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In Mid-Sentence

From May 03, 2019 to March 29, 2020
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In Mid-Sentence
8th and F Streets NW
Washington, DC 20001
Photographs are often replete with words that remain unheard. "In Mid-Sentence" presents a selection of photographs from the Smithsonian National Portrait Gallery's collection that depict moments of communication: intimate confessions, public speeches, exchanged jokes, political confrontations, lectures and more. Photographs featured in this exhibition encapsulate pivotal moments, such as John F. Kennedy's televised speech for the 1960 Democratic National Convention or Walter Cronkite's clandestine 1971 meeting with Daniel Ellsberg at the time of the publication of the "Pentagon Papers." The exhibition provides the missing script for these otherwise silent voices, granting another means for understanding these interactions by placing them within their socio-historical contexts. An illustrated brochure accompanies the exhibition, and several of the represented speeches are included in an interactive kiosk. The exhibition is curated by Leslie Ureña, associate curator of photographs, National Portrait Gallery.
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Exhibitions Closing Soon

Mickalene Thomas: Better Nights
Miami Beach, FL
From December 01, 2019 to September 27, 2020
Inspired by the local New Jersey play 'Put a Little Sugar in my Bowl' organized and performed by the artists' mother, friends, and family as well as the parties hosted by the artist's mother in the late 1970s, Mickalene Thomas: Better Nights is an installation that will transform the galleries into an immersive art experience for the duration of the exhibition. The installation embodies an apartment environment, conceptually reconstructed according to the domestic aesthetic of the period, including faux wood paneling, wallpaper and custom seating reupholstered with the artist's signature textiles. An extension of Thomas' artistic universe, the installation incorporates both work by the artist and a curated selection by Thomas featuring work by emerging and prominent artists of color, with the prop-like tableau echoing the collage-like compositional style of Thomas' paintings. Better Nights will present a schedule of programming arranged by the artist, including live performances, concerts, activations, a live bar and appearances by guest DJs. The first chapter, Better Days, took place at the Galerie Volkhaus in Basel, Switzerland during Art Basel 2013.
Revelations: Recent Photography Acquisitions
New Orleans, LA
From March 14, 2020 to September 27, 2020
Revelations: Recent Photography Acquisitions features a selection of photographs made from the early 20th century to the present and added to the Ogden's Museum of Southern Art's permanent collection over the last decade. With over 70 photographs featured, Revelations represents a wide range of processes and techniques made by a diverse group of 39 photographers. Revelations celebrates regional identity in parallel with the South's ongoing contributions to a global conversation on photography in the visual arts. Photographers included in the exhibition: Keith Calhoun, William Christenberry, Lee Deigaard, Walker Evans, Debbie Fleming Caffrey, Aaron Hardin, Lewis W. Hine, Birney Imes, Dorthea Lange, Sally Mann, Andrew Moore, Chandra McCormick, RaMell Ross, Ernest Withers and more.
Alejandro Cartagena: Photo Structure-Foto Estructura
Rochester, NY
From January 31, 2020 to September 28, 2020
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Cartagena has produced works of art specifically for this exhibition, giving visitors to the Eastman Museum the first opportunity to see the newest photographs in his most recent body of work.
Fresh 2020 Exhibition
New York, NY
From September 09, 2020 to October 10, 2020
We are thrilled to announce the 5 exhibitors for the Fresh 2020 Annual Summer Exhibition. Congratulations to all selected. The calibre of entries was outstanding, making the selection process challenging and highly competitive. The exhibiting photographers, also now form the shortlist for the 2020 Rhonda Wilson Award, which will be announced on August 1st. Please join us at the Klompching Gallery in the Fall, when the exhibition will open to the public with an Opening Reception on Thursday, September 10th.
Easton Nights: Peter Ydeen
Millersville, PA
From September 14, 2020 to October 15, 2020
Easton Nights is a story about small town America as told by Peter Ydeen’s night time photographs. The Lehigh Valley, where Easton lies, has close to a million people but almost no real downtwon; but instead a sea of small towns which have grown together. It has its own personality, serving as a living museum of small town Americana.
Julie Blackmon: Talent Show
New York, NY
From March 02, 2020 to October 17, 2020
Robert Mann Gallery is pleased to present, Talent Show, an exhibition that draws from Julie Blackmon's latest collection of theatrical photographs. There is a dreamlike quality to Blackmon's imagery. Children live, play, grow bored, make up stories, act them out and play some more, as if unaware of the camera, while the artist devises a tableau of domestic entropy. Blackmon says,"I compare [my work] sometimes to fiction and literature; sometimes the greatest truth can come out of fiction." Drawing influence from her own family life, the Dutch master Jan Steen and French modernist painter, Balthus, Blackmon creates photographs that have an air of a past era - perhaps the 1950's or '60s - yet her use of 21st-century iconography, such as a perfectly placed iPhone recording a makeshift Talent Show, tells us that they are quite contemporary. Blackmon sets her scenes in familiar environments like a backyard bathing session or a fixer upper house and sometimes with multiple competing narratives at once. She focuses on children and families that are imbued with personality, yet overtaken by the haphazardness of child-rearing despite all the best-laid plans. Julie Blackmon lives and works in Springfield, Missouri. The artist's work is found in numerous museums and public collections including the George Eastman House; Nelson Atkins Museum of Art; Museum of Fine Arts, Houston; Kemper Museum of Contemporary Art, Kansas City; the Portland Art Museum; and the Musée Français de la Photographie in Bièvres, France. She was named American Photo's "Emerging Photographer of 2008" and one of PDN's "30 New and Emerging Photographers" in 2007, and has been the recipient of various awards including first prize from The Santa Fe Center for Photography in the Project Competition in 2006. Blackmon has had two monographs published, the first of which sold out, Domestic Vacations (Radius Books, 2008) and Homegrown (Radius Books co-published with Robert Mann Gallery, 2014). The exhibition coincides with Julie Blackmon's Fever Dreams at Fotografiska New York, March 5 - May 3, 2020, organized by Grace Noh in collaboration with Robert Mann Gallery and the artist. Fever Dreams presents a selection of photographs from Blackmon's Homegrown series as well as more recent works. Her photographs are updated with a satirical, penetrating eye and Blackmon's belief that artful fiction can capture the truth more memorably than the truth itself. "I deeply admire the photojournalism of Robert Frank, Diane Arbus and Garry Winogrand. But I am not practicing journalism, and I do not use my camera as those photographers did. I think of myself as a visual artist working in the medium of photography, and my assignment is to chart the fever dreams of American life."
Alisson Rossiter: Substance of Density 1918-1948
New York, NY
From March 06, 2020 to October 17, 2020
Yossi Milo Gallery is pleased to present an exhibition of new camera-less photographs by Alison Rossiter. Substance of Density 1918-1948 presents a chronology of assemblages made from expired photographic papers in the artist's collection. Through rigorous grouping and presentation, Rossiter constructs a photographic tonal narrative through three specific decades of the 20th century. The exhibition will open on Friday, March 6 with a reception for the artist and book signing from 5:30 - 8:00pm, and will be on view through Saturday, May 2. This is the artist's third exhibition at the gallery. The archive of expired photographic papers collected by Rossiter is the resource for her work. Since 2007 she has gathered over two thousand packages of paper dating from the 19th and 20th centuries, many of which have an expiration date stamped on the product box or envelope as a marker of quality assurance backed by the manufacturer. Even in dark storage each package of paper reacted to its surroundings over time. No matter what the light sensitive silver gelatin materials endured through their dormant years, they still respond to chemical development. Physical damage, mold, and atmospheric pollution form latent images in the photographic emulsion coating on the papers and become visible when processed in a darkroom. The artist considers these effects to be subject matter. The resulting photographic tones are evidence of experience and records of time. Substance of Density 1918-1948 involves the period when art movements responded to the social, political, and intellectual upheaval across nations after World War I. Dadaism, Surrealism, Suprematism, and Constructivism flourished. Influential art education thrived at the Bauhaus in Germany from 1919 through 1933 and Vkhutemas, the Russian state art and technical school in Moscow, operated from 1920 through 1930. Each of the assembled pieces in Substance of Density 