Photo Exhibitions

Two Iranian artists infuse documentation with imagination This exhibition features work by Bahman Jalali (1944-2010) and Gohar Dashti (b. 1980), two photographers of different generations with a rich shared history - as Iranians, as teacher and student, and as artists with deep knowledge of documentary photography. The featured works reveal that the artists also shared a strategy: incorporating surreal, fictive elements powered by their imaginations into their work, as a response to the political, social, and cultural changes they witnessed. Jalali is well known for his pioneering photographs of war and revolution and his dedication to preserving Iran's photographic history, and his legacy also endures through his work as a teacher. He mentored Dashti in the early 2000s, while he was creating the Image of Imagination series, featured in this exhibition. Produced from the layering of historical photographs of Iranian people and places, these visual juxtapositions pose questions about Iran's cultural history, especially its archetypes of men and women. Also on view is Dashti's Home series, made in 2017, which uses abandoned buildings in the Iranian city of Mashhad as backdrops for staged natural landscapes. Home documents contemporary experience while blurring the boundary between reality and fiction, presenting the artist's musings on belonging, displacement, and refuge. By displaying the series side by side, the exhibition illuminates how the artists' personal relationship and common experiences resulted in two visually distinct but nevertheless deeply connected sets of work. Combining documentary with imaginary elements, the artists evoke the transformation of history into memory. We invite visitors to contemplate how each of us negotiates the passage of time—how images and memories, rather than facts, guide us as we form our understandings of the world.

The Los Angeles Center of Photography proudly presents its Fifth Annual “The Creative Portrait” exhibition, a beautiful collection of photography juried by Paul Kopeikin. 150 different photographers from around the world submitted for the exhibition, representing a total of 1,022 photographs. From these, the juror selected 40 images (from 32 photographers) for the online exhibition which will run June 1, 2020 – July 15, 2020. This is an annual call for entry exhibition. First Place Prize Winners: Osceola Refetoff – Julie & Mita – Arena Blanca, Bioko, Equatorial Guinea and Carl Shubs – Dorian Speaks

Sous Les Etoiles Gallery is pleased to present Cosney Island, New York photographer Harvey Stein premiere's with the gallery. The show is an exclusive online exhibition on view from June 10ththrough July 20, 2020 trough the gallery website. Cosney island is synonymous of summer and recreation! Iconic Coney Island series tells the tale of world-renowned photographer Harvey Stein's 40-year romance with "America's playground." Stein's timeless black-and-white images, taken from the 1970s through 2010, capture that quintessential weird and wonderful quality central to the mythos of this iconic Brooklyn beachfront. Consistently shot through the decades with a 21 mm lens, this series of photographs evokes a sense of nostalgia, fantasy and adventure. Walking, observing the boardwalk, the pier, the Amusements, the Mermaid Parade, the beach, the workers, the people, Harvey Stein explore every corners with discipline and an immense commitment, fascinated to be just here and there, embracing the energy, the strangeness and the crowd in a quiet manner. "Entering Coney Island is like stepping into another culture," Stein writes. "Coney Island is an American icon celebrated worldwide, a fantasy land of the past with an irrepressible optimism about its future. There isn't anywhere else like it." With more than one thousand trips, the photographer seems unstoppable about what can be discovered again; Does he belong to Cosney Island? Harvey Stein seems to be inhabited with a kind of eternal return that will never ends! Harvey Stein frequently leads workshops and lectures worldwide. He has taught at the International Center of Photography since the 1970s. His new book on Cosney Island is cheduled to be released in 2021. Harvey Stein b. 1941 is an American photographer, teacher, curator, and author based in New York City. His images have been published in the New Yorker, TIME, Life, Esquire, Smithsonian, The New York Times, Reader's Digest, Psychology Today, Harpers, ARTnews, American Artist, People, and Der Spiegel, among many others. Stein's photographs have been widely exhibited in the United States and Europe — over 81 one-person and 160 group shows to date. His photographs can be found in more than 55 permanent collections, including the George Eastman House, Bibliothèque nationale de France, the Art Institute of Chicago, the Brooklyn Museum, the New Orleans Museum of Art, the International Center of Photography, the Denver Museum of Art, the Musée de la Photographie in Charleroi and the Museum of Fine Arts, Houston, and, among others, the corporate collections of Johnson & Johnson, Hewlett Packard, LaSalle Bank, Barclays Bank, and Credit Suisse.

Inventarios/Inventories explores the personal and domestic contexts of artworks, particularly as they exist in artists' personal lives and working environments and the homes of their close family and collaborators. Drawing upon the RISD Museum's Nancy Sayles Day Collection of Latin American art, Pablo Helguera has collaborated with living Latin American artists and the families, close friends, and collaborators of those no longer alive to provide a view of the domestic lives of artworks. The project is also a tribute to the exhibition history of the RISD Museum and the legacy of former director Alexander Dorner, who created immersive environments to enhance the visitor's experience. The exhibition is accompanied by public programs and performances developed in collaboration with the participating artists. Pablo Helguera is a Mexican artist who lives and works in New York. His projects span installation, sculpture, photography, drawing, socially engaged art, and performance, drawing inspiration from topics ranging from history, pedagogy, and sociology. His work often takes on unusual forms of presentation, which have included road trips, phonographic recordings, musical performances, and books. Raid the Icebox Now is made possible by a lead grant from the National Endowment for the Arts with additional support from the RISD Museum Associates, Judy and Robert Mann, Taylor Box Company, and a generous in-kind gift from Meyer Sound Laboratories. 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.

Photography has had a tumultuous relationship with color since its invention. Early photographers employed colorists to tint images with surrogacy for the missing color; inconsistent color sensitivity affected the way objects were depicted even in monochromes. Fleeting and erratic color dyes shifted C-prints in a matter of decades, or even years. Color Shift draws from the California Museum of Photography's extensive collection to explore the many ways in which we encounter color in photography, from the added to the actual.

Pacifico Silano's The Eyelid Has Its Storms… borrows its title from a Frank O'Hara poem. O'Hara's musings and observations about everyday queer life inspired Silano's artistic practice. "The eyelid has its storms," the poem begins. "There is the opaque fish-scale green of it after swimming in the sea and then suddenly wrenching violence, strangled lashed, and a barbed wire of sand falls onto the shore." O'Hara's deeply visual poem, like Silano's work, evokes duality-in memory, in the present, and future, shimmering beauty and umbral violence often occur at once. Through the appropriation of photographs from vintage gay pornography magazines, Silano creates colorful collages that explore print culture and the histories of the LGBTQ+ community. His large-scale works evoke strength and sexuality while acknowledging the underlying repression and trauma that marginalized individuals experience. Born at the height of the AIDS epidemic, Silano lost his uncle due to complications from HIV. "After he died," says Silano, "his memory was erased by my family due to the shame of his sexuality and the stigma of HIV/AIDS around that time period." Silano set out to create art that reconciled that loss and erasure. Silano's exhibition somberly contemplates such pain and photography's role in the struggle for queer visibility, while celebrating enduring love, compassion, and community. In collaging, Silano decisively fragments, obscures, and layers images that he has rephotographed from these magazines. He reassembles and ultimately recontextualizes these images, removing the overtly explicit original content. "These new pictures-within-pictures are silent witnesses that allude to absence and presence," says Silano. He sees them as stand-in memorials, both for the now-missing models as well as those who originally consumed their images. Silano meditates on the meaning of the images and tearsheets that he collects over time. What continually excites him is precisely the "slipperiness" of representation and meaning in photography as our culture shifts. "The lens that we read [images] through today gives them new context and meaning," he observes. "In another 30 or 40 years, they might very well mean something completely different."

In this arresting and iconic exhibition - curated by Vanity Fair's creative development editor David Friend, and the magazine's former director of photography Susan White - Vanity Fair: Hollywood Calling features photographic portraiture and multimedia installations that capture the magic and glamour of the film and television industry's major players from the last four decades. The exhibition is a look at the Hollywood stars, the parties, and the powerbrokers through the distinctive lens of Vanity Fair - the most widely celebrated journalistic arbiter of Hollywood power and personality. With 130 photographs and more than 50 photographers, Hollywood Calling will showcase Vanity Fair's vaunted portraitists, including the magazine's principal photographer, Annie Leibovitz, as well as Jonathan Becker, Harry Benson, Cass Bird, Ethan James Green, Horst P. Horst, Helmut Newton, Michael O'Neill, Herb Ritts, Collier Schorr, Firooz Zahedi, and dozens more. The show will also display every Vanity Fair Hollywood Issue cover and portfolio, as well as photos from the annual Vanity Fair party on Oscar night. Finally, visitors to the exhibit will get an exclusive look at our documentary on the making of the 2020 Hollywood Issue, which takes you behind-the-scenes to see how established and up-and-coming stars get picked for the cover. It is a first-ever glimpse at the process, seen through the eyes of the photographer and the editors, finishing up with a visit to the set to watch it all come together.

An-My Lê: On Contested Terrain is the first comprehensive survey of the politically charged work of photographer An-My Lê (American, born Vietnam, 1960). Featuring over 100 photographs, this exhibition presents seven of Lê's series, providing insight into her evocative images that draw on a landscape tradition to address the complexity of war. Intimate and timely, this expansive exhibition explores the intricacies of armed combat through the work of a photographer who lived through the Vietnam War. Through Lê's lens, viewers are exposed to military training, maneuvers, and reenactments, and are invited to question their own relationship to, and complicity in, conflict. An-My Lê: On Contested Terrain also presents new photographs from Lê's ongoing series Silent General. These new works grapple with the legacy of America's Civil War and connect to the complexities of our current socio-political moment. Taking inspiration from Walt Whitman's autobiographical Specimen Days, the photographs probe the ways in which past conflicts influence and shape the present landscape in America. While Lê is represented in many major museum collections, An-My Lê: On Contested Terrain is the first ever survey of her work in an American museum. The exhibition will be accompanied by a fully-illustrated catalogue featuring many never-before-published images. An-My Lê: On Contested Terrain is organized by Dan Leers, curator of photography at Carnegie Museum of Art.

photo-eye Gallery is thrilled to announce Seeing Time: A Forty Year Retrospective, an online solo exhibition by renowned photographer Mark Klett. This exciting exhibition uses photo- eye’s revolutionary new VisualServer X website builder and is the first in a series of our Gallery’s major online shows. Held in honor of his new book Seeing Time (University of Texas Press, 2020), this exhibition presents selected photographs from thirteen different projects, some never before seen. An artist of singular originality and vision, award-winning landscape photographer Mark Klett has built a profound and dynamic career that captures the space and history of the American West while evoking notions of time, perception, and cultural memory. Seeing Time: A Forty Year Retrospective runs online from June 24 to July 28, 2020 at photoeye.com/seeingtime A selection of this work will also be on view at photo-eye Gallery, Santa Fe.

Gilman Contemporary presents Maria Svarbova-Yesterday's Future. The exhibition will feature photographs from Slovakian artist Maria Svarbova's Swimmming Pool series and will include work from the more recent Lost in the Valley. On view June 15- July 30. Renowned for her Swimming Pool series, which launched in 2014 and continued through 2018, Svarbova's aesthetic has become instantly recognizable. Her style departs from traditional portraiture and focuses on experimentation with space, color, and atmosphere. Taking an interest in Socialist era architecture and public spaces, Maria transforms each scene with a modern freshness that highlights the depth and range of her creative palette. Moving beyond the swimming pool, Svarbova continued to apply her signature style to other locales. She released Lost in the Valley in 2018 where carefully composed figures continue to create thematic, dream-like scenes, but this time in Death Valley. Regardless of the location, each image holds a silent tension that is modern and fresh. In 2018 Svarbova was recognized as a Hasselblad Master. Her work has been featured in publications ranging from CNN and The Guardian to Harper's Bazaar and Vogue. Svarbova has published two books, Futuro Retro 2019 and Swimming Pool 2016, now on its second printing.

Presented in the Museum Learning Center, this exhibition highlights key moments in the development of photography and in American history, from the 1860s to the 1960s, including depictions of Civil War battlefields, the American West, turn-of-the-century and Depression-era living conditions, geometric abstractions, and Civil Rights protests.

