minek’s work has been exhibited consistently since 2010 and is held in public collections such as The Cleveland Museum of Art, The Rubell Family Collection in Miami, New York Presbyterian Hospital, and Bidwell Projects, Cleveland.
Documents for an Imagined Future
Watertown, MA
From May 07, 2022 to June 04, 2022
Hosted by Storefront Art Projects in Watertown, MA, Documents for an Imagined Future is curated by Sarah Pollman and presents work by two photographers, Vanessa Leroy and DM Witman. The exhibition is on view from May 7th through June 4th, with an opening reception on May 7th from 3-5pm and an online conversation with the artists on May 19th from 6:30-8:30pm (Free and open to the public. Registration required. The exhibition's figurative, conceptual work inhabits the gallery space in visual conversation about envisioning a future for individuals, and the environments that house them. DM Witman’s images speak towards an ecological grief felt in the wake of impending climate catastrophe, while forming strategies to deal with the concurrent sorrow. Vanessa Leroy uses the nuance of the photographic image to uplift the narratives of marginalized individuals and imagine a more just future. Both Witman and Leroy use their photographs to refuse a future devoid of hope, offering the viewer a chance to imagine and create the world that lays ahead.
Alan Karchmer: The Architects’ Photographer
Washington, DC
From April 09, 2021 to June 05, 2022
Any prominent work of architecture is likely to be seen more widely through photographs than in person. These images have a profound influence on how a given building is perceived. A professional architectural photographer plays an important role in interpreting the designer's work, making critical decisions about which aspects of the building to emphasize and which to suppress-or even exclude. When widely disseminated, professional photographs help to shape public impressions of the building's architectural character. An extraordinary image of an iconic building may assume iconic status in its own right. Photographer Alan Karchmer has risen to prominence in his field thanks to his skill in conveying architects' ideas and intentions. Having earned a Master of Architecture himself, Karchmer uses his knowledge of the design process, coupled with his own artistic vision, to express the essence of a building. He is, quintessentially, "The Architects' Photographer." This exhibition presents a cross-section of Karchmer's professional photographs, coupled with personal photos and artifacts that shed light on his work. While the exhibition features numerous large-format images of remarkable beauty, it also includes didactic displays examining the technical and creative processes underlying such images. It thus illuminates why certain images are so successful in expressing both the physical and emotional aspects of architecture. By displaying multiple images of specific buildings, the exhibition also examines how a series of photographs can be used to create a visual narrative conveying a cohesive sense of design, place, and experience. The exhibition sheds light on the important but sometimes elusive role of artistic interpretation, tracing how the photographer's own vision complements that of the architect, yielding final images that ultimately reflect a blend of the two. It also explores how changing technologies-especially the transition from analog to digital cameras-have influenced architectural photography.
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