1918-1948 is made with prints manufactured from the time period noted in its title. The assemblages are composed of the rarest samples of expired paper from the artist's archive, with emphases on the time in history that each sheet of paper represents. The expiration dates pinpoint their locations on a timeline and coexist with events in world history. For example, in 1919, the Bauhaus is founded in Weimar, Germany; the New York Wall Street Crash begins a worldwide economic crisis in 1929; the Summer Olympics are held in Berlin, Nazi Germany in 1936; in 1945, the Second World War ends. In addition to the assemblages, Substance of Density 1918-1948 includes three prints from a large roll of Gevaert Gevaluxe Velours paper from the 1930s that was given to Rossiter by the Belgian artist Pierre Cordier who, in turn, was gifted this paper by his friend the Belgian photographer Joseph Cayet (1907 - 1987). The exhibited works reflect Rossiter's chronological and thematic continuation of Compendium 1898-1919, twelve sets of gelatin silver prints included in Anna Atkins Refracted: Contemporary Works at New York Public Library, from September 28, 2018 - January 6, 2019, and subsequently acquired by the library for inclusion in their permanent collection. A new monograph, Compendium 1898-1919, featuring all twelve works from the series reproduced at actual scale, will be released in spring 2020, co-published by Radius Books/New York Public Library/Yossi Milo. This book will debut during the Paris Photo New York art fair presented with AIPAD in New York City, from April 2-5, 2020. Rossiter's first monograph, Expired Paper (2017, Radius Books/Yossi Milo), was nominated for Paris Photo-Aperture Foundation's 2017 PhotoBook of the Year, and will be available at the gallery during the artist's book signing on March 6, 5:30 - 8:00pm. Alison Rossiter's photographs are in the collections of major public institutions, including the National Gallery of Art, Washington, D.C.; New York Public Library; Israel Museum, Jerusalem; Carnegie Museum of Art, Pittsburgh; Art Institute of Chicago; Philadelphia Museum of Art; Minneapolis Institute of Arts; Museum of Fine Arts, Houston; Museum of Contemporary Photography, Chicago; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; National Gallery of Canada, Ottawa; and the J. Paul Getty Museum, Los Angeles. Rossiter was born in Jackson, Mississippi in 1953 and currently lives and works in the New York City metropolitan area.
Pantea Karimi: The Unbearable Lightness Of Mathematics
Oakland, CA
From September 11, 2020 to October 17, 2020
Since 2014, Pantea Karimi's work has been an exploration into the pages of medieval and early modern scientific manuscripts. Karimi's infatuation with science harkens back to a four-year science training in high-school with the aim of becoming a doctor; a goal that she abandoned to pursue an art career. For her solo exhibition, The Unbearable Lightness of Mathematics, Karimi has made a series of mock blackboards animated by mathematical formulas in white chalk, topped with the phrase, In the Name of God, as well as the iconic headshots of Iran's revolutionary leaders. Coupled with "forbidden" objects that she was not supposed to carry in her school, mounted in the gallery, Karimi reconstructs the classroom of her science school in Iran. While a personal story, this "total work of art" connotes an oppressive educational system that did not leave any room for artistic and humanistic explorations. The paucity of the latter subjects is captured through the gradual fading of the contents of the mock blackboards into pure white. Mathematics was, indeed, too abstract and aloof to stimulate the articulation of subversive thoughts, artistic sentiments, and socio-political views. Unbearably "light" for the "heavy" atmosphere in which it was celebrated, mathematics is both the agonizing and the celebrated protagonist in this exhibition. PANTEA KARIMI is an Iranian-American multidisciplinary artist, based in the San Francisco Bay Area. Her works explore the intersection of art, history and science and examine how the broader aesthetic considerations of science are closely related to art. Utilizing conceptual and visual interpretations from her research, she creates individual bodies of artwork using interactive installations, VR, silkscreen, digital illustrations, and prints. Pantea Karimi has exhibited her works in diverse solo, group and traveling exhibitions in Iran, Algeria, Germany, Croatia, Mexico, the UK, and the United States. Her works are held in private and public collections and have been featured in several publications in Iran, Italy, Croatia, the UK and the United States. She is the recipient of the 2019 City of San Jose Arts and Cultural Exchange Grant; the 2019 Silicon Valley Artist Laureates Award; and the 2017 Kala Fellowship-Residency Award.
Displacements and Dead Trees
New York, NY
From September 10, 2020 to October 17, 2020
Miguel Abreu Gallery is pleased to announce the opening, on Thursday, September 10th, of Eileen Quinlan and Cheyney Thompson's two-person exhibition, Displacements and Dead Trees. The show will be held at our 36 Orchard Street location, while Dawn Goes Down, Quinlan's concurrent solo exhibition will be on view at our 88 Eldridge Street location. Eileen Quinlan's sequence of new, mostly black and white photographs of trees and scenes from nature is here presented in dialogue with a suite of paintings by Cheyney Thompson from his recent Displacement series. The exhibition inaugurates this new body of work comprised of medium-scaled, chiefly black and white works, which the artist has developed over the past year. As a dedicated literalist operating in the tradition of 'what you see is what you get' in painting, Thompson tends to astutely foreground the layers that participate in the subtle articulation of his works. Perhaps at no time in his career, however, has this plain truth and disposition been more nakedly visible and generously functioning than in this Displacement series. An initial layer of sprayed gesso is applied to the support, before a stencil made of small squares in grid formation is affixed to the linen and painted black, thus activating the retinal dimension of the flat surface. This simple and fundamental structure, one steeped in the history of art and of Thompson's medium of choice, then becomes the ground for gestures of material and graphic displacement, for attempts at discrete acts of liberation from the imposed arrangement made possible by the very paired down elements at hand. A snake-like silicone tool is used to at times extend squares into lines, at others initiate more dramatic painterly movements and smear effects. Surprising shapes of varied intensities ensue from these decidedly physical processes that always leave in plain sight the trace of their own making. Forms often seem to float in a state of suspension and produce illusions of three dimensional space, a space that remains directly connected, however, to its two dimensional sources. Finally and unexpectedly, as the insistent eye wonders and lingers upon these works, the contours of recognizable things, as if by chance, might begin to appear: a falling bird here, a tree trunk and a branch there. In one of the paintings, a yellow gradient is introduced like an intrusion of color from the outside. Allegorically speaking, if the notion of displacement can suggest the unwarranted movement of objects all the way indeed to that of actual people, as it obviously does today, Thompson reminds us with these at once humble and compellingly executed paintings that it is feasible, in art, to mentally as well as materially escape from established formal circumstances. And as is well known, art at its best is an invitation to see something new that can be turned, eventually, into a model for decisive action. On the far back wall of the gallery, installed adjacent to the final painting in the show, is Quinlan's close up picture of the doubly exposed bark of a tree. The lush and luminous black and white photograph, printed on fiber paper, veers towards abstraction and produces a haptic sensation that today few paintings are able achieve. Perpendicular to it hangs a glorious vertical winter landscape with the sun glaring through tree branches and into the camera. To the right, further, appears the only color photograph in the space, a faded image of foliage against the sky. The installation concludes with the outcome of a broken process, that of an old Polaroid film sliding in and out of a camera and failing to get exposed to what lies in front of it. What instead appears to the viewer resembles a sand dune in the desert, a mirage of a place on earth where mirages are expected to occur. There is a sense of melancholia emanating from Quinlan's diverse, yet thematically consistent installation across both spaces. If an elegiac determination to capture particular fragments of our endangered planet, as well as to reveal and manipulate the chemical and electronic processes of the photographic remain firmly in place, a feeling of uncertainty emerges as to whether the means at the artist's disposal can offer much more than their very limitation in manifesting slices of life in the universe.
It Comes in Many Forms
Providence, RI
From May 15, 2020 to October 18, 2020
It Comes in Many Forms: Islamic Art from the Collection presents textiles, decorative arts, and works on paper that attest to the pluralism of Islam and its expressions. From an Egyptian textile fragment dating to the 1100s to a contemporary woman's top by the Paris-based designer Azzedine Alaïa, 30 objects offer explorations into migration, diasporas, and exchange and suggest the difficulty of defining arts from a transnational religious viewpoint. This exhibition includes several works from the RISD Museum collection that have never been displayed before. RISD Museum is supported by a grant from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly and a grant from the National Endowment for the Arts, and with the generous partnership of the Rhode Island School of Design, its Board of Trustees, and Museum Governors.
Working Together: Louis Draper and the Kamoinge Workshop
Richmond, VA
From February 01, 2020 to October 18, 2020
Inspired by the archive of Richmond native Louis Draper, VMFA has organized an unprecedented exhibition that chronicles the first twenty years of the Kamoinge Workshop, a group of African American photographers he helped to found in 1963. More than 180 photographs by fifteen of the early members-Anthony Barboza, Adger Cowans, Danny Dawson, Roy DeCarava, Louis Draper, Al Fennar, Ray Francis, Herman Howard, Jimmie Mannas Jr., Herb Randall, Herb Robinson, Beuford Smith, Ming Smith, Shawn Walker, and Calvin Wilson-reveal the vision and commitment of this remarkable group of artists. When the collective began in New York City, they selected the name Kamoinge, which means “a group of people acting and working together” in Gikuyu, the language of the Kikuyu people of Kenya. They met weekly, exhibited and published together, and pushed each other to expand the boundaries of photography as an art form during a critical era of Black self-determination in the 1960s and 1970s. The group organized several shows in their own gallery space, in addition to exhibitions at the Studio Museum in Harlem and the International Center for Photography. They were also the driving force behind The Black Photographers Annual, a publication founded by Kamoinge member Beuford Smith, which featured the work of a wide variety of Black photographers at a time when mainstream publications offered them few opportunities. In the continuing spirit of Kamoinge, Shawn Walker, Beuford Smith, Herb Robinson, and Tony Barboza have also made significant archival contributions and are among the nine members who recorded oral histories to provide the fullest account of the group's first two decades. In addition, through a generous grant from the National Endowment of the Humanities, VMFA has digitized the Draper archive-which will be available online.
Palm Springs: Modern Dogs at Home Nancy Baron
Winchester, MA
From September 05, 2020 to October 23, 2020
In good times and bad, our best friends are there for support, therapy, and unconditional love. Especially now-where would we be without our dogs? Although the so-called modernists of Palm Springs embrace the serenity of life in post WWII America, the sometimes-harsh realities of contemporary life are impossible to ignore. These mid twentieth century re-enactors are often transplants, enjoying the Palm Springs lifestyle with their dogs and friends as their chosen family. The beautiful climate, wide-open spaces, and clean décor make the perfect home for their desert pets that are as lovingly groomed and cared-for as their surroundings. For the many years that Palm Springs has been my second home, I've been documenting the endlessly intriguing lifestyle beyond its resorts. As a Chicago native, my fascination and appreciation for this desert oasis is magnified and unwaning. The community has welcomed my camera and me into their homes, perfect odes to mid century modern American design. The dogs of the house often follow me around and wander into my camera frame, adding warmth and life to the image as they do to their homes. In these pages I have put these precious pups in the spotlight where they belong. NB
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