During the spring and summer season we will be celebrating the warm weather and the growth of new plant life, and the practice of self-sustainability. HOMEGROWN will feature photographs that represent what it means to embark upon the notion of homegrown, from the people who grow to the products that they produce. We are embracing the local food movement and the concept of growing your own for health and wellness and sustainability, this exhibition will celebrate a range of representation from the farm to table movement. All photographic interpretations and styles are welcomed, images of vegetation, crops, farmers, farmland, vegetables, fruits and all types of plant life are desired.

Before it became part of New York City in 1898, Brooklyn was a city of its own-the fourth largest in the nation. Even today, as New York's most populous borough, Brooklyn remains a "city within the city," three times the size of Manhattan. It is from this point of inspiration that The City Within: Brooklyn Photographs by Alex Webb & Rebecca Norris Webb presents more than thirty images by celebrated photographers Alex Webb and Rebecca Norris Webb. Alex Webb has sought to canvass Brooklyn with an emphasis on exploring its tremendous cultural diversity, from Mexican and Caribbean Brooklyn to Chinese Brooklyn. By contrast, Rebecca Norris Webb has photographed the green heart of Brooklyn, its parks and gardens, as the contemplative core for this body of work. Through the work of Alex Webb and Rebecca Norris Webb we come to see the complex beauty of the borough-its people, its urban landscape, and its verdant green spaces.

American photographer Susan Meiselas (b. 1948) seeks to bear witness to stories that might otherwise go unnoticed. She has traveled from rural county fairs to conflict-ridden Central America, working closely and over long periods with her subjects, focusing her lens on what she thinks the public needs to see. A member of the international photographic cooperative Magnum Photos since 1976, Meiselas creates photographs that raise provocative questions about the documentary practice and the relationship between photographer and subject. Susan Meiselas: Through a Woman's Lens presents never-before-shown photographs alongside iconic series that reflect the artist's ongoing commitment to sharing the stories of women.

We are pleased to announce opening dates for the 2020 Members Juried Exhibition. 45 talented artists who were chosen by our juroros will be shown in our historic gallery. The gallery will be open Saturdays and Sundays from noon – 4pm to view the show in person. Masks will be required with a limit of 5 visitors in the gallery at any one time. Both the 45 gallery images and the 45 online images are availalbe to view online with price lists for all the works. The 2020 Members Juried Exhibition catalog is also available for purchase. Jurors Ann Jastrab, executive director of CPA, and Laura Sackett, creative director and co-founder of LensCulture, looked at more than 1500 images and made a selection of just 90 photographs. Congratulations to all our members and thank you for entering the competition! It's a beautiful show, both online and one day in person! The Exhibition Catalog includes all images selected for the gallery and online exhibition. It is available for purchase in the gallery when we open again, and by appointment.

Altman Siegel is pleased to present a body of new work by artist Trevor Paglen. This will be his fifth exhibition at the gallery.Trevor Paglen's new photographs position the origins of computer vision, facial recognition, and artificial intelligence in the tradition of landscape photography of the American West. Examining histories of seeing in relation to technological advancements, Paglen reveals underlying structures of power and the changing role of the image.Capturing dramatic vistas shot around Yosemite, Black Canyon, the California Coast, and other iconic landscapes, Paglen refers to classic works by Muybridge, O'Sullivan, Watkins, Hillers, and other 19thcentury "frontier" photographers. While we often encounter these historical referents in a museum setting today, many of these seminal images were originally produced for the US Department of War on military "reconnaissance" surveys and are embedded with the colonial narratives of Western Expansion. What would a contemporary iteration of frontier photography reveal about our current structures of power? With the adventof computer vision and artificial intelligence, the role of images and photographs has changed dramatically. From industrial fabrication and self-driving cars to facial recognition and biometric surveillance, computer vision algorithms are working invisibly in our daily lives. Paglen investigates the formal and conceptual logics of computer vision and AI by using modified machine vision software to produce images revealing the internal mechanisms of the algorithms. Returning to the western landscapes captured by his predecessors, Paglen translates his 8x10 negatives into digital files that can be read by AI.He then overlays lines, circles and strokes that signify how computer vision algorithms attempt to "see" by creating mathematical abstractions from images.For many of the photographs, Paglen employs printing methods of the 19thcentury.Each edition is processed by hand using sunlight per traditional albumen and carbon printing techniques. The resulting photographs resemble their historical precedents, while revealing the changing face of image culture as it is increasingly interpreted by machine vision.

We are proud to announce the Colorado Photographic Arts Center's 57th Annual Juried Members’ Show, highlighting photography by 46 talented artists from Colorado and across the United States. Ann Jastrab, Executive Director at the Center for Photographic Arts in Carmel, California, selected 32 photographs for the exhibit from a pool of 130 entries, including an additional 20 images that will be featured in an exhibition catalog. Please join us for an opening reception on Saturday, July 11. Timed entry to see the exhibit will be offered 4 pm - 6:30 pm at CPAC. Due to COVID-19, visitors are asked to wear masks and the number of visitors in the gallery will be limited. At 7 pm, a virtual Zoom award ceremony with the juror will take place. Registration is required for both events. EXHIBITING ARTISTS: Robert Anderson, Gary Beeber, Brenda Biondo, Cody Bratt, Derrick Burbul, Annette LeMary Burke, JoAnn Carney, Thomas Carr, Diana Cheren Nygren, Marcy Cohen, Ron Cooper, Norma Cordova, Leah Diament, James Diekmann, Nicholas Fedak II, Joe Fretz, Christopher Frost, Lawrence Hass, Paul Malinowski, Nancy Myer, Mark Overgaard, Michael Quinn, Eleonora Ronconi, Lynn Roth, Rand Smith, JP Terlizzi, Michael Trupiano, and Preston Utley

From February 2017 to January 2019, New York-based artist Vera Lutter was invited by LACMA to work in residence at the museum, creating a new body of work examining the campus architecture, galleries, and collection holdings. Vera Lutter: Museum in the Camera features the compelling photographs made during her two-year residency. Lutter uses one of the oldest optical technologies still in use, that of the camera obscura. Before the invention of photography, it was known that if light traveled through a tiny hole into a darkened room, an image of the external world (off which the light rays had reflected) would re-form upside down on a wall opposite the tiny opening. By building room-sized cameras and placing unexposed photo paper across from a pinhole opening, Lutter has adopted the camera obscura as her singular working method, resulting in photographs with an ethereal, otherworldly beauty.

Drawn entirely from the Akron Art Museum collection, the photographs in The Kids Are Alright examine both the dark side and the joy of teenage subcultures and countercultures. Four photographers-Vincent Cianni, Larry Clark, Ken Heyman and Dylan Vitone-record private moments in their subjects' everyday lives, giving viewers access to spontaneous, candid scenes. The hanging out, goofing off and rule breaking the artists document may seem aimless, but these activities can be important steps between youth and adulthood. Ken Heyman's scenes of hippies congregating in San Francisco's Haight-Ashbury district capture the bohemian movement at its height in the late 1960s. Drawn together by politics, music and a desire to escape the mainstream, these young people became America's quintessential teenage nonconformists. Larry Clark's grainy black-and-white photographs of his friends and fellow adolescent drug users in Oklahoma gained attention for their raw, confessional style when they were first published in the early 1970s. His honest and compassionate documentation of drug addiction remains vital today during the midst of America's wide-reaching opioid crisis. Vincent Cianni's series We Skate Hardcore focuses on the lives of Latinx rollerbladers in Brooklyn's Williamsburg neighborhood in the mid-1990s. Through the sport, the teens found an outlet for their energy and a way to stay out of trouble. Dylan Vitone's panoramic photographs of Skatopia, an anarchist skatepark near Rutland, Ohio, record the antics of skateboarders who make pilgrimages from across the country to skate homemade ramps and other features.

In the early 1970s, Lew Thomas set out to disrupt photography in San Francisco. Tired of the mystical thinking and emotionalism that he felt had dominated work produced in the region since the 1940s, Thomas pursued a practice grounded in Conceptual art and contemporary philosophy. Donna-Lee Phillips and Hal Fischer were among the cohort of photographers who embraced Thomas's mission and followed his lead in exploring the relationship between photography and language. For a short but intensely active period from the mid to late 1970s, the three frequently exhibited together, wrote about one another's work, and published books under the imprint NFS Press, founded by Thomas and Phillips. This exhibition reunites their work for the first time in decades, offering an opportunity to reassess their legacy in the Bay Area, and their place in the larger history of photography.

The World to Come: Art in the Age of the Anthropocene awakens us to the physical and social effects of the Anthropocene, a much-debated term used to define a new geological epoch shaped by human activity. Structured around ecological issues, the exhibition presents photography, video, and sculpture that address subjects and themes related to raw materials, disasters, consumption, loss, and justice. More than thirty-five international artists, including Sammy Baloji, Huma Bhabha, Liu Bolin, Dana Levy, Pedro Neves Marques, Gabriel Orozco, Trevor Paglen, and Andrew Yang, respond to dire global and local circumstances with resistance and imagination — sustaining an openness, wonder, and curiosity about the world to come. The World to Come: Art in the Age of the Anthropocene is organized by the Harn Museum of Art at the University of Florida and curated by Kerry Oliver-Smith, Retired Harn Museum of Art Curator of Contemporary Art. Support for this exhibition is provided by the Andy Warhol Foundation for the Visual Arts, UF Office of the Provost, National Endowment for the Arts, C. Frederick and Aase B. Thompson Foundation, Ken and Laura Berns, Daniel and Kathleen Hayman, Ken and Linda McGurn, Susan Milbrath, an anonymous foundation, UF Center for Humanities and the Public Sphere, UF Office of Research and Robert and Carolyn Thoburn, with additional support from a group of environmentally-minded supporters, the Robert C. and Nancy Magoon Contemporary Exhibition and Publication Endowment, Harn Program Endowment, and the Harn Annual Fund.

Desire, Knowledge, and Hope (with Smog) showcases the work of iconic Los Angeles artists John Baldessari, Mike Kelley, Barbara Kruger and Ed Ruscha. Each of these artists has contributed to a wide-reaching and global art dialogue; they have also played key roles in shaping the art scene of Los Angeles and the city's rise as a global arts capital. The Broad's presentation includes nearly all the works in the Broad collection by each of these artists, including the immersive multimedia installation, Gym Interior (2005), by Kelley and the four-channel video installation, Twelve (2004), by Kruger, as well as mini-retrospectives of the work of Baldessari and Ruscha. The exhibition's title is drawn from a monumental 1985 Baldessari work in the Broad collection, Buildings=Guns=People: Desire, Knowledge, and Hope (with Smog). Featuring 81 artworks (more than half are on view for the first time at The Broad), the exhibition includes: 19 artworks by Baldessari in a mini-retrospective installation including important works from the beginning of the artist's career, such as Tips for Artists Who Want to Sell and The Spectator is Compelled... and late-career works like All Z's (Picabia/Mondrian): Zealot (2017); works on view for the first time include Horizontal Men (With One Luxuriating) (1984) and Junction Series: Two Landscapes, Birds (with People) and Solders (at Attention) (2002). 15 works by Kelley, including Gym Interior (2005), an immersive multimedia installation from the artist's Day is Done series, on view for the first time at The Broad. 7 works by Kruger, including the four channel video installation, Twelve (2004), which will be on view for the first time. 40 works by Ruscha in a mini-retrospective installation including key works like Norm's, La Cienaga, on Fire (1964) and works that have never been shown before at The Broad, Strong, Healthy (1987); Sunset-Gardner Cross (1988-99); and Psycho Spaghetti Western #3 and Pyscho Spaghetti Western #5 from the artist's series inspired by nineteenth-century painter Thomas Cole's The Course of Empire cycle.

Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and wonder surrounding him.”- Ansel Adams On display for the first time in nearly 40 years in a Los Angeles based gallery, we are proud to present a selection of rare master gelatin silver prints by Ansel Adams. The works in conversation are evidence of the artist's meaning and message, with each photograph upholding a sensitivity to the beauty and ecological challenges of our natural world. The relationship between abstraction and realism, the presence of light and its absence, brings forth a collective of perspectives that question the depths of life's most profound enigmas. Adams's gelatin silver prints on display yield the most spectacular tonal ranges available in photography today. The selected works represent a rare culmination, where masterful visual vocabulary meets unparalleled darkroom printmaking. The essence of the iconic F. 64 group is deeply rooted Ansel's practice. For every final print, there were numerous failed attempts, alluding to the required dedication to bring forth the most compelling evidences of creativity within the photographic works. The selected photographs are conjoined by their respect and curiosity for the power of the environment. Now more than ever, the luminous prints on display inspire us to treasure the beauty that life exudes. The underlying intention of Ansel Adams was to honor the passing of time in our natural world and inspire the next generation to preserve such beauty.

On display now in the gallery's main exhibition space is a landmark group show titled The Master Print. The show highlights the work of four special photographers who embody the utmost attention to the printmaking possibilities within photography. The gelatin silver prints on display all take unique strides in transcending the seemingly ordinary to the ethereal. Between the selected artists, there is a masterful comprehension of the use of clarity within photography, yet, an even stronger acknowledgment for the unknown, the abstract. The images are not solely beautiful for what they reveal, but additionally for what they conceal for our contemplation and wonder.

Cig's devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper's Bazaar Japan, Kate Spade, and Bloomingdales. Cig teaches workshops and regularly speaks on her work and processes at institutions around the world. She is known for her high energy, sense of humor and creativity. She brings a profound sense of optimism to all that she does.

In 1853, when John Beasley Greene first visited Egypt with his camera, archaeology and photography were still very new. Over the course of his exceptionally brief career—he died at the age of 24—Greene made an extraordinary body of pictures that advanced both archaeology and photography and continues to offer insight into the central concerns that shaped the two fields. Born in Ingouville, France, to American parents, Greene grew up in a well-connected merchant-banking family. This financial and social standing enabled him to pursue his twin passions: photography and Egyptology. In the early 19th century, Europeans developed a voracious drive to acquire and systematize knowledge about ancient Egyptian culture—an intellectual enterprise tightly bound to Western economic and colonialist interests in the region. After studying in Paris, Greene twice traveled to Egypt, where he used the camera to record hieroglyphic inscriptions on ancient monuments and to make spare, unpeopled views of the unfamiliar landscape. In late 1855 he traveled to Algeria, where his evocative images were similarly divided between documentation of excavations and studies of built and natural environments. Much of Greene's story remains a mystery. The albums and photographs he left behind attest to a curious mind, an inventive eye, and a keen sensitivity to the needs and possibilities of archaeology and photography in his time. Although he exhibited his photographs while he was alive, Greene's work escaped serious notice until the 1970s and 1980s, when an expanding art market for photographs encouraged renewed interest in 19th-century photographers. To 20th-century viewers trained in modernist art, it was impossible to ignore the striking spareness of Greene's landscapes, his adept manipulation of negative and positive space, and the near abstraction of his close-up views. Yet a purely formalist reading of Greene's work obscures the scientific and intellectual goals that underpinned it, as well as the expectations of his intended audiences. Moreover, it overlooks his contributions to a growing body of archaeological scholarship and the geopolitical conditions that shaped such studies. This exhibition, the first retrospective of this photography pioneer, contextualizes Greene's career through new scholarship, nearly 70 rare prints and albums, and Egyptian artwork from the Art Institute's collection. This nuanced examination invites consideration of the complex aesthetic and political lenses that we use to look at photography and the past as well as the complicated relationship between photography, colonialism, and modernism.

Since 2001, ICP's Teen Academy program has supported thousands of New York City high school students in using cameras as tools to tell their own stories, build community, and contribute to social change. The program includes seasonal classes in black-and-white and color darkroom, digital and new media, as well as the Imagemakers yearlong advanced program. This virtual showcase features work created by students in the 2019-2020 Teen Academy Imagemakers program. This weekly after-school program enables motivated high school juniors and seniors to advance their photography, writing, and public speaking skills while developing an awareness of the creative and professional possibilities in the field. The images and writings in this showcase celebrate the unique perspectives of each student and give collective meaning to the power of photography and storytelling to educate and transform. Please join us online on Wednesday, June 10 from 6-7:30 PM for an opening reception and virtual celebration honoring the students' achievements and marking the launch of their culminating showcase. Featured Artists Afrida Ahmed, Alicia Zamora, Boris Cortes, Ella Herman, Emma Rehac, Jake Haller, Jill Noorily, Julia Karas, Justine Tapert, Kalena Burwell, Karyna Maldonado, Kasia Ojar, Kayetan McEnerney, Lena Likhtina, Lucy Kassel, Lydia Lee, Mali Abel, Marco Syrett, Mina Ekstrom, Mỹ Mannucci, Nailea Dominguez, Nuvany David, Paulina Jamieson, Ruby Klawans, Ruby Zuckerman, Russell Hickman, Steven Tovar, Walker Strauss, Xela Perryman

Celebrating twenty years of collaboration, the International Center of Photography and the High School of Fashion Industries welcome you to our virtual exhibition. This gallery features photographs created by high school students in ICP's Community Partnership with HSFI. The yearlong program includes an in-school foundation photography course, an after-school beginner's class, and an intermediate documentary workshop. As visual thinkers and creators experiencing these unprecedented times, our students had the opportunity to take pause and explore from the inside out. Using their camera phones and other digital devices, students photographed their daily lives, exploring the visual and cultural elements of their homes, families, and neighborhoods during this period. As the overarching goal is to support the next generation of storytellers, we congratulate our students and are proud to share their talents with you.

Catherine Edelman Gallery is excited to open its doors with the first artist collaborative exhibition in its 32+ history, "Photography & _____." The show opens July 10 and runs through September 4, 2020. To avoid crowds, the opening reception will be from noon - 7:00 pm on Friday, July 10. Many artists will be in attendance throughout the day. Most art making is a solitary process, void of outside voices, as a blank piece of paper or canvas is transformed into a work of art. But there has always been a rich history of art collectives: a group of artists who collaborate to create work. In the spirit of these collectives, Catherine Edelman Gallery presents "Photography & _____," an exhibition that brings together photographers and other creatives to create one-of-a-kind pieces. CEG invited artists familiar to the gallery, including painters, writers and photographers, and asked each participant to reach out to a fellow artist to create a collaborative piece. There were no limitations placed on the work, except that photography must be incorporated into each piece. The concept for "Photography & _____" started late last year, before anyone had heard of Covid-19. It now seems prophetic that after being closed for ten weeks, our first exhibition post stay-at-home is about collaboration. With everyone isolated at home, most of the participating artists relied on Zoom, Skype, and phone calls to create works of art. We are thrilled with the results, and thank the 30+ artists who are part of the exhibition.

Catherine Edelman Gallery is excited to open its doors with Michael Koerner: “Hibakusha: A tribute to the 75th anniversary of the atomic bombings.” The show opens July 10 and runs through September 4, 2020. To avoid crowds, the opening reception will be from noon - 7:00 pm on Friday, July 10. On August 6, 1945, the United States dropped an atomic bomb on Hiroshima, and another one three days later on Nagasaki, killing tens of thousands instantly, and more than 200,000 people in total. Michael Koerner was born in Okinawa, Japan in 1963, the son of a Japanese mother and American military father. For the past few years, Koerner has been making one-of-a-kind tintypes about his family and the effects of gamma radiation that has taken the lives of all members of his immediate family. In honor of the anniversary of the bombing, Koerner created Hibakusha, a photographic series that pays respect to those that passed away and those that survived. Hibakusha is a Japanese word that refers to people affected by the nuclear bombings. As Koerner states: >I wanted to bring attention to those that survived the blast, including my mother, who unfortunately later succumbed to the effects of radiation released on the Japanese people. I decided to make large tintypes that look like families, or people. All the plates are purposely void of color, except silver, which is intrinsic to the tintype process. By eliminating the blue and green hues that are prominent in my recent work, the images take on a haunting glow, reminiscent of the light that appeared in the skies over Hiroshima and Nagasaki. I hope viewers will look at these images and reflect on what happened so many years ago and honor those that survived and perished from this nuclear disaster.> Michael Koerner's exhibition will be in our lower level video room, creating an intimate environment for the viewer. Only one person at a time will be allowed in the room, due to pyhsical distancing standards.

Inspired by the last three decades of China's dynamic development, Out of the Shadows: Contemporary Chinese Photography features Chinese artists who question traditional aesthetics, local and global histories, and the photographic medium. Each featured artist has found his/her artistic voice by not only questioning traditional Chinese aesthetics but also challenging conventional expressions of the photographic medium. The show's selected contemporary Chinese artists, many of whom have never been exhibited in an American museum before, all continue to push the boundaries of photographic art with new technologies and innovative perspectives. The exhibition is curated by Tiffany Wai-Ying Beres, an art historian and Asian art specialist previously based in Beijing for nearly a decade, and who has curated over thirty exhibitions around the world. Artists included in the exhibition are Lang Jingshan (1892-1995), Chu Chu, Hong Lei, Ni Youyu, Shao Wenhuan, Shi Guorui, Wang Ningde, Yang Fudong, and Yang Yongliang. A catalog published by the Museum of Photographic Arts will accompany the exhibition.

This summer, take a trip across the American West through the lens of iconic American photographer Ansel Adams, together with more than 20 contemporary photographers. For more than 50 years, Ansel Adams captured the breathtaking beauty of the country's natural landscape in stunning black-and-white photographs. Ansel Adams: In Our Time, a new exhibition developed by the Museum of Fine Arts, Boston, displays Adams's work alongside contemporary artists whose modern-day environmental concerns point directly to Adams's legacy. Visit national parks, the American Southwest, and desert and wilderness spaces through 180 photographs as you move back and forth in time with Ansel Adams and his contemporary successors including Mark Klett, Trevor Paglen, Catherine Opie, Abelardo Morell, Victoria Sambunaris, and Binh Danh, exploring similar themes in a changing American landscape. This exhibition was organized by the Museum of Fine Arts, Boston.

Urban Mapping: Public Space Through the Lens of Contemporary Iranian Artists shines a light on aspects of the Iranian experience normally hidden from the outside world by focusing on public and private spaces. Comprised of 40 photographs and four video installations, the exhibition features the work of 10 essential voices in contemporary Iranian art who explore the notion of urban space as a nexus of social communication and political transformation; a place where personal and collective identity converge. Featured artists: Saba Alizadeh, Raoof Dashti, Arash Fayez, Ghazaleh Hedayat, Rana Javadi, Mehran Mohajer, Siavash Naghshbandi, Hamed Noori, Behnam Sadighi, and Mehdi Vosoughnia.

In 1942, Portland-born photographer Victor Jorgensen enlisted in the Navy. Edward Steichen, the renowned modernist photographer and lieutenant commander who oversaw Naval photography during World War II, selected Jorgensen-a Reed College attendee and editor at The Oregonian newspaper-to serve with his elite Naval Aviation Photographic Unit. Between 1943 and 1945, Jorgensen photographed on board the aircraft carriers USS Lexington and USS Monterey, the destroyer USS Albert W. Grant, and the hospital ship USS Solace, which served in the Pacific during the world-altering conflict. The works in this exhibition draw from a recent acquisition of vintage prints gifted to the Museum by Victoria Jorgensen Carman and Lee Jorgensen, the photographer's daughters. The exhibition commemorates the 75th anniversary of the end of World War II and Jorgensen's significant contribution to the field of documentary photography.

Over the past two decades, the ways in which we create, collect, and compile photographs have shifted dramatically. In broad strokes, we might define this shift as away from photographs as singular, iconic, and private objects to a ubiquitous, public, and collective phenomenon that is now often immaterial. This exhibition presents the work of four photographers, all of whom work with, and critique, these new practices in photography. Unified by their understanding of the photograph as an ambiguous messenger, each of these artists creates, collects, or compiles photographs to trace narratives about identity, community, and power.

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 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.

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.

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.

André Kertész (1894-1985) led the Modernist movement in photography, and determined photography's experimental joie de vivre for the 20th century. Kertész's unique vision and curiosity set the standard for the new, handheld 35mm camera. He knew how to be in the right place at the right time, anticipating, then capturing, images of grace, intrigue, and surrealist wit. During his years in Paris, Kertész was a mentor to Brassai and Henri Cartier-Bresson, showing them how to work and “see" as street photographers - a novel practice in the late 1920s. Cartier-Bresson said, "Whatever we have done, Kertész did first!" The 52 photographs in this exhibition cover seven decades of Kertész's prolific career, beginning in 1915 and concluding in 1984. Some are well known, others are examples of his experimentation with form and light. The photographs were a gift to the Harn Museum in 2018 through the generosity of three private collectors.

M+B Photo is pleased to announce Silver. Skate. Seventies., an exhibition of black and white photographs by Hugh Holland on the occasion of the release of his latest monograph published by Chronicle Chroma Books. The exhibition includes never-before-seen photographs from Holland's archives, including some of his earliest photographs documenting the rise of the Southern California skateboard revolution in the 70s. The exhibition runs from October 19 to November 9, 2019, with an opening reception and book signing at M+B, 612 North Almont Drive, on Saturday, October 19 from 4 to 7 pm. Having spread from its roots as a small counter-culture activity, skateboarding has now permeated society, leaving its footprint on global culture. Initially considered an anarchic form of self-expression practiced by a small band of outcasts, skateboarding exploded on the west coast of America in the late 70s and 80s coinciding with the emergence of US punk rock. Beginning in 1975, photographer Hugh Holland masterfully captured the burgeoning culture of skateboarding against a sometimes harsh, but always sunny Southern California landscape. These iconic images were first inspired on a late afternoon when Holland drove up Laurel Canyon Boulevard and encountered skateboarders carving up the drainage ditches along the side of the canyon. From suburban backyard haunts to the asphalt streets that connected them, Los Angeles was the place the birthplace of the legendary Dogtown and Z-Boys skateboarders. With their requisite bleached-blond hair, tanned bodies, tube socks and Vans, these young outsiders evoke the sometimes reckless, but always exhilarating origins of skateboarding culture. In Silver. Skate. Seventies., Hugh Holland presents a raw, spontaneous understanding to his well-known color photographs of the 1970's skating scene. Holland shot these negatives while experimenting with new ideas, and often, for his own enjoyment. These early black and white images were in many ways the genesis for his later color works—providing us with a rare glimpse behind the creative curtain.

American photographer Gillian Laub (b. 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. Her work frequently addresses the experiences of adolescents and young adults in transition who struggle to understand their present moment and collective past. In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The Montgomery County residents Laub encountered were warm and polite, both proud of their history and protective of their neighbors. To the photographer, Mount Vernon, a town nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. Yet this idyllic town was also held hostage by a dark past, manifesting in the racial tensions that scar much of American history. Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside-high school homecomings and proms-were still racially segregated. Laub photographed Montgomery County over the following decade, returning even in the face of growing-and eventually violent-resistance on the part of some community members. In 2009, a few months after Barack Obama's first inauguration, Laub's photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of the photographic image served as the catalyst and, for a moment, progress seemed inevitable. Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man-whose segregated high school homecoming Laub had photographed-was shot and killed by a sixty-two-year-old white man. At first, the murder seemed to confirm every assumption about the legacy of inequality and prejudice that the community was struggling to shake. But the truth was more nuanced than a quick headline could telegraph. Disturbed by the entrenched racism and discrimination that she encountered, Laub recognized that a larger story needed to be told. Her project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront painful realities. Relying on her incisive and empathic eye as a photographer, she explored the history of Montgomery County and recorded the stories and lives of its youth. What emerged over the next decade-during which the country witnessed the rise of citizen journalism and a conflagration of racially motivated violence, re-elected its first African American president, and experienced the formation of the Black Lives Matter movement-was a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South. In Southern Rites, Laub engages her skills as a photographer, filmmaker, storyteller, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness. Through her lens and the voices of her subjects we encounter that which some of us do not want to witness, but what is vital for us to see. Southern Rites is a specific story about young people in the twenty-first century from the American South, but it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future? Southern Rites is organized by the International Center of Photography and ICP curator Maya Benton.

KLOMPCHING GALLERY is pleased to present a solo exhibition of recent work, by artist Krista Svalbonas. This will be the artist's first solo exhibition at the gallery, following announcement of her representation. As the child of parents who arrived in the United States as refugee, ideas of home and dislocation have always been compelling to Krista Svalbonas. Her work explores this theme, with architectural structure serving as the anchor around which she explores family history and subsequent personal identity in relation of 'place'. Project titles such as 'Displacement', 'Migrants', 'Migrator', 'In The Presence of Memory' are seemingly simple pointers to a subject that is layered and complex. The exhibition is a survey of the artist's recent works—spanning several of these projects—and bringing to the gallery for the first time, artworks that extend beyond photography. The show incorporate mixed media, painting, 3-dimensional sculptural pieces and photographs incorporating laser-cutting. Whatever the media utilized by the artist, the starting point is lens-based, and informed by photography's monocular vision.

Originally programmed for Spring 2020, this exhibition is now scheduled for the Fall. We're delighted to be premiering new work from the 'Love Notes' series, as well as presenting collector favorites from previous bodies of work. More information and details regarding Artworks will be available online from August 1st. A public Opening Reception is scheduled for October 22nd, 6:00–8:00pm.

Collecting New York's Stories: Stuyvesant to Sid Vicious features highlights drawn from the hundreds of additions to the Museum’s permanent collection over the past three years, running the gamut from the colonial era to the recent past. A gallery of historic and contemporary photographs, currently open, showcases works by both well-known and emerging artists, including Janette Beckman, Bruce Davidson, Helen Levitt, Ruddy Roye, Richard Sandler, Gail Thacker, James Van Der Zee, Harvey Wang, and many others. A companion gallery presents original drawings by long-time New Yorker illustrator Saul Steinberg alongside gifts of garments, posters, decorative arts objects, and many other artifacts speaking to the everyday life of the city. Together, these beautiful, eclectic, and poignant images and objects illuminate the compelling and layered identity of New York and its stories.

Eye on Houston: High School Documentary Photography documents and celebrates the diversity of neighborhoods throughout the city. The annual exhibition is a collaboration between the Museum of Fine Arts, Houston, and area high schools. Now in its 25th year, Eye on Houston invites students to offer a glimpse into their daily lives, experiences, and personal stories. Each generation witnesses Houston through new eyes, seeing and experiencing a fresh incarnation of the city. Utilizing photography as a tool, these student photographers document their perspectives. All Houston Independent School District high schools were invited to take part this year, and the Museum received more than 1,000 submissions from across the Houston area. The diversity of these areas, and the connections between them, emerge through images that explore several themes: Movement, Home, Cultures, Family, and Growing Up. The 100 photographs chosen for the exhibition showcase work by freshmen, sophomores, juniors, and seniors. The 11 participating schools are Bellaire High School, Carnegie Vanguard High School, César E. Chavez High School, DeBakey High School for Health Professions, Eastwood Academy, Furr High School, Jane Long Academy, Sharpstown High School, Westbury High School, Westside High School, and Jack Yates High School.

Dreaming Alice celebrates internationally-acclaimed artist Maggie Taylor and her recent body of work, an illustration of "Through the Looking-Glass, and What Alice Found There," by Lewis Carroll. Taylor has garnered widespread attention for her breakthrough use of technology in her art. Sixty-two photographs make aesthetically innovative use of 19th-century photography (daguerreotypes, ambrotypes, tintypes), as well as scanned images of insects, dolls, flora and fauna. Taylor's object scans and digital manipulation to her own photographs generate dream-like imagery, with a 21st-century take on the Victorian Era. The whimsical subject matter and unique form of photography will intrigue visitors of all ages. This exhibition is made possible with support from the Margaret J. Early Program Endowment, the Harn Curator of Photography Endowment, the Harn Program Endowment, Kenneth and Laura Berns, and David Etherington and Jeff Dunn, with additional support from a group of generous donors.

Ansel Adams in Our Time celebrates the visual legacy of the acclaimed American photographer and includes some of his most iconic images, from a symphonic view of snow-dusted peaks in The Tetons and Snake River, Grand Teton National Park, Wyoming (1942) to the sublime Moon and Half Dome, Yosemite National Park (1960). More than 100 photographs by Adams, displayed alongside images by photographers working both before and after him, will offer visitors a deeper perspective on themes central to Adams’s practice, demonstrate the power of his legacy, and spark conversation about the state of the American landscape of the 21st century.

Did you know that the idea for the camera existed 2,000 years before photography was invented? That the Chinese invented eyeglasses 300 years before they appeared in Europe? Or that photographs of a galloping horse captured the stages of motion for the first time? Illusion: The Magic of Motion explores how photography was not suddenly discovered but came about as a result of several centuries of scientific and artistic explorations into light, optics, and perception. Artworks in the exhibition show the invention of cinema, works created through perspective and anamorphosis, the magic of shadow puppets, and how the human eye perceives motion. Artists in the show include historic photographers Eadweard J. Muybridge, Berenice Abbot, Phillip Leonian, and Harold “Doc” Edgerton, and contemporary photographers Ori Gersht, Eric Dyer, and Luis González Palma.

Aaron Siskind: Mid Century Modern focuses on photographs made by Aaron Siskind during the late 1940s and 1950s while he was interacting with the major figures of mid-twentieth century painting. The exhibition concentrates on a pivotal period when Siskind's interest in abstraction established a new frame of reference for postwar photography in the larger precincts of art. The installation - a portion of which will reinterpret the groupings and design of Siskind's Egan Gallery exhibitions - will examine the relationship between Siskind's approach to the walls of the galleries as surfaces of display and the flat surface of the works of art themselves. The exhibition is curated by Merry Foresta, MOPA Curator-At-Large, formerly Senior Curator of Photography and Director of the Smithsonian Photography Initiative. A catalog with essays by Merry Foresta and Deborah Klochko, Executive Director and Chief Curator of MOPA, will accompany the exhibition. Financial support is provided by the City of San Diego, Commission for Arts and Culture; The Robert Mapplethorpe Foundation, New York; Massey Charitable Trust; and the Gardner Bilingual Fund.

This exhibition is the first museum survey dedicated to the work of Deana Lawson (b. 1979 in Rochester, NY). Lawson is a singular voice in photography today. For more than 15 years, she has been investigating and challenging the conventional representations of black identities. Drawing on a wide spectrum of photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and appropriated images, Lawson's posed photographs channel broader ideas about personal and social histories, sexuality, and spiritual beliefs. Lawson's large-format color photographs are highly staged and depict individuals, couples, and families in both domestic and public settings, picturing narratives of family, love, and desire. Engaging members of her own community as well as strangers she meets on the street, she meticulously poses her subjects in a variety of interiors to create what the artist describes as “a mirror of everyday life, but also a projection of what I want to happen. It's about setting a different standard of values and saying that everyday black lives, everyday experiences, are beautiful, and powerful, and intelligent.” Lawson's works are made in collaboration with her subjects, who are often nude, embracing, and directly confronting the camera, destabilizing the notion of photography as a passively voyeuristic medium. This survey exhibition will include a selection of photographs from 2004 to the present, and will be accompanied by a fully illustrated scholarly catalog, featuring the voices and perspectives of a variety of scholars, historians, and writers.

In 1840, Jeremiah Gurney abandoned his career as a jeweler to establish one of New York City's first daguerreotype studios. Despite vigorous competition from rivals such as Mathew Brady, Gurney soon developed his reputation as a leading camera artist whose works were "nearer to absolute perfection" than those of other daguerreotypists. Widely admired for the beautiful, hand-tinted images produced in his studio, Gurney continued to make daguerreotypes until the latter half of the 1850s, when he began transitioning to paper print photography. This exhibition will feature a selection of daguerreotype portraits by Gurney from the collections of the National Portrait Gallery and the Smithsonian American Art Museum, alongside works from several private collections. This exhibition is curated by Senior Curator of Photographs Ann Shumard.

During the Civil War era, numerous women rose to national prominence - from First Lady Mary Todd Lincoln to the actress and Union spy Pauline Cushman. This intimate exhibition includes portraits of these and other intriguing women who captivated the public while becoming sought-after subjects for Mathew Brady's camera. Ann Shumard, the National Portrait Gallery’s senior curator of photographs, is the curator of this exhibition.