Photo Exhibitions

Von Lintel Gallery is pleased to announce our second exhibition with photographer Alex Hedison, “A Brief Infinity”. Hedison is known for photography that brings attention to the ‘in between’ state. Previously, she focused on photographing exterior surfaces under construction that reflected the uncertainty of change. In 2020, with the isolation brought on by COVID-19, Hedison’s practice was interrupted. No longer able to travel to public spaces, she lost interest in picking up her camera which led her to improvise in the darkroom: ''I started experimenting with chemigrams; unlike traditional photography, chemigrams require nothing more than the interaction of chemicals and light on photographic paper. As I played with this process, I discovered that when black and white photo paper is given prolonged exposures to light, miraculous colors appear; bright hues alchemized, from pale pink to darker ruddy tones. Using clear packing tape, metallic paint, and varnish as forms of resistance, I began protecting the surface of the paper before submerging it into its chemical wash. I chose to photograph the chemigrams one instant to the next, making records in an abstract and shifting landscape. My intention paralleled what I consistently aim to do with my work: to chronicle the fleeting process of development. Each moment I photographed is a record of a transformation underway, a split-second in a state of flux brought into view within a single frame. I printed the images adding the silver metallic paint initially meant to block the chemical process from occurring. I used this same reflective material and painted directly onto the final photographic prints. My work is drawn from the in between, the unfolding experience between the knowable and uncertain, it is as brief as it is infinite.'' – Artist Alex Hedison

Winston Wachter Fine Art, New York is excited to announce Don’t Be A Square, an exhibition of new works by photographer, Margeaux Walter. In this series, the artist expands on her signature style of creating environments that tread a fine line between fantasy and reality while taking a closer look at the natural world. Walter investigates the current period in history known as the Anthropocene age and how human activity has started to have a significant irreversible impact on the planet’s climate. In December of 2019, Margeaux Walter began this body of work during a two-week stay in California, and then continued the series in 2021 when she was awarded the Joshua Tree Highlands Artist Residency. She set out to explore the disconnection between humans and the landscapes around them. In each of the photographs, Walter constructs “a glitch in time”, as if humanity has camouflaged itself into the surrounding land, yet cannot find harmony. Each “glitch” is portrayed in the form of a square, a shape rarely found in nature, which can be interpreted as a pixel or cubicle. The artist sought out landscapes with depth and saturated in deep hues. She needed to capture the scenes at just the right time of day while using various props to stage each story and herself as the characters. In the image Backstage, a sunset of pinks and blues illuminate a rocky foreground. A pink curtain floats in the center of the image, parted just enough to allow the viewer to see a character dressed to match. The photograph, Nap, while it appears to be a still and calm scene, has someone drifting away on a lake in all blue clothing, lying in a matching inflatable couch. Margeaux Walter plays with the contrast between the striking landscapes and subtle human present imbedded in the image to create a surrealistic tableau. Her work pulls the viewer in, requiring more than a quick glance, to spark a second thought about the relationship humans have with the environment and the impact even little changes can make

Luis De Jesus Los Angeles is very pleased to announce CARLA JAY HARRIS: Flight, an exhibition of new photo-based works, on view in Gallery 3 from April 29 through June 10, 2023. An opening reception will be held on Saturday, April 29th from 4 to 7 pm. Harris’ new works are a continuation of her series Celestial Bodies, begun in 2018. Celestial Bodies explores Harris’ multicultural background and a youth spent living primarily outside the United States. In her search for understanding and belonging she was drawn to stories of mythology, which have become a central theme throughout her work and tap into a sense of kinship. In Flight finds its inspiration in Black American folktales and has allowed Harris to make her work more personal with a deeper connection to her own history and ancestral memory. The first works in this series are inspired by the myths of the Flying African, based on old African folktales. The tales of the Flying African, often shared through oral traditions, spoke of enslaved Africans being lifted up and flying home through a magical passage over the ocean. These stories are filled with visual reminders of truth, freedom, and liberation; a secret language that spoke to those isolated and uprooted from their ancestral roots and removed from their native lands. Harris resonated with the powerful imagery of overcoming and transcending limits and was drawn to the unique overlaps with the themes within her own artistic practice. As a trained photographer and cinematographer, Carla Jay Harris uses art, poetry, and historical archives to inform her research and provide inspiration. Harris found joy and fulfillment through these stories in giving these oral traditions physical forms and highlighting histories too often forgotten. Her work is informed by her multidisciplinary practice and bringing together image making, storytelling, and cultural histories. Carla Jay Harris was born in Indianapolis, IN. She received her MFA from UCLA in 2015, a Bachelor’s degree with distinction from the University of Virginia, and completed post- Baccalaureate studies at the School of Visual Arts in New York. Harris’s work has been exhibited nationally and internationally at the California African American Museum, Los Angeles, CA; the Marjorie Barrick Museum of Art, University of Nevada, Las Vegas, NV; the Los Angeles Municipal Art Gallery, CA; Museum of Fine Arts Sherbrooke, Quebec, Canada; Colorado Photographic Arts Center, Denver, CO; the Southern, Charleston, SC; Moorpark Gallery, Moorpark College, Ventura, CA; Smack Mellon, Brooklyn, NY; and Paris Photo, Grand Palais Ephemere, Paris, France. She was awarded a 2020 residency at ACRE in Steuben, WI, and has been the beneficiary of several grants and fellowships, including the Hoyt Scholarship, Resnick Fellowship and a grant from the Pasadena Art Alliance. Harris’ works are included in the collections of USC Fischer Museum, Los Angeles, CA; California African American Museum, Los Angeles, CA; Museum of Art and History, Lancaster, CA; Crocker Art Museum, Sacramento, CA; Escalette Permanent Collection of Art at Chapman University, Orange, CA; Museum of Fine Arts, Sherbrook, Quebec, Canada; Los Angeles County Public Art Collection, Los Angeles, CA; and numerous private collections. Carla Jay Harris lives and works in Los Angeles.

Photographer Marcia Resnick earned recognition as part of the legendary Downtown New York art scene of the 1970s and 1980s with portraits of major cultural figures such as Jean-Michel Basquiat, John Belushi, and Susan Sontag. Marcia Resnick was one of the most ambitious and innovative American photographers of the 1970s. Combining social critique with poignant, often humorous performance, her photographs explore—in a conceptual vernacular—aesthetic, social, and political issues at once timely and timeless. A part of the now-mythic creative community in Downtown New York, she created work that challenged traditional ideas about what a photograph could be. This exhibition brings together for the first time her extraordinary photographs from this period. This exhibition was organized by the Bowdoin College Museum of Art, the Minneapolis Institute of Art, and the George Eastman Museum.

Britain experienced profound changes in the 1970s and 1980s, when it was racked by deindustrialization, urban uprisings, the controversial policies of Prime Minister Margaret Thatcher, and the Troubles in Northern Ireland. Photography became a central form of creative expression during this period, supported and disseminated through new schools, galleries, artists’ collectives, magazines, and government funding. This Is Britain brings together the work of a generation of photographers who were commenting on the deep unrest of these pivotal decades. Vanley Burke, Pogus Caesar, Anna Fox, Paul Graham, Sunil Gupta, Chris Killip, Sirkka-Liisa Konttinen, Martin Parr, and others pictured communities, traditions, and landscapes affected by Britain’s shifting social and economic realities. Together, they photographed a nation redefining what it meant to be British and, ultimately, modern. Image: © Pogus Caesar, Handsworth Riots: Birmingham, United Kingdom, September 1985, printed 2022, gelatin silver print, National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund, © Pogus Caesar/OOM Gallery Archive, ARS, New York, DACS, London

Within a decade of its introduction in 1839, the daguerreotype—the first commercially viable form of photography—emerged as a highly popular means of documenting family relationships. Affordable pricing fueled the popularity of the daguerreotype and technical innovations made it possible to produce successful images of multiple sitters. This paved the way for the boom in family portraiture. The portraits in this exhibition reflect the range of familial relationships documented by the camera during the daguerreian era. While they include nuclear family groups, they also speak to other meaningful family bonds— those shared by a young brother and sister; an aunt and a beloved niece; a young man and his father-in-law; a caring uncle and his nieces and nephews; and long-married couples.

Arthur M. Sackler Gallery | Gallery 22 Unstill Waters: Contemporary Photography from India  foregrounds landscapes of India, real and reimagined, as powerful means of examining environmental and social issues concerning us all. Through still and moving image, seriality, and portraiture, five leading contemporary artists explore rapidly changing natural and built environments in India, from riverbanks, ancient forests, and city streets to surreal symbolic settings. Ravi Agarwal and Atul Bhalla convey the profound importance of water in human life, highlighting enduring social and cultural connections to the sacred yet endangered Yamuna River. Gigi Scaria and Ketaki Sheth produce dynamic and disorienting portrayals of life in New Delhi and Mumbai. Sheba Chhachhi composes a provocative self-portrait that evokes a profound relationship to place as well as to her own focus on the representation of women in visual culture. Dynamic and varied in scale, format, and content, Unstill Waters also celebrates the spectacular recent gift of Sunanda and Umesh Gaur, which significantly expands the museum’s holdings of South Asian photography. Image: Yamuna Morning IV (detail), Atul Bhalla (b. 1964, India), 2007, Inkjet print on archival Hahnemüle paper, Gift of Drs. Umesh and Sunanda Gaur, S2019.6.6 © Atul Bhalla

We are delighted to host an exhibition of photographs by Janelle Lynch, on view in Lesley University’s , from April 4th through June 12th. The exhibition is running concurrently with her PRC Speaker Series presentation on April 20th at 6:30pm, which will be a hybrid event, in-person at University Hall and online via Zoom. to purchase tickets for the Speaker Series event. A post-event reception will be held at the gallery, and a public reception will be held the next evening, April 21st from 6-8pm. The exhibition features work from Janelle Lynch’s body of work, Another Way of Looking at Love (2015-2018). The series explores the interconnectedness of all life forms and supports a renewal of human relationships, and to the natural and the spiritual worlds. Of her work Lynch says, “For some images, I create points of connection with elements from the same species—Japanese barberry or burdock, for example—while for others, I combine multiple species, such as golden rod and pokeweed or burning bush and pine trees. Points of connection create spaces, which represent areas where new realities can be envisioned. The depiction of unity, together with color and light, show the beauty and magic of the natural world.” Another Way of Looking at Love follows Lynch’s belief that in our organic and spiritual essence, we are inextricably linked to each other and to Mother Nature. That we are hardwired for connection and our elemental sameness unites us and transcends our apparent differences. She captures images of nature to connect with each other and to the earth through wellness and the well-being of the world. The work is borne out of Lynch’s awe for the power of nature, and seeks to reimagine connections to one another, to the planet, and to the generative possibilities of the moment.

Jamel Shabazz is the 2022 recipient of The Gordon Parks Foundation / Steidl Book Prize Born and raised in Brooklyn, New York, Shabazz obtained his first camera in the mid-1970s and immediately began making portraits. His camera was also at his side while he worked as an officer at Rikers Island in the 1980s, where he made portraits of inmates that he later shared with their friends and family. Jamel Shabazz: Albums, the culminating publication of the 2022 Gordon Parks Foundation/Steidl book prize, features Shabazz’s albums, spanning the 1970s through 1990s. The exhibition will feature over a dozen of these albums, all shown for the first time. On the streets of Brooklyn, Queens, the Bronx, and Manhattan in the 1980s and 1990s, it would be easy to spot Jamel Shabazz, photographer. He would have a 35mm camera in hand or around his neck and carry a bag containing rolls of film, a chessboard, and several photo albums. Once he spotted possible subjects—individuals and groups he felt exuded coolness and pride, beauty and confidence, playfulness and warmth—the street would become his photo studio. He would introduce himself, “With all due respect, I’m a photographer,” his business card in hand. “When I look at you, I see greatness. If you don't mind, I'd like to take a photograph of you and your crew.” If there was any hesitation, he would take from his bag a photo album—the kind typically filled with family snapshots. Each album held portraits he had previously taken on the same streets, arranged according to categories Shabazz identified, such as location, number of participants, gender, style, and pose. Within seconds, he was turning the pages of the album to images that he hoped would conjure feelings of identification, empowerment, and even competition for the people he encountered—the act of partaking in Shabazz’s photo shoot encouraged self-expression and spoke of self-determination, influence, strength, style, and attitude. The people he met would want their photograph in his albums; appearing there transformed them from seeing to being seen, from audience to tastemakers. His photograph would be of them and for them. Once Shabazz gained the trust of his subjects, over the course of a few minutes they would collaboratively choreograph the portrait composition, with the street as backdrop. Their chosen poses and expressions were a form of call and response between the subjects and what they had just seen pictured in the albums—the images sparked a desire to emulate, outdo, or declare affiliation. Hesitation was common among Shabazz’s would-be subjects, but, as he later said, “I had to stop them and get their attention, and the albums did it. if I didn’t have my albums they would probably keep moving.” His request that people pose for a photograph implied admiration of a particular style or attitude, but the promise of including the photograph in one of his albums would reinforce, and validate that style or attitude. The final photograph was not only evidence of that exchange, but also recognition of their freedom to present themselves as they wanted to be seen. After several interactions, Shabazz took the completed rolls of film to a one-hour photo shop in Chinatown that would provide two prints of each image. Once the prints were ready, within hours or days he would return to the location of the shoot, find his subjects, and give them a copy of their photograph. Shabazz kept the other copy, eventually finding a place for it in one of his albums. The photograph would be circulated and displayed, and shown to future subjects.

Danziger Gallery is pleased to announce our third exhibition of photograms by Liz Nielsen and our first show of her work in Los Angeles. The show will open on April 29th and run through June 17th. Nielsen’s work joins and adds to the historical tradition of the photogram – one of the medium’s earliest processes – and one of increasing interest in the world of contemporary art and color photography. Simply described, a photogram is an image created without a camera by placing objects or shining light directly onto photographic paper and developing the paper. Each picture is by nature unique - a record of the moment or event created by the artist. To make her pictures, Nielsen begins by drawing out her imagery. She then builds a complex system of layers, like a printmaker, that allows her to control where, when, and in what order light touches the paper. This gives her the freedom to essentially paint onto the paper in broad to narrow strokes and in an endless variety of colors. In the darkroom Nielsen’s innovations take on a performative nature as every picture has to be completed in one session which can take as much as a whole day to complete. When finished, the paper is rolled into a light proof container and then developed in the same way as any color print. In Nielsen’s words: “The analog color darkroom is a magical place where a pitch-black environment allows only the vision of the mind’s eye. I enjoy working in this way because everything is variable. In my current work, there is a focus on achieving transcendence through abstraction. I seek out shapes and symbols, looking for mathematical connections that give order to disorder. The images that I create are compositions of these collected shapes, placed strategically in alignment with the cosmos - places for collective consciousness to emerge.” Deeply interested in expanding the boundaries of the photographic medium, Nielsen’s vibrant and luminous abstractions transform preconceived notions of traditional photography. Influenced by her philosophical studies, knowledge of the physics of light, and color theory, she uses photography to investigate visual cognition. Nielsen is fascinated by light because it is both tangible and ethereal—it surrounds us, and as she says, “it has the incredible power to shape space, infuse emotions, and transcend time.”

Marian Goodman Gallery New York is delighted to present Intimacy, a moving-image and sound film by Robin Coste Lewis that will be presented in our Third Floor Gallery, from 6 May - 24 June 2023. A single-channel video projection with sound, the installation features projected images derived from a selection of 66 photographs representing a modern 20th-Century photographic archive depicting the Lewis family and their friends. The trove of portraits, discovered by Lewis approximately 25 years ago in the home of her maternal grandmother, Dorothy Mary Coste Thomas Brooks, are sepia, tintypes, color and black-and-white pictures that recount the history of the Lewis family and circle.. The Lewis family, along with millions of other Americans, fled the Southern States of America in the 20th Century as part of the Great Migration west, in search of a place devoid of racism, injustice, and white terrorism. With the upheaval of forced migration, and concomitant scattering of a family unit and dispersal of possessions, the existence of this deep collection of photographic images represents a distinctive vernacular collection, especially notable for its volume, rarity and joyful, private sentiment.. Through graduations, birthdays, weddings, recreational and holiday gatherings, the pictures play with with depiction and the notion of lineage. On the one hand, the photographs in Intimacy gives the viewer the illusion of charting this American family and their significance within the context of Black history. The photographs denote resilience and resistance to the profound historical enmity that surrounded them through the celebratory nature of the moments encapsulated on film.. However, the sound element of the installation, which features the voice of Lewis, diverges from the intense nostalgia evoked by the photographs. In both deliberate syncopation and pauses, Lewis reads her existentialist lyric poem titled Intimacy (for Julie) Part 2. The entrancing and moving reading of approximately 24 minutes, serves as an homage to the multitude of Diasporas human beings have created over millenia––and the central roles Black people have played within this enduring history. As such, the soundtrack relocates Blackness within the history of the universe and human evolution.. The poem and the resulting composite installation stems from a political and aesthetic friendship between Lewis and Julie Mehretu, which grew over decades, the outcome of a continuing conversation between the two who met as graduate students during the heady 90's through shared studies of post-colonial theory, queer studies, and critical race theory. Intimacy mediates on their mutual interest in language, the history of time, mark-making, human migrations, desire and the abstract. The installation in our New York space follows on the premiere of the work at Galerie Marian Goodman, Paris, in 2022, and more recent screenings and conversations at MoMA and LACMA. The Paris presentation highlighted a poignant aspect of Lewis’ heritage, given that her Great Grandmother, who was French, had emigrated to the former French colony of Louisiana, now US. Intimacy therefore traces the lineage of descendants of the survivors of French colonialism in Louisiana, a defiant answer to the destructive nature and intention of colonialism.. Archive of Desire, a series of multimedia performances celebrating the poet C.P. Cavafy featuring Robin Coste Lewis, Vijay Iyer and Jeff Ziegler, and Julie Mehretu will take place at National Sawdust in Brooklyn on 3 and 4 May 2023. The event was created for a weeklong festival to be held courtesy of the Onassis Foundation.

In Native America: In Translation, 10 artists consider Indigenous histories, cultures, and representation through a contemporary lens. Photography, a medium historically used to suppress and stereotype Native cultures, is reclaimed by these artists, who are, in the words of the curator Wendy Red Star, “opening up space in the art world for new ways of seeing and thinking.” The exhibition highlights the featured artists’ perspectives on community, identity, heritage, and the legacy of colonialism on the American continents. Among them, Martine Gutierrez used the fashion magazine format to question the social construction of identity in her work Indigenous Woman. In nindinawemaganidog (all my relations), Rebecca Belmore combined symbolic elements from her past performance works to call attention to violence perpetrated by governments against Native people. And in photographs unique to the Milwaukee Art Museum’s presentation, Tom Jones beaded portraits of people from his community with patterns referencing their Ho-Chunk cultural traditions. Also featured in the exhibition are Nalikutaar Jacqueline Cleveland, Koyoltzintli, Duane Linklater, Guadalupe Maravilla, Kimowan Metchewais, Alan Michelson, and Marianne Nicolson. All 10 artists represent various Native nations and affiliations throughout what is now called North America, including Cold Lake First Nations, Ho-Chunk Nation, Lac Seul First Nation, Musgamakw Dzawada'enuxw First Nations, Native Village of Kwinhagak Tribal Government, and Six Nations of the Grand River. Native America: In Translation is curated by Wendy Red Star, an Apsáalooke artist whose work was included in the Museum’s recent exhibition On Repeat: Serial Photography. Native America: In Translation is organized by Aperture and was developed from the Fall 2020 issue of Aperture magazine guest edited by Red Star. The Native Initiatives Advisory Group at the Museum was instrumental in helping develop the programs we are offering in conjunction with this exhibition.

Sean Kelly is delighted to announce Dawoud Bey: Pictures 1976 – 2019, the artist’s first solo exhibition in Los Angeles. Surveying five decades of work through the lens of five iconic series—Harlem, U.S.A. (1975-1979), Street Portraits (1988-1991), Harlem Redux (2014–2017), Night Coming Tenderly, Black (2017), and In This Here Place (2019)—this presentation illuminates Bey’s foundational importance to the development of photography as fine art, historical documentation, and social practice in the United States. The exhibition coincides with Dawoud Bey & Carrie Mae Weems: In Dialogue, on view at the Getty, April 4–July 9, 2023. On Saturday, April 29, the gallery will be open from 10am-7pm. The artist will be present for a reception and artist’s talk from 5-7pm. Bey first came to attention with Harlem, U.S.A. (1975-1979) a visual journey through the iconic neighborhood, which, in 1979, was the subject of his first solo exhibition at The Studio Museum in Harlem. Since then, Bey’s photographic and social practice—he is highly regarded as an educator as well as a photographer—has been defined by the empathy he brings to his subjects and the complexity with which he depicts them. In succeeding decades and successive bodies of work, Bey has moved from working “in the streets” with a small, hand-held 35mm camera to creating more formally structured portraits using a 4 x 5 camera and the monumental 20 x 24 Polaroid view camera. The exhibition opens with early photographs from, Harlem, U.S.A. which Bey began photographing at the age of twenty-two. Inspired to capture residents of the neighborhood due to Harlem’s status as a symbol of, and wellspring, for Black American culture, Bey portrayed its citizens as complex individuals free of stereotypes. The use of a small 35mm camera, with a slightly wide-angle lens, gave him the flexibility and spontaneity to get close to his subjects while grounding them in the cityscape behind them. In the next series featured in the exhibition, Street Portraits, begun in 1988, Bey decided to slow down his process, moving to a larger format camera, which engendered a reciprocal exchange with his sitters. Like other photographers working at that time, Bey was increasingly concerned with the ethics of traditional street photography, “which privileged the photographer at the expense of the subject.” Bey approached individuals he wished to photograph to give “the Black subjects [a space] to assert themselves and their presence in the world, with their gaze meeting the viewers on equal footing,” thus developing a different tradition of picture making that weds the subject to their environment, to create a “studio of the streets.” Harlem Redux represents the moment when Bey made the critical decision to shift away from portraiture to conceptually based photography. In 2014, 40 years after Harlem, U.S.A., Bey returned to the iconic neighborhood to create a series of photographs which visualized the profound socioeconomic forces changing the landscape of this epicenter of Black community and culture. This series, in color, records how in Bey’s words, this community is “increasingly defined by a sense of ‘erase and replace,’ wherein pieces of social and cultural history, along with memory itself, are routinely discarded.” With Night Coming Tenderly, Black, 2017, Bey turned to landscape photography for the first time in his career, removing the presence of the figure entirely. This series imagines the flight of enslaved Black Americans along the route of the Underground Railroad that operated in Ohio—the final fifty miles before reaching the vast expanse of Lake Erie, on the other side of which lay Canada, and freedom. His most recent series, In This Here Place, created in 2019, is the third project in Bey’s ongoing history series which chronicles the history of Black Americans in the United States. This body of work focuses on plantations in Louisiana, continuing the artist’s examination of African American history and his efforts to make the Black past resonate in the contemporary moment. Dawoud Bey will be the subject of an exhibition at the Virginia Museum of Fine Arts, Richmond, opening in 2023, entitled Elegy, that brings together his three most recent history and landscape-based projects, Night Coming Tenderly, Black, In This Here Place, and a new group of work, Stony the Road, along with a new video work 350,000. Dawoud Bey holds a Master of Fine Arts degree from Yale University School of Art. In 2017 Bey was awarded the MacArthur Foundation “Genius” Fellowship. He is also the recipient of fellowships from United States Artists, the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts, amongst other honors. In 2020, the San Francisco Museum of Modern Art and the Whitney Museum of American Art opened a major retrospective exhibition of Bey’s work that traveled to the High Museum of Art, Atlanta and The Museum of Fine Arts, Houston. To celebrate the exhibitions, Yale University Press and SFMOMA published Dawoud Bey: Two American Projects. Bey’s work is featured in numerous publications, and is the subject of several monographs and publications, including Class Pictures (Aperture, 2007), Harlem, U.S.A. (Yale University Press, 2012), Picturing People (Renaissance Society at the University of Chicago, 2012), and Dawoud Bey: The Birmingham Project (Birmingham Museum of Art, 2013). In 2018 a major forty-year retrospective publication, Dawoud Bey: Seeing Deeply, was published by the University of Texas. His work has been included in important solo and group exhibitions worldwide and is included in the permanent collections of the Addison Gallery of American Art, the Art Institute of Chicago, the Brooklyn Museum, the Cleveland Museum of Art, the Detroit Institute of Arts, the Fogg Art Museum at Harvard University, the High Museum of Art, the J. Paul Getty Museum, the Museum of Contemporary Art Chicago, the Museum of Contemporary Photography, the Museum of Modern Art, NY, the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum, the Studio Museum in Harlem, the Tate Modern, the Whitney Museum of American Art, and many other museums worldwide.

Our online exhibition, A Dialogue with Landscape, is inspired by a war landscape from 1944 by the renowned Soviet avant-garde photographer Boris Ignatovich (1899-1976). In this image, a once peaceful land now lies in ruin. Covered with scarred earth and burnt trees, the terrain is personified as a victim of war. This philosophical landscape shows both destruction and liberation, with the presence of sunlight symbolizing hope and rebirth. The wheel of a cart in the center foreground can be interpreted as the Wheel of Life, known in Buddhism as the Bhavachakra, representing the cycle of life and death. Landscape has always been a favorite tool of artists to communicate ideas. In the 1920s, photographers expressed a fascination with romantic and idealized landscapes, as in the images of Crimea by Vasiliy Ulitin (1888-1976). Ulitin’s landscapes are dreamlike, peaceful, and quiet. Similarly, Summer in Teberda by A. Tsoukker captures a scene of sublime tranquility amid the majestic Caucasus Mountains and evokes a feeling of happiness. In landscape imagery, fields of wheat and the harvest carry a special significance and draw on the symbolic connection of crops to fertility and resurrection. In the Bible, the field of wheat represents the kingdom of heaven. Sergey Shimansky’s Threshing Season (1939) illustrates a harvest at a distance amid soft light, in a scene reminiscent of Terrence Malick’s film Days of Heaven (1978). In Georgy Petrusov’s photomontage Harvest (1934), the work of collecting hay is infused with the golden light of sunset, and the women are situated as if in a rhythmical dance. Van Gogh’s haystacks come to mind when viewing Mikhail Ryzhak’s painterly, sunlit photograph Haystacks (1930s), taken in the field near his hometown Odesa, Ukraine. These poetic landscapes emphasize the eternal power of nature and offer a spiritual dimension, a glimpse of the infinite, and a contrast to evil caused by man. They carry a similar message to that heard in Jean Sibelius's Symphony No. 2. The final movement, according to the Finnish conductor and composer Robert Kajanus, “strikes one as the most broken-hearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent.”

CLAMP is pleased to announce “Interlogue,” an exhibition of photographs by artist Jan Rattia, the artist’s second solo show with the gallery. Rattia’s work is unapologetically personal, a memoir of his past and present life told through depictions of queer bodies and art-historical references. Rattia’s father, Luis, was a photographer, and as a young child, Rattia remembers the ritual of being photographed, of being seen. In this collection of images, the artist captures slices of his present that are informed and sculpted by his familial history of diaspora and constant movement. In and out of a pandemic, in and out of the United States, in and out of nature, Rattia’s photographs are not linked to a specific land. Whether he’s crossing the Andes or the East River, Rattia photographs subjects that whisper to the past and address the present simultaneously. A photograph of a sculpture of Ugolino’s son or a framed portrait sitting on a desk both draw the contours of Rattia’s vision. Among the images included in “Interlogue,” a suspended figure, that of a queer asylum-seeker, finds itself extracted from its photographic context. Printed life-sized and presented as if falling through space, the figure reaches out to grasp for something unknown. Rattia’s photographs grasp at something hard to describe; aiming to capture a sensation of simultaneous remembrance and experience. Jan Rattia is a Caracas-born New York-based artist working with ideas about belonging, representation, and otherness through photography. His photographs have been exhibited and published internationally, including solo shows in New York, Houston, and Philadelphia. Rattia's work is held in many public and private collections, most notably the High Museum of Art in Atlanta. He is a Fellowship recipient at the Houston Center for Photography and a former Studio Artist at Atlanta Contemporary. Rattia lives and works in Brooklyn, where he teaches at Pratt Institute.

CLAMP is proud to present “Jason Langer | Friends and Lovers”—an exhibition of the artist’s photographs on view on the gallery’s mezzanine from May 7 to June 30, 2023. Included in the exhibition are two photographs from his most recent monograph, Berlin, published by Kerber Verlag, as well as several photographs that were deemed too provocative for the book’s publication. The creation of “Friends and Lovers” and the book Berlin was a deeply personal and intricate journey for Langer, influenced by his Jewish identity and childhood experiences. Over a period of five years, Langer documented the locations in Berlin where Jewish people were deported or sought refuge during the Holocaust, as well as the contemporary lifestyle of Berliners. This amalgamation of history, architecture, and modern-day culture is evident in both the exhibition and the book. The photographs included in the gallery exhibition specifically include photographs of the Berliners with whom the artist shared a large flat when visiting Germany to work on his project. Photographing friends and lovers at home helped counterbalance some of the darker subject matter Langer was tracing outside of the flat in other regions of the city. Jason Langer is a photographer renowned for his psychological and noirish depictions of modern urban life. His work has been exhibited in several international photographic exhibitions for over two decades. He is the author of four monographs, and taught photography at the Academy of Art University for twelve years, and has been an instructor at Santa Fe Workshops since 2014. His work is represented in the collections of the Yale University Art Gallery, New Haven, Connecticut; Zimmerli Art Museum, Rutgers University, New Jersey; and the Georg Kolbe Museum, Berlin; among many other corporate and private collections.

All About Photo is pleased to present 'Railway Community' by Steff Gruber Over 300 cambodian families live in Phnom Penh's “Kilometer 6” commune, which is located alongside railway tracks that stretch from the districts of Tuol Kork to Daun Penh and Russey Keo (hence their name, the Railway Community). The families live in self-built shacks, usually consisting of a single room. The people here – some of the poorest people in the city – often run small businesses, in the form of mini-kiosks, in their community. They arrange individual products on cloths in front of their houses. Because of the lack of space, the residents spread out over the train tracks during the day. Every time they hear the train horns, they quickly gather up their cooking utensils, chairs, sunshades and children to clear the track. Just seconds after the freight trains have passed, the railway track once again becomes the center of life. Like many Phnom Penh families before them, the Railway Community faces eviction. According to a 2020 report by the land rights group Sahmakum Teang Tnaut (STT), over 50 communities consisting of 40,000 people have been driven out of Phnom Penh since the 1980s, usually without adequate compensation. The reason why they are being threatened with displacement is that the Phnom Penh authorities are planning to build a 12-meter-wide concrete road and drainage system along the railway line. Ownership of the land has been disputed ever since. For a decade now, members of the community and activists have been campaigning for their right to land and adequate housing. In early August 2022, 320 families accepted offers of 4 x 15-meter plots of land in a nearby area, albeit without any monetary compensation. But at the end of 2022, none of the families had relocated because the new resettlement site was still not ready. There is neither clean water nor electricity, nor is the site connected to a proper road. The families are also calling for money to pay for the transportation of building materials, construction costs and access to land titles. Steff Gruber’s documentation of the lives of the Railway Community is a long-term project that began in 2019.

Gallery Luisotti is pleased to present Ron Jude: Dark Matter. In this new body of work, Oregon-based photographer Ron Jude revisits source material he first explored in Alpine Star (2006). Named after a weekly newspaper published in Jude’s hometown in central Idaho, Alpine Star appropriated and cropped images from the paper, to produce a series with an iconography that suggested histories both personal and collective. Dark Matter expands the project, upscaling prints, and working in color, the combination of which further emphasizes texture: the half-tone signature of photo-mechanical printing as much as the damage and vulnerability those images convey. As with Alpine Star, Dark Matter is a project that deliberates on processes and materials central to the history of photography: the archive and inscription. Lacking any revealing textual references – no captions, no dates – Dark Matter splits images from intention, allowing for new combinations that read like historical fiction. Both countering and corroborating their narrative potential, the images of Dark Matter also reiterate the value of photographic archives to chronicle past occurrences, be they significant or inconsequential events. In Dark Matter, we bear witness to the contours of a grisly place: indications of criminal probes, star athletes gone lost, snowbound car accidents, arson under investigation, bodies covered, bodies rescued, and storms that left their mark on a community’s memory. Dark Matter creates a panorama of Americana, producing narratives and juxtapositions of masculinity, violence, and destruction. Revisiting material from a foundational body of work, and one so deeply entwined with personal history, Dark Matter also provides Jude an opportunity for self-reflection. Made during the Covid-19 pandemic, Dark Matter may be read as a tragic reflection of the state of the nation. While reprising Alpine Star, Dark Matter also encompasses themes of place and temporality that resonate with the artist’s other earlier works. Lick Creek Line (2012), for example, was a sequence of original photographs whose subject – a fur trapper – is both elusive and never pictured, while perceptible through images that convey a distinct sense of realism. 12 Hz (2020), meanwhile, was a monochromatic (all black-and-white) exploration of geologic transformation, imaging natural phenomena from lava tubes to tidal flows. The breadth of Jude’s practice indicates an artist as engaged in photographic materiality, as he is in the significance of his subject matter to contemporary social, political, and environmental concerns. Dark Matter emphasizes photography’s ability to trace the past while absorbing us in the elusive and enigmatic in the present.

Drawing together photographs and installations from both his celebrated and lesser-known series, Lyle Ashton Harris: Our first and last love charts new connections across the artistic practice of Lyle Ashton Harris (b. 1965, Bronx, NY). His first solo presentation in New England in more than two decades, the exhibition explores Harris’s critical examination of identity and self-portraiture while tracing central themes and formal approaches in his work of the last 35 years. The artist’s recently-completed Shadow Works anchor the exhibition. In these meticulous constructions, photographic prints are set within geometric frames of stretched Ghanaian funerary textiles, along with shells, shards of pottery, and cuttings of the artist’s own hair. Our first and last love follows the cues of the Shadow Works’ collaged and pictured elements—which include earlier artworks and reference materials, personal snapshots, and handwritten notes—to shed light on Harris’s layered approach to his practice. Harris’s work engages with broad social and political dialogues while also speaking with revelatory tenderness to his own communities, and to personal struggles, sorrows, and self-illuminations. Groupings centered around singular Shadow Works will expand upon these multiple throughlines, including Harris’s continued examination of otherness and belonging; the framing and self-presentation of Black and queer individuals; violence as a dark undercurrent of intimacy and desire; tenderness and vulnerability; and notions of legacy—both inherited and self-defined.

How does one experience a photograph that appears “unphotographic”? Focusing on the material and tactile properties of the medium, Direct Contact: Cameraless Photography Now is the first contemporary survey to examine cameraless photography across generations, cultures, and ideologies. Referred to as photograms or contact prints, cameraless photographs are made using analogue photography’s foundational elements: light, chemistry, and light-sensitive surfaces. Presenting recent work by over 40 artists–including Yto Barrada, Iñaki Bonillas, Ellen Carey, Hernease Davis, Sheree Hovsepian, Roberto Huarcaya, Kei Ito, Dakota Mace, Fabiola Menchelli, Lisa Oppenheim, Daisuke Yokota, among many others–Direct Contact highlights many emerging global artists and features primarily women-identifying artists. Unfolding across five sections–Age, Scale, Form, Texture, and Value–Direct Contact positions cameraless photography as both an intellectual cornerstone in the medium’s history and an enduring and important force within contemporary art.

Don’t miss this retrospective exhibition with legendary photographer, educator, and writer, Martha Casanave. CPA is proud to be showing more than 60 photographs from this artist’s archive. Mark your calendars now for opening night! Martha Casanave: Fictions features a survey of narrative photographs from 1969 to 2017. One of the few women photographers who came to be known during the 70s and 80s, Casanave is recognized for portraiture, pinhole photography and experimentations with historic photographic processes. This exhibition commences with singular portraits of artworld celebrities and others culled from her book Trajectories. Her Sequential Portraits feature individuals and families Casanave photographed over the course of decades, some up to forty years. In the long-term project False Flag, hand-colored photographs represent work done in the USSR|Russia. The ambiguous and mysterious Pinhole Narratives reflect Casanave’s more personal narrative constructions. Throughout this exhibition, we see Casanave as a picture fabricator and storyteller, weaving her own idiosyncratic truth. MARTHA CASANAVE graduated from the Monterey Institute of International Studies with a degree in Russian Language and Literature and began her working life as a translator in Washington, DC. She later changed her career to photography, which she had engaged in passionately since childhood. From 1984 – 1995 she combined her expertise in Russian and photography by organizing tours for American photographers to meet their counterparts in the Soviet Union. She subsequently received travel grants from Polaroid and Agfa Corporations to work on projects in the USSR and to participate there in photographic symposia. She has been an exhibiting and working photographer and educator for over forty years. Throughout the 70s and 80s, she taught many workshops and master classes in the U.S. and abroad. Since 1992, she taught photography (Beginning, Intermediate, Alternative Processes, Portraiture, History of Photography) at Monterey Peninsula College and at Cabrillo College, Santa Cruz. She was awarded the Imogen Cunningham Photography Award in 1979 and was a 1989 recipient of the Koret Israel Prize. Her publications include: Past Lives— Photographs by Martha Casanave (Godine, 1991); Beware of Dog, (Center for Photographic Art, 2002); Explorations Along an Imaginary Coastline, (Hudson Hills Press, 2006); and Trajectories, A Half Century of Portraits, (Image Continuum Press 2014). Casanave’s photographs are included in many major collections, such as the Boston Museum of Fine Arts, the Art Institute of Chicago, Cantor Center for Visual Arts at Stanford University, the Bibliotheque Nationale, the J. Paul Getty Museum , and the Graham Nash private collection.

This exhibition introduces a major gift of photographs from the collection of Alice Kasakoff Adams and John W. Adams. The Adamses were both anthropologists who began collecting art as graduate students in the late 1960s, at the very outset of what is now known as the “photo boom.” This period marked the first widespread acceptance of photography as a serious artistic medium, and many galleries, museums, and collectors were eager to partake. The Adamses were avid but independent participants in this trend, pursuing artists and works without regard for collecting fashions, and making exciting discoveries along the way. Their collection reflects their intellectual curiosity and unique sensibilities, while also offering a fascinating window onto the first decades when photography was widely collected as an art form. The photographs in this exhibition are arranged around three overlapping themes: families and social groups; the intersection of geography and culture; and experimental approaches to photography itself. These groupings are moored by the thoughtful and often surprising connections that John and Alice Adams made between widely disparate photographs spanning over 150 years and representing photographers from Asia, Europe, Australia, and the United States. This installation is part of an ongoing series exploring histories of photography through the museum’s collection of nearly 40,000 photographs.

Change of Scenery: Photographs of Leisure in the Landscape surveys ways of “being” in the landscape, encompassing common activities like sight-seeing, recreation, and play, and affective states like joy, intimacy, affinity, and belonging. Featuring approximately 55 American photographs from the 19th and 20th centuries from the Cantor collection depicting people in various outdoor public spaces, this single-gallery exhibition considers the importance of access to nature and leisure, what access entails, and how it shapes identity. RUTH LEVISON HALPERIN GALLERY Image: Robert Frank (American, born in Switzerland, 1924–2019), Couple with Child Sleeping in Woods, c. 1950. Gelatin silver print. © Andrea Frank Foundation. Gift of Raymond B. Gary, 1984.493.94

The Alice Austen House and the Noble Maritime Collection present a collection of never-before-seen nautical photographs of one of America’s earliest and most prolific female photographers. Living and working on Staten Island during the Gilded Age, Alice Austen (1866–1952) was one of the first women photographers to work outside the confines of a studio, employing a visionary documentary style that was ahead of its time. Picturing the Water explores Austen’s deep connection to both local and international waterways and the vessels that traverse them. The newly printed photographs, reproduced from Austen’s glass plate and film negatives, will be framed in John Noble’s signature handmade frames and will reflect on parallels between the artists’ visions.

In 1981, Woodstock artist and photographer Harriet Tannin (1929–2009) began to create a series of portraits of artists who were residents of this well-known and vibrant artistic community. The goal of Tannin’s project was to produce 100 portraits which would not only capture their diversity and spirit but to also provide a glimpse into the type of works they produced in their Woodstock studios. The result of this monumental undertaking, 100 Portraits of Woodstock Artists, was completed in 1983. Tannin encouraged all her subjects to decide how they wished to be memorialized by her camera lens. At the conclusion of this project, Tannin returned to each photographed artist with two mounted prints: one for the participant to keep and one for them to sign—or, if they so desired, to add a simple thought in pencil to the front of the work which would act as an additional means of keeping their voice alive for generations of viewers to come. Harriet Tannin earned her Master of Fine Arts degree from SUNY New Paltz in 1975. These photographs were generously donated to the Samuel Dorsky Museum of Art by Harriet’s husband, Dr. Albert H. Tannin.

One of the typical measures of success for artists is the ability to quit their day jobs and focus full time on making art. Yet these roles are not always an impediment to an artist’s career. This exhibition illuminates how day jobs can spur creative growth by providing artists with unexpected new materials and methods, working knowledge of a specific industry that becomes an area of artistic interest or critique, or a predictable structure that opens space for unpredictable ideas. As artist and lawyer Ragen Moss states: Typologies of thought are more interrelated than bulky categories like ‘lawyer’ or ‘artist’ allow... Creativity is not displaced byother manners of thinking; but rather, creativity runs alongside, with, into, and sometimes from other manners of thinking. Day Jobs, the first major exhibition to examine the overlooked impact of day jobs on the visual arts, is dedicated to demystifying artistic production and upending the stubborn myth of the artist sequestered in their studio, waiting for inspiration to strike. The exhibition will make clear that much of what has determined the course of modern and contemporary art history are unexpected moments spurred by pragmatic choices rather than dramatic epiphanies. Conceived as a corrective to the field of art history, the exhibition also encourages us to more openly acknowledge the precarious and generative ways that economic and creative pursuits are intertwined. The exhibition will feature work produced in the United States after World War II by artists who have been employed in a host of part- and full-time roles: dishwasher, furniture maker, graphic designer, hairstylist, ICU nurse, lawyer, and nanny–and in several cases, as employees of large companies such as Condé Nast, Ford Motors, H-E-B Grocery, and IKEA. The exhibition will include approximately 75 works in a broad range of media by emerging and established artists such as Emma Amos, Genesis Belanger, Larry Bell, Mark Bradford, Lenka Clayton, Jeffrey Gibson, Ramiro Gomez (now Jay Lynn Gomez), Tishan Hsu, VLM (Virginia Lee Montgomery), Ragen Moss, Howardena Pindell, Chuck Ramirez, Robert Ryman, and Fred Wilson, among many others. The exhibition will be accompanied by a catalogue featuring artist essays commissioned for the book, as well as a podcast, giving artists agency in telling their stories about the compelling intersections between their day jobs and creative practices. Organized by Veronica Roberts, Curator of Modern and Contemporary Art, with Lynne Maphies, Former Curatorial Assistant, Blanton Museum of Art

Looking forward and back, this exhibition of more than 100 works by photographer and environmentalist Ansel Adams (1902 – 1984) places him in direct conversation with contemporary artists and the photographers who influenced him. Laid out in seven sections tracing Adams’s artistic development, the exhibition features some of his most-loved photographs, including images of Yosemite, San Francisco, and the American Southwest. Adams’s works are shown alongside prints by 19th-century landscape photographers, such as Carleton Watkins and Eadweard Muybridge, as well contemporary artists like Trevor Paglen, Will Wilson, and Catherine Opie. Their work engages anew with the sites and subjects that occupied Adams throughout his life — from national parks to the use and misuse of natural resources. Adams’s legacy continues to inspire and provoke, influencing how we envision the landscape and serving as an urgent call to preserve our environment.

During a career that spans seven decades, Kwame Brathwaite (1938–2023) became known for his photographs of Black fashion, music, and events. Brathwaite came to photography through music. In 1956, after seeing photographs taken in the dim light of a club during a music event organized by AJASS (African Jazz-Art Society and Studios), a group that he co-founded, Brathwaite was inspired to pick up a camera himself. Initially, he took pictures in support of a larger cause—uplifting the “Black is Beautiful” movement, which he helped to shape in New York by organizing fashion shows and concerts that celebrated African beauty, culture, and heritage, and subverted Western beauty standards. This start grew into a prolific career documenting the visual culture of everyday and celebrity life that unfolded alongside the civil rights and Black Power movements. This exhibition focuses on Brathwaite’s passion for music, for it not only ignited his photography career and led to his writing music reviews for numerous international publications in the 1970s, addressing the distinct sounds of soul, R&B, and funk, but his love of music also informed his pictures and his approach to photography. Brathwaite has stated a lifelong desire to depict “the essence of Black experience, as a feeling, a drive, and an emotion” that are heard and felt through music. Fittingly, the presentation’s title comes from the headline Brathwaite wrote for his review of Stevie Wonder’s 1976 album, Songs in the Key of Life. Brathwaite’s title, Things Well Worth Waiting For, both conveys how eagerly anticipated Wonder’s album was and also captures his own view of the 1970s as a period of uncertainty as well as great possibility. Since Brathwaite’s retirement in 2018, his family has begun the invaluable work of organizing the artist’s immense archive. This exhibition presents a selection of photographs, magazines, albums and color slides from the 1960s to the 1980s that form the Brathwaite Archive, many of which are on view for the first time in decades.

What creative possibilities are offered by the gaps, absences, and silences in archives and historical records? How can photographs reframe histories and propose alternative narratives for the present and future? These are among the questions explored by Magnum Foundation’s Counter Histories Fellowship, an intergenerational and transnational cohort of twenty photographers whose work intervenes in archives, official histories, and the visual landscape of memory and memorialization. The first in a series of activations of projects from the 2022 cohort, this exhibition features works in progress by four Fellows whose work investigates personal histories. Using images sourced from family photo albums, books, magazines, and community archives, the artists reassemble layered and open-ended portrayals of place, culture, and community.

''In dialogue with my past work, I continue to examine the optics of female representation and call into question our belief in the veracity of the photographic image. The subjects in this work appear to know they are being photographed. In repose, they seem to have an understanding that the moment is important and permanent. One can also detect self-conciousness and an underlying sexual energy. However, neither a person nor a moment is preserved in these images.'' - Jennifer Greenburg

Obscura Gallery is thrilled to welcome Debbie Fleming Caffery back to Santa Fe for a Summer solo exhibition, Portraits of Birds, a beloved project Debbie has undertaken most of her career. At a young age growing up on the Bayou Teche in Louisiana, Debbie was inspired by her grandfather, who raised doves, pigeons, and chickens and took her on day trips to visit wild birds. Throughout Debbie's career, she continued her passion for these creatures, photographing birds in many varied settings: living wild in Louisiana, freed from animal markets in Mexico, and most recently rehabilitated as Avian Ambassadors in New Mexico. Debbie brings the same sensitivity into this stunning collection of black and white gelatin silver portraits of birds as she is known for when photographing people of various cultures. Debbie Fleming Caffery grew up along the Bayou Teche in southwest Louisiana and still lives in the area. Early in her career, she was inspired by the work of Dorothea Lange and many of the artists working within the FSA and Federal Arts Project of the WPA during the Depression. Like these forbears, she is interested in telling stories with her pictures. Her rich, and dramatic prints are the result of the deep relationships with the people and places she photographs, a visual corollary to the reverence she has for her subjects. Caffery has photographed the sugarcane industry and its community in Louisiana since the late 1970s. She has also photographed in rural villages in Mexico for many years, creating works that draw connections between those communities and the ones in Louisiana that were so familiar to her from her own upbringing. In 2005, Caffery was the recipient of a Guggenheim Fellowship for the work she made of women working in brothels in Mexico. In 2006, she received the Katrina Media Fellowship from the Open Society Foundations to continue to photograph the aftermath of Hurricane Katrina. ODebbie’s approach to photographing birds is no different than with any of her incredibly intimate projects. She has a long, intertwined relationship with the creatures that began in intrigue at an early age with her Grandfather near the Bayou Teche: “My love for birds began as a child, during the time I spent with my grandfather, PaPa Angers. Every day, from kindergarten through 7th grade, I would walk to my grandparents’ house after school. “I loved to watch my Grandfather hatch guinea hen eggs in an incubator in his garage. He had chickens and a rooster that lived in his yard. The chickens were my pets…. After school I would often go with my grandfather to feed other birds at a beautiful, magical place on the Bayou Teche. He was a modest man, but he always wore a suit. He was blind in one eye, and he often took another old man with us, Mr. Polk, who only had one eye….so they had two good eyes between them!

This exhibition features the 1930s work of five artists in the Capital Group Foundation Photography Collection: Ansel Adams, John Gutmann, Helen Levitt, Wright Morris, and Edward Weston. Displayed among a diverse selection of photographs by their contemporaries, this material illuminates how American artists used photography to spark the imagination. FREIDENRICH FAMILY GALLERY Image: Edward Weston, Nude (Charis) Floating, 1939. Gelatin silver print. © 2022 Center for Creative Photography, Arizona Board of Regents / Artist Rights Society (ARS), New York. The Capital Group Foundation Photography Collection at Stanford University, 2019.48.323

Curated by members of the photographer’s family, this exhibition has its North American debut at the Center for Creative Photography and covers Linda McCartney’s whole career, from 1965 to 1997. Featuring 176 photographs and additional archival materials that offer insight into her working methods, the exhibition is presented in three sections: Family, Photographic Experimentation, and Artists. Family features poignant and direct accounts of her life as mother, wife, and animal activist. Having moved to London with her new husband Paul in 1969, Linda documented her extraordinary version of domestic life, and these self-portraits, slices from life, and portraits of her husband, children, and beloved animal companions provide powerful access to her particular perspective. Throughout her photographic career, McCartney "sketched" by taking Polaroid images, experimented with various photographic processes, explored color and black-and-white film, and partnered with artistic collaborators. The Photographic Experimentation section includes several artworks that are unique to the CCP version of the exhibition. In the third section, Artists, we see McCartney's early portraits of the dynamic 1960s music scene which capture the vulnerability of future world-conquering rock stars. McCartney was the first woman photographer to have an image featured on the cover of Rolling Stone; her unparalleled access to The Beatles – the biggest band in the world at that time – allowed her to chronicle the members and their behind-the-scenes; and her own role as a founding member of Wings gave her yet another point of view on musical stardom. The range of works in the exhibition, including never-before-seen Tucson views, reflect the spontaneity and ease of her photographic style. Image: ​“Linda, New York”, ​1967, ​© Paul McCartney, ​Photographer: Linda McCartney

Sessions on Creative Photography is one comprehensive look at the boundary-breaking career of Hazel Larsen Archer, from her instrumental work in photography within mid century avant-garde art circles to her transformative approach to photo education. Archer embraced experimentation; challenged expectations and encouraged a radical depth of seeing; and was concerned both with photography and the experience of life itself. Linda McCartney, a prominent student of Archer’s in Tucson in the early 1960s, reflected, “She inspired me to become a photographer.” This exhibition is intent on generating meaningful conversation between creative practices today and the history that shapes those practices. Particularly crucial is to reshape the parameters of photography’s histories by introducing largely overlooked or marginalized perspectives like that of Archer, who was influential to Tucson’s vibrant arts community. Over the course of the spring, Sessions on Creative Photography will evolve to include the interdisciplinary projects of students in the undergraduate course, “Introduction to Applied Humanities,” taught by Dr. Jacqueline Barrios. The students’ projects will be exhibited in two parts: within CCP’s Heritage Gallery and in a to-be-announced community space in Tucson. Sessions on Creative Photography is generously supported by the Marshall Foundation Image: ​​ Hazel Larsen Archer, John Cage, ​c.1947-1954, Center for Creative Photography, University of Arizona, ​© Estate of Hazel Larsen Archer

Whatever transpires in the blink of an eye can be either a minor occurrence or a great spectacle, depending on our perception of that event. What happens when we are the sole witness to an event? There is an inherent loneliness in not being able to share something, whether mundane or astonishing, with others. This loneliness permeates Adam Ekberg’s whimsical photographs that document the climax of orchestrated events. While the camera freezes them into still lifes, a sense of continuity—like the arc of a story—happens as one realizes that Ekberg (American, b. 1975) invented, manifested, documented, and concluded these events. The objects take on lives of their own, even though we know that such agency is impossible for a roller skate, a pumpkin, or a balloon to have without human intervention. Ekberg’s presence is underscored by his absence in the resulting pictures. Ekberg works with an intense focus on imagining, generating, and capturing each precise moment of whimsy. Through this absurdist approach, he invites us to slow down, be present, and pay attention to the ordinary. In doing so, this work suggests that we might find the extraordinary in the fleeting moment. This exhibition includes more than 20 inkjet prints from Adam Ekberg’s ongoing body of work. Image: Lawn Chair Catapult, 2017 © Adam Ekberg

The work of Judith Joy Ross marks a watershed in the lineage of the photographic portrait. Her pictures—unpretentious, quietly penetrating, startling in their transparency—consistently achieve the capacity to glimpse the past, present, and perhaps even the future of the individuals who stand before her lens. Since the early 1980s, Ross has used a large-format, 8x10-inch view camera as a tool to capture the distilled essence of her brief encounters with a cross-section of the American people, with a focus on those in eastern Pennsylvania, where she was born and raised. For Ross, whose stated purpose is “to notice what is going on with other people and to record it,” this has required a spontaneous and radical reformulation of the relationship between the photographer and the photographed. When successful, these encounters yield pictures that enable an acute emotional and psychological connection that resists sentimentality, upends prejudice, and traverses boundaries of time, place, and circumstance. Featuring approximately 200 photographs, this exhibition charts Ross’s work through all her major projects as well as smaller series and individual images that have never been seen before. Together, these bodies of work explore what it means to be a citizen and a human being, forming a profound portrait of our age. The Philadelphia Museum of Art will be the only US venue for the exhibition, following its European tour in Madrid, Paris, and the Hague. Image: Celia, 1980, by Judith Joy Ross. © Judith Joy Ross, courtesy Galerie Thomas Zander, Cologne

Co-organized by The Baltimore Museum of Art and The Bronx Museum. As moving as it is complex, the multifaceted work of Darrel Ellis (1958–1992) restages a lost vision of Black selfhood and domesticity. His oeuvre has presented a formidable challenge to curators and scholars over the last thirty years for its unfinished tenor, a perception heightened by his untimely death due to AIDS-related causes at age 33. Although Ellis’ work was included in important contemporary surveys during his lifetime, including the 1989 exhibition Witnesses: Against Their Vanishing, organized by Nan Goldin, only now is it beginning to garner the attention it deserves. The exhibition Darrel Ellis: Regeneration offers the first comprehensive, scholarly survey of this pioneering artist, whose highly original merging of painting, printmaking, and photography anticipated current artistic interest in archive, appropriation, and personal narrative. Image: Untitled (Laure, from Father's Photograph), ca. 1990 © Darrel Ellis

Evelyn Hofer (American, born Germany, 1922-2009) was a highly innovative photographer whose prolific career spanned five decades. Despite her extraordinary output, she was underrecognized during her lifetime and was notably referred to by New York Times art critic Hilton Kramer as “the most famous unknown photographer in America.” She made her greatest impact through a series of photobooks, published throughout the 1960s, devoted to European and American cities, including Florence, London, New York, Washington, DC, and Dublin, and a book focused on the country of Spain. Comprising more than one hundred vintage prints in both black and white and color, Eyes on the City, the artist’s first major museum exhibition in the United States in over fifty years, is organized around those publications. The photographs to be featured combine landscapes and architectural views with portraiture, conveying the unique character and personality of these urban capitals during a period of intense structural, social, and economic transformations after World War II.

Lounging by the pool, the roar of ocean waves, blue skies, and a romance: summer is the season that could live on forever. Summer Lovin’, the latest exhibition at Robert Mann Gallery, showcases a selection of intimate moments and faded memories gone with the tide. Step onto the beach with Joe Deal’s Laguna Beach, California (1978) or catch a volleyball on the hot sand in John Mack’s Cancun, Quintana, Roo, Mexico, (2008). Spend a night out at the carnival captured by Jeff Brouws with flashing lights and a thrill: Ice Cream Booth, Ventura, California (1988) and Magenta Midway, Ventura, California (1990). Float down the river with the return of Julie Blackmon’s Flatboat (2022) or shake your head at the neighborhood kids running wild in the backyard, Flag Cake (2015). Curated by gallery director, Caroline Wall, Summer Lovin’ intertwines serene landscapes with unsuspecting sun bathers, free-fall divers and drying swimsuits. Anything goes in summer as the photographs sing to the tune of love off the walls. Enjoy an eclectic collection of subtle sensuality and play, of vacations and dog days. Just as summer warms in June and cools in August, as will the exhibition on display from June 7 to August 18, 2023 with an expanded selection available to view online. The selection features the work of: Julie Blackmon, Jeff Brouws, Harry Callahan, Joe Deal, Larry Fink, Richard Finkelstein, Elijah Gowin, Cig Harvey, Chip Hooper, Michael Kenna, O. Winston Link, Mike Mandel, Ed Sievers, and Henry Wessel.

Meryl Meisler was born in the Bronx in 1951 and raised in Massapequa, a Long Island suburb of New York City. Meisler’s neighborhood was largely composed of Jewish and Italian families, although there were also Irish, German, Greek and other first and second generation Americans. Meisler’s Jewish roots and family dynamics are celebrated in many of the works in this exhibition. “Our parents taught us pride in our heritage and the importance of sticking together with family.” says the artist. Inspired by the work of Diane Arbus and her dad Jack Meisler’s family albums, Meisler enrolled in her first photography class in 1973 at the University of Wisconsin-Madison. When back home on school breaks, Meisler photographed the people she knew and loved—family, neighbors, and friends—along with making self-portraits. Within this body of work, Meisler explored topics of sexual identity, while also questioning her place and future within this suburban lifestyle. Living rooms, bedrooms, kitchens, and beauty parlors became the backdrop of personal comedic theater and drama in which her subjects played themselves. Meisler adds, “My lifelong love of musical theater influenced all of the interior photos.” Meisler’s images in 70s Suburban Sensibilities are steeped in humor. The photographer states, “My parents and their friends were fun-loving, adventurous people. Like many victims of centuries of bigotry and oppression, the Jewish people might have developed a strong sense of humor as a survival mechanism.” Lively friends and colorful family members are pictured amidst the over-the-top interior decor prevalent in many 1970s suburban homes. For instance, in Butterfly Bedroom Telephone, East Meadow, NY, a room adorned with butterfly wallpaper and matching bedding is the setting for Meisler’s amusing image of a friend’s mother wearing a patterned housecoat while chatting on a Princess model telephone. When brought together, the comedic expression of Meisler’s reclining subject, the bold graphic wall coverings, and a gigantic plant stand that appears to be a spiral staircase to nowhere, borders on the absurd. In My Favorite Jewish Mother, Meisler’s mother, wearing oversized glasses and freshly-set hair, gazes with a deadpan stare over the top of a newspaper emblazoned with the headline “A Scholarly View of the Jewish Mother.” In another comical image, Aldo Making Muscles, Meisler’s bikini-clad boyfriend awkwardly flexes his muscles, causing a less than flattering distortion of his neck and head. The earliest work in the exhibit, the 1973 image Perfume Counter at Bloomingdales, illustrates the photographer’s preference for subjects who possess a confident and audacious sense of style. Documenting intriguing individuals and dynamic settings is also reflected in another series by Meisler that features images of charismatic club-goers partying in New York City’s eclectic dance venues in the late 70s and in present day.

Eli Klein Gallery is thrilled to present “Suffocation,” Zhang Dali’s third solo show with the gallery. An ambitious presentation of 13 unique works of art on cotton by one of China's most revolutionary and recognized artists. The exhibition examines life under China’s extreme and inhumane Covid and other policies. Many of the cyanotypes on display cannot be exhibited inside of China, where the restrictive Covid policies that were only terminated a few months ago are a forbidden topic forced into the shadows. Cyanotype has been a highlight of Zhang Dali’s artistic practice since 2009. It is a meticulous process that requires a unique blend of nature, chemistry, and creativity. The process involves coating a surface with a solution, placing objects directly onto it, and exposing it to sunlight. The resulting reaction with ultraviolet rays creates a distinctive silhouette aesthetic, with exposed areas taking on a different hue, while unexposed areas remain white. Invented in 1842, Cyanotype is a complicated physical method of light-maneuvering that produces unique one-of-a-kind works. In Dali’s words, they are the shadow of objects and the shadow of reality. Cyanotypes provide a distinct monochromatic aesthetic; the shapes depicted have to be the exact same as the original object. Throughout years of experimentation, Zhang Dali developed a technique where he would prepare cotton sheets for portable use - a liberating method as a gesture to break out of the highly restricted political environment which exists in contemporary China. “Suffocation” carefully selects cyanotypes of three different color systems, all created during the time of Covid. With these visually striking works, Zhang Dali raises questions such as “Can we turn to plants for escape when we are confronted with oppression?” and “How do we find freedom when we’re constantly faced with restrictions?” Zhang Dali’s gorgeous cyanotypes of plants depict China’s natural beauty. Before 2020 the dominant / subordinate relationship between humans / urban plants was often taken for granted. But the past few years blurred this relationship in China, when people were not allowed to venture out of their apartments for months, whereas urban plant life breathed freely. As one of the most influential figures in socio-political artistic movements in China, Zhang Dali has, for decades, challenged the conventional by utilizing governmental slogans. Although he chose to speak with imageries instead of slogans in most of the cyanotypes on view, “Slogan (22)” links us to Zhang Dali’s trademark technique of appropriating slogans. This time, the slogan “I can’t breathe,” which was uttered by a slowly dying George Floyd was appropriated to convey the sensation of suffocation felt by Chinese citizens during Covid lockdowns.

BLACK VENUS, curated by Aindrea Emelife is an exhibition that surveys the legacy of Black Women in visual culture - from fetishized, colonial-era caricatures to the present-day reclamation of the rich complexity of Black womanhood by 18 artists (of numerous nationalities and with birth years spanning 1942 to 1997). This exhibition is a celebration of Black beauty, an investigation into the many faces of Black femininity and the shaping of Black women in the public consciousness - then and now. ‍ Juxtaposed against archival depictions of Black women dating back to 1793, the contemporary works on view collectively create a global, cross-generational investigation into Black women’s reclamation of agency amid the historical fetishization of the Black female body. The exhibition’s thematic foundation is the Hottentot Venus, a visual-culture archetype named for the assigned stage name of Saartje Baartman (born 1789 in South Africa). Enslaved by Dutch colonizers and toured around Europe as part of a ‘freak show’ due to her non-Western body type, caricatured depictions of her spread around the globe and indelibly catalyzed the Western exoticization and othering of Black women. In BLACK VENUS, archival depictions of Baartman and other historical Black women pair with the vibrant, narrative portraiture by some of today’s most influential Black image-makers whose work deals with layered narratives of Black femininity. ‍ A Note to Our Visitors: This exhibition reckons with difficult visual histories. It features some themes and images that are derogatory and many that are empowering. Sensitive visitors should be aware that several artists in the exhibition employ nudity and sexual imagery to explore their ideas.

Since the publication of I Dream a World: Portraits of Black Women Who Changed America over thirty years ago, African American women have gained greater visibility on the national stage and in the global arena. Yet the book’s seventy-five photographs and interviews have never seemed more relevant. Illuminating the historical and cultural contributions of several remarkable individuals, this two-part exhibition features portraits of writers, entertainers, athletes, activists, and politicians, whose legacies were documented by the photojournalist Brian Lanker in the late 1980s. “I felt the need to prevent these historical lives from being forgotten,” he wrote. “Many of the women opened ‘the doors’ and many advanced America through the modern civil rights and women’s movement." Each of the subjects in I Dream a World overcame tremendous adversity. Their personal challenges, powerful journeys, and unwavering persistence offer inspiration for us all. While penning the foreword for the book, Maya Angelou observed, “These women regard us, understand us, gaze through each of us, into a beyond. . . . The sameness of their gaze informs us that they will not be removed, that indeed although they are shaken, bruised, and uprooted, they are determined to remain."

A Gallery For Fine Photography is pleased to present ten pigment prints and one polaroid by Joyce Tenneson. About Joyce Tenneson Internationally lauded as one of the leading photographers of her generation, Joyce Tenneson’s work has been published in books and major magazines, and exhibited in museums and galleries worldwide. Her portraits have appeared on covers for magazines such as: Time, Life, Newsweek, Premiere, Esquire and The New York Times Magazine. Tenneson is the author of seventeen books including the best seller, “Wise Women”, which was featured in a Today Show series. She is also the recipient of many awards and, in a poll conducted by American Photo Magazine, readers voted Tenneson among the ten most influential women in the history of photography. The Lucie Awards named Joyce Tenneson as Fine Art Photographer of the Year in 2005, and in 2018 she received the Lucie Award for Outstanding Achievement in Portraiture. In the Fall of 2014, Fotografiska Museum, in Stockholm, Sweden, mounted a large retrospective of Tenneson’s work. In 2021 Tenneson was inducted into the International Photography Hall of Fame.

Avedon. Only one name was ever necessary. On Dec. 9, “(re) Framing Conversations: Photographs by Richard Avedon, 1946–1965” will debut at the Smithsonian’s National Museum of American History. Twenty Richard Avedon images spanning two decades, curated from the Smithsonian’s extensive photo history collection, will be on display in the exhibition through fall 2023. Avedon (1923–2004) was one of the 20th century’s most influential photographers. He first made his mark in the pages of Harper’s Bazaar. Magazines such as Look, Life, The New Yorker and Esquire followed, with covers, advertisements and editorial features. Fame gave him a platform, and photography gave him a medium. Initially associated with high fashion and high society, Avedon moved seamlessly in and out of Manhattan’s social echelons from uptown to downtown, yet he was emotionally and professionally invested in cultural awareness, social and political issues, impact and authenticity. “(re) Framing Conversations” will invite visitors to travel throughout the exhibition in a direction of their choosing. The themes of Music, Weddings, Change, Fear, Women’s Words and Your Moral Compass will allow audiences the ability to connect personal experience with the historical content presented throughout. “As a history museum holding a vast and exceptional collection of photography, we are pleased to reveal how fine art provides a key lens to understand and explore the nation’s complicated history,” said Anthea M. Hartig, the museum’s Elizabeth MacMillan Director. “The visual impact and experience of Avedon’s photographs capture some of the cultural and social tensions of the era through the mass media platform of magazines which he used masterfully as one of the nation’s culturemakers.” Avedon’s distinctive portraits with their plain white backgrounds include an offering of not only the instantly recognizable, but also those who are remarkable in other ways—good and otherwise. His subjects trusted his energy and truth and allowed him to look beyond their appearances to discover a more authentic version of themselves. All his subjects influenced—and were influenced by—their time and culture. The activist and author James Baldwin and Avedon both attended DeWitt Clinton High School in the Bronx where they edited the school’s literary magazine. By the mid-1960s, Baldwin became one of America’s most important writers, and, in 1964, Avedon approached Baldwin to contribute an essay to Avedon’s 1964 book, Nothing Personal. Avedon followers will recognize some of the images from the book on the walls of the “(re) Framing Conversations” exhibition. Bridging the space between 1960s fashion and political activism, Baldwin’s essay, “Letter from a Prisoner” accompanied by Avedon’s portrait of him, appeared in a 1963 issue of Harper’s Bazaar. “After WWII and before television’s wide popularity, magazines were important modes of visual transmissions,” said Shannon Perich, curator of the photographic history collection. “Avedon’s photographs and his own presence in print culture propelled, changed and shaped the ways that readers understood ideas about portraiture, celebrity, power and emotions. He channeled his own ideas and concerns about American culture through his photographs which gives us a means to explore historical questions that continue to resonate with us today, from easier ones like, ‘What music moves you?’ to the more difficult, ‘How long does change take?’”

In 1975 Meryl Meisler moved to New York City. Two years later its most notorious and celebrated nightclub, Studio 54, opened its doors. Meisler immersed herself in the nightlife scene and began to make images of Studio 54’s colorful pleasure-seekers, along with some of its most noted party-goers such as Andy Warhol. The photographer states, “When Studio 54 opened, my friend JudiJupiter got us on the guest list as photographers. The doorman took a liking and parted the door for us night after night. Studio 54’s fabulous changing décor, DJs, sound system, and incredible crowds of diverse ages, races, ethnicities, sexual orientations, and gender identities were thrilling.” Fueled by the excitement of Manhattan’s exploding club scene of the late 70s, Meisler photographed fashionable night revelers and celebrities at a number of other hedonistic havens that popped up throughout the City. Legendary clubs such as Copacabana, Paradise Garage, Hurrah, Xenon, GG’s Barnum Room, CBGB, and erotic Go-Go bars, provided an endless and diverse array of extravagant subjects immersed in dance and party spectacles. Each venue had its own unique identity, clientele, and energy. Some club-goers who were unable to gain admission to Studio 54 or wanted a change of scenery explored the crowd, vibe, and music at other night spots. Meisler adds, “On nights off, club owners and cohorts would party at other discos.” It was on one of these evenings that Meisler photographed Halston and Studio 54 co-owner Steve Rubell comfortably huddled together on a couch at the club Hurrah. A monogamous relationship, full-time art teaching job, and the onset of the AIDS epidemic prompted the photographer’s foray into nightlife culture to dramatically slow down around 1981. Meisler kept her collection of images to herself, as a sort of private visual memoir, until an encounter in 2014 at the drag & burlesque bar BIZARRE, in Bushwick. Many of the club’s performers and the scene they created were reminiscent of the freedom and energy that abounded during New York City’s nightlife heyday in the late 70s. This emerging scene with its emphasis on inclusion, costumed spectacles, and over-the-top revelry inspired Meisler to exhibit her earlier nightlife photos and, once again, document these venues of unbridled celebration. Dance and performance take center stage in many of Meisler’s current images taken at clubs like Bushwick’s House of Yes and Bartschland’s roaming parties. These new club scenes with drag queens and kings, bodacious burlesque performers, acrobats, magicians, dancers, and disco divas add to the continuum of NYC’s nightlife culture — honoring and elevating the dynamic spirit set forth by prior generations of party-goers.

San Diego's Museum of Photographic Arts (MOPA) celebrates its 40 years in Balboa Park and 50 years as a photo nonprofit with an intoxicating spring exhibition touring the world directly from London's Victoria & Albert Museum (V&A). Arresting Beauty: Julia Margaret Cameron is a collection of work by one of the most innovative and influential photographers of all time. MOPA is pleased to be the first venue in the United States to exhibit this extensive collection by Julia Margaret Cameron, a pioneering portraitist criticized in her own time, but now admired for her innovative and unconventional techniques. Julia Margaret Cameron (1815-1879) is one of the most innovative and influential photographers of all time. She pioneered the close-up and took photographs deliberately out of focus because she found them more beautiful that way. In 1863 Cameron was 48 and a mother of six living in Freshwater on the Isle of Wight in England when she received her first camera as a Christmas gift from her daughter and son-in-law. Her response to the gift was immediate: "from the first moment I handled my lens with a tender ardour, and it has become to me as a living thing, with voice and memory and creative vigour." Over the eleven years that followed Cameron produced thousands of photographs, exhibited internationally, and published two books. Photography became Cameron's link to some of the greatest writers, artists, scientists, and thinkers of her day, from the poets Alfred, Lord Tennyson, and Henry W. Longfellow and the painter G.F. Watts to the naturalist Charles Darwin, the astronomer John F. Herschel and the historian and philosopher Thomas Carlyle. Her subjects also included several studies of Alice Liddell, who, as a child, had sat for photographer and writer Lewis Carroll and inspired Alice's Adventures in Wonderland. The Christmas gift of a camera led to a decade-long career in photography and more than 1,200 surviving images. ''Living in the digital age as we do now with the instant image, it is a joy to experience the rich and beautiful work of the 19th-century photographer Julia Margaret Cameron. Using a large format camera and working with the wet collodion process, required a hands-on commitment that allowed the photographer to really engage with her portrait subjects.'' Deborah Klochko, The Lawrence S. Friedman Executive Director and Chief Curator. Arresting Beauty: Julia Margaret Cameron is made possible with generous financial support provided by the Bern Schwartz Family Foundation, the Gardner Bilingual Fund, and the Massey Charitable Trust. Additional financial support is provided by the City of San Diego and the County of San Diego. Featured image: Julia Margaret Cameron, The Mountain Nymph Sweet Liberty, 1866, albumen print © The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund. Museum no. RPS.1241-2017

This exhibition represents the first contemporary museum presentation of the life and work of photographer King Daniel (KD) Ganaway (1882-1944) since the 1930s. Ganaway was born and raised in Murfreesboro, Tennessee by parents and grandparents enslaved on plantations owned by city founders Burrell Gannaway and Lieutenant Colonel Hardy Murfree. Ganaway’s photograph, “The Spirit of Transportation,” won first place in the 1921 Wanamaker Photographic Salon, beating out renowned photographers Edward Weston, Man Ray, and Paul Strand. Completely self-taught, Ganaway worked as a butler in Chicago for some eighteen years. His employer, wealthy widow Mary Lawrence, allowed him one day off every two weeks, which he spent perfecting his craft. Ganaway’s prints of Chicago landscapes and industry became widely circulated due to their publication in prominent magazines throughout the 1920s, such as National Geographic. Ganaway, however, considered himself a “Race photographer,” a descriptor he espoused in a letter written to activist W.E.B. Du Bois in 1924. His lens captured images of what was referred to as the “New Negro,” those of African descent rising to political and cultural prominence as well as those who were marginalized in south side Chicago’s “Bronzeville” district. Ganaway is now recognized as among the first Black photographers of renown in the United States. His gelatin silver prints were exhibited in photographic salons across America along with other feted artists of the William E. Harmon Foundation. Since 1990, the California Museum of Photography has owned a print of The Spirit of Transportation, donated by singer-songwriter Graham Nash. But it is through the extensive research of Ganaway’s descendants, Tim and Brenda Fredericks and Daryl Webb, that we can share his story.

The most celebrated series in the artist’s oeuvre thus far, Kurland’s Girl Pictures (1997–2002) is emblematic of teenage experience. Started in New Haven, Connecticut, the series tells a fictional story of an empowered community of young women. The series was acquired by the Wadsworth in 2022. By documenting teenage girls as rebels at play in bucolic frontier landscapes, the series offers a feminist recasting of vagabond narratives like Jack Kerouac’s On the Road (1957) in photographs made between Connecticut and California—including New York, New Jersey, Virginia, Tennessee, Louisiana, Colorado, Arizona, and Texas among others. Kurland took to the American road on solo trips over five years beginning in 1997 while attending graduate school at Yale University. Living out of a van, the artist befriended various groups of local girls across the country, explained her photographic series, then dressed, staged, and photographed the invented, utopian scenes. The complete series of 69 works is loosely grouped into themes including camps, tents, and forts; animals; balls and games; boy torture; grooming and erotics; rivers, roads, forests, and coastlines; and large groups.

This summer, the International Center of Photography (ICP) presents Love Songs: Photography and Intimacy, a group show conceived as a mixtape of songs gifted to a lover. On view from June 2 through September 11, 2023, Love Songs features photographic projects about love and intimacy from more than 15 contemporary photographers, including Nobuyoshi Araki, Ergin Çavuşoğlu, Motoyuki Daifu, Fouad Elkoury, Aikaterini Gegisian, Nan Goldin, René Groebli, Hervé Guibert, Sheree Hovsepian, Clifford Prince King, Leigh Ledare, Sally Mann, RongRong & inri, Collier Schorr, Karla Hiraldo Voleau, and Lin Zhipeng (No. 223). Through the myriad lens of intimate relationships, Love Songs brings together series dating from 1952 to 2022 by some of the leading photographers of our time that explore love, desire and intimacy in all their most complex and contradictory ways. The exhibition is the U.S. museum debut for work by Aikaterini Gegisian and Lin Zhipeng (No. 223), the first New York City museum presentation of the work of Sheree Hovsepian and Motoyuki Daifu, and the U.S. debut of the work of Karla Hiraldo Voleau. The New York presentation of Love Songs is organized by curator and writer Sara Raza, formerly of the Solomon R. Guggenheim Museum and Tate Modern, London. The exhibition is organized in collaboration with the Maison Européenne de la Photographie (MEP), Paris, based upon an original idea by Simon Baker, and was curated at MEP by Frédérique Dolivet and Pascal Hoël. The English-language catalogue for the exhibition will be published by ICP and DAP. Highlights of Love Songs New York edition include Clifford Prince King’s works documenting quiet moments of Black queer intimacy; Lin Zhipeng (No. 223)’s Photographed Colors of Love (2005-2021), of young people expressing their sexuality and freedom in defiance of the authoritarian regime in China; and Collier Schorr’s Angel Z (2020-2021), collaborative work made with her artistic and romantic partner, Angel Zinovieff. Works carried through from Paris include selections from landmark series such as Nobuyoshi Araki’s Sentimental Journey (1971), a visual diary of his honeymoon, and Winter Journey (1989-90), a photographic essay documenting the death of his beloved wife and his intense grief. Also on view is a selection of photographs from Nan Goldin’s The Ballad of Sexual Dependency (1973-1986), recording the spontaneous and unfiltered daily life of her friends.

In our interconnected world, images are crucial. No longer solely a means of recording our surroundings, pictures have become a prism through which our experiences are made and shared. New Photography 2023: Kelani Abass, Akinbode Akinbiyi, Yagazie Emezi, Amanda Iheme, Abraham Oghobase, Karl Ohiri, Logo Oluwamuyiwa explores the work of seven artists who explore the image as a social medium, and are united by their critical use of photographic forms. Initiating the next phase in MoMA’s celebrated series, New Photography 2023 is the first to focus on a specific art scene across the globe. Each of the international artists in the exhibition maintains a connection to the vibrant art community flourishing in the port city of Lagos (Èkó)—commercial capital of Nigeria, and one of the most populous cities on the African continent. These artists challenge the notion of the photograph as document, and mine photography’s rich history and variety to make space for new perceptions and encounters. Some take scenes of everyday life as their subject, rendering them anew through formal experimentation and poetic rumination, or by chronicling personal experience at the heart of collective political action. Others use photography to explore architecture, geographical sites, and historical figures. Since 1985, the New Photography series has introduced work by more than 150 artists worldwide. This exhibition brings together artists at various stages in their careers, presenting the work of Kelani Abass (b. 1979), Akinbode Akinbiyi (b. 1946), Yagazie Emezi (b. 1989), Amanda Iheme (b. 1992), Abraham Oghobase (b. 1979), Karl Ohiri (b. 1983), and Logo Oluwamuyiwa (b. 1990) at MoMA for the first time. Organized by Oluremi C. Onabanjo, Associate Curator, Department of Photography, with Kaitlin Booher, Newhall Curatorial Fellow, and Samuel Allen, MRC Fellow, Department of Photography. Image: Bar Beach, Victoria Island, Lagos, from the series Sea Never Dry. 1999. Courtesy of the artist. © Akinbode Akinbiyi

The Museum of the City of New York is pleased to announce the first in an ongoing photography exhibition series. Inspired by the Museum’s landmark presentation of the same name in 2000, this series will occur every three years and engage different themes and issues of the contemporary city. The first installment examines the idea of “Home.” At its most practical, “Home” refers to the literal places we dwell. Yet it can also stand for family, or the communities of which we choose to be a part. This vital and complex concept arises in often surprising ways in our urban context, from highly personal experiences to debates over public policy. This exhibition aims to look at how artists have responded to and interpreted these issues. In recent years, the city has struggled to reckon not only with the ongoing dynamics of economic and racial inequality but also with massive challenges unleashed by the COVID-19 crisis. This exhibition includes photography and video work made over the past several years that creatively documents and interprets this changing cityscape and the disparate responses and experiences of New Yorkers, straddling the stories of the city before, during, and after the pandemic. The selected work encompasses a variety of perspectives—as diverse as the city itself—and consider a range of picture making approaches. From the personal and intimate to the monumental and collective, the photographs in this exhibition invites viewers to see the city they thought they knew through fresh perspectives. Participating Artists Ariana Faye Allensworth, Xyza Cruz Bacani, Roy Baizan, Laylah Amatullah Barrayn, Sara Bennett, Amarise Carreras, Cinthya Santos-Briones, Alan Chin, Sally Davies, Maureen Drennan, Nona Faustine, Naima Green, Diana Guerra, Gail Albert Halaban, Chantal Heijnen & Lou van Melik, Ramona Jingru Wang, Anders Jones, Jamel Shabazz, Neil Kramer, Dean Majd, Alan Michelson, Paul Moakley, Cheryl Mukherji, Ian Reid, Richard Renaldi, Irina Rozovsky, Geralyn Shukwit, Laila Annmarie Stevens, Joana Toro, Linda Troeller, Nolan Trowe, Elias Williams, and The Anti-Eviction Mapping Project. Image: Liberty, from the series "We Are Like Air: NYC", 2022 © Xyza Cruz Bacani

The DIA (Detroit Institute of Arts) proudly presents the exhibition, James Barnor: Accra/London—A Retrospective, a comprehensive survey of the work of British-Ghanaian photographer James Barnor whose career spans more than six decades. A studio portraitist, photojournalist, and Black lifestyle photographer, Barnor was born in 1929 in the West African nation of Ghana. He established his famous Ever Young Studio in Accra in the early 1950s and devoted his early photography to documenting critical social and political changes that animated the nation on the cusp of independence from Britain. After moving to London in 1959 to further his studies, he began a hugely successful career with influential South African magazine Drum, which captured the spirit and experiences of London’s burgeoning African diaspora. Upon his return to Ghana in the 1970s, Barnor established the country’s first color processing photo lab. An avid music enthusiast, he embedded himself in the social and highlife scene while continuing his work as a portrait photographer. He returned to London in 1994. James Barnor: Accra/London—A Retrospective is on loan from the Serpentine Gallery, London, England. Image: Studio Ever Young, Accra, c. 1950s © James Barnor

In 1969, Richard Avedon was at a crossroads. After a five-year hiatus, the photographer started making portraits again, this time with a new camera and a new sense of scale. Trading his handheld Rolleiflex for a larger, tripod-mounted device, he reinvented his studio dynamic. Instead of dancing around his subjects from behind a viewfinder, as he had in his lively fashion pictures, he could now stand beside a stationary camera and meet them head-on. Facing down groups of the era’s preeminent artists, activists, and politicians, he made huge photomural portraits, befitting their outsized cultural influence. On the centennial of the photographer’s birth, Richard Avedon: MURALS will bring together three of these monumental works, some as wide as 35 feet. For Avedon, the murals expanded the artistic possibilities of photography, radically reorienting viewers and subjects in a subsuming, larger-than-life view. The murals are society portraits. In them, Avedon assembles giants of the late twentieth century—members of Andy Warhol’s Factory, architects of the Vietnam war, and demonstrators against that war—who together shaped an extraordinarily turbulent era of American life. Presented in one gallery, their enormous portraits will stage an unlikely conversation among historically opposed camps, as well as contemporary viewers. The formal innovations of Avedon’s high style—of starkly lit bodies in an unsparing white surround—are best realized in these works, where subjects jostle and crowd the frame, and bright voids between them crackle with tension. Uniting the murals with session outtakes and contemporaneous projects, the exhibition will track Avedon’s evolving approach to group portraiture, through which he so transformed the conventions of the genre. The exhibition is made possible by Joyce Frank Menschel. Image: Marquee: Richard Avedon (American, 1923–2004). Andy Warhol and members of The Factory, New York, October 30, 1969. Gelatin silver print, 8 × 10 in. (20.3 × 25.4 cm). Collection of The Richard Avedon Foundation © The Richard Avedon Foundation

In January 1929, after eight years in Europe, the American photographer Berenice Abbott (1898–1991) boarded an ocean liner to New York City for what was meant to be a short visit. Upon arrival, she found the city transformed and ripe with photographic potential. “When I saw New York again, and stood in the dirty slush, I felt that here was the thing I had been wanting to do all my life,” she recalled. With a handheld camera, Abbott traversed the city, photographing its skyscrapers, bridges, elevated trains, and neighborhood street life. She pasted these “tiny photographic notes” into a standard black-page album, arranging them by subject and locale. Consisting of 266 small black-and-white prints arranged on thirty-two pages, Abbott’s New York album marks a key turning point in her career—from her portrait work in Paris to the urban documentation that culminated in her federally funded project, Changing New York (1935–39). Berenice Abbott’s New York Album, 1929 presents a selection of unbound pages from this unique album, shedding new light on the creative process of one of the great photographic artists of the twentieth century. For context, the exhibition also features views of Paris by Eugène Atget (French, 1857–1957), whose extensive photographic archive Abbott purchased and publicized; views of New York City by her contemporaries Walker Evans, Paul Grotz, and Margaret Bourke-White; and photographs from Changing New York.

From the age of 13, when he received his first camera, Mitchell produced photographs that capture a particularly American vitality. Born in New York City in 1926, he sold his first photograph to “Life” magazine when he was 16. Then, at age 17, he headed west, gaining permission from Warner Brothers to frequent the studios, shooting Hollywood stars on various sets and sound stages. One of his most valued photographs in this exhibition features Humphrey Bogart in a rare moment of respite, having a cigarette break between takes. After two years of duty as a navy photographer, he returned to New York City and worked as a photographer in a large commercial studio. In 1951 he started a commercial studio. Finally, he retired to Boca Raton, where he and his wife Esther avidly supported the Museum, donating many of Mitchell's photographs to the collection. Curated by Senior Curator Kathleen Goncharov. Image: "Humphrey Bogart," 1943, printed 2005. © Benn Mitchell

Survivors: Faces of Life After the Holocaust, currently on view in its first major museum exhibition in the United States at The Museum of Jewish Heritage – A Living Memorial to the Holocaust in New York, has received a four month extension. Originally set to close on June 18, the deeply affecting exhibition featuring 75 portraits by award-winning photographer Martin Schoeller will now remain on view at the Museum through October 22, 2023. The exhibition first opened on September 18, 2022 in the Museum's Rita Lowenstein gallery, with its soaring skylight that floods the exhibition with an ethereal, natural light. This unflinching series features Holocaust survivors captured in Schoeller's signature style of extreme close-up portraiture and bright lighting. His subjects gaze directly at the viewer, revealing their humanity- their pain, struggle, hope, and resilience. Each portrait is paired with a biography and personal statement from each survivor. The exhibition additionally features a video documenting the making of the portraits at Yad Vashem, where the project originated in 2019, and features live interviews with many of the sitters. ''We are pleased and not at all surprised that this exhibition has struck a chord with our visitors,'' said Jack Kliger, President and CEO of the Museum of Jewish Heritage – A Living Memorial to the Holocaust. ''Schoeller's intimate portraits inspire reverence for the resilience of the human spirit, and insist we remember the atrocities survivors, some of whom have since passed away since the start of this project, have endured and the messages they have shared from those experiences. The soaring skylight and natural light in the Rita Lowenstein gallery accentuate the exhibit. We are proud to extend the exhibition's run at our Museum and invite new and returning visitors to experience Martin Schoeller's extraordinary craft firsthand.'' The Museum centers survivors and the first person accounts they share -an increasingly timely proposition as the final enduring generation of survivors is now elderly. Since 2019 when the portraits were made, more than 20 of the sitters have passed; in this exhibition they continue to connect across generations, building empathy and understanding. ''This project is very close to my heart, born out of my experience growing up in Germany, and I was so proud to bring it to New York's Museum of Jewish Heritage," said photographer Martin Schoeller. "It's been my hope that the series would resonate with the survivor community here and inspire New Yorkers of all backgrounds to envision a more tolerant and peaceful future." Martin Schoeller, born in Munich, Germany in 1968, is one of the most prominent contemporary portrait photographers and is renowned for his close-up portraits. After studying photography at the Lette-Verein in Berlin and Hamburg, he worked as Annie Leibovitz's assistant from 1993 to1996. Schoeller frequently collaborates with prestigious magazines, such as Rolling Stone, National Geographic, TIME, GQ, Esquire, Entertainment Weekly, and The New York Times Magazine. Like Richard Avedon before him, he also served as The New Yorker's editorial photographer. Schoeller's work can be seen around the world and is included in major collections. He is famous for his ‘big head' portrait photos: full-frontal, hyper-realistic close-ups of faces. He photographs all his subjects – whether public figures or anonymous individuals – in the same serial way, using special lighting and in extreme close-up. Schoeller created his series with Holocaust survivors to combat rising hate and antisemitism across the globe and drew inspiration from the Holocaust education he received in his youth. The portraits are on display in the Museum's third floor rotunda, which in 2022 was named in memory of Rita Lowenstein, who survived the Holocaust as a child, hidden under a false identity. ''It is fitting that the first exhibition on display in the Rita Lowenstein Gallery is a tribute to the humanity and resilience of Holocaust survivors,'' said Wendy Lowenstein Sandler, Rita's daughter. ''My mother left a legacy of resilience and a commitment to Holocaust education. She believed strongly in having hope for the future and sharing survivors' stories with the next generation, so that we never forget.'' Surrounded by the portraits, visitors can consider the personal experience of individuals who survived the Holocaust, as well as the collective impact of the 75 together. Though united in their survival, their individual stories diverge in the details, and the breadth of their experiences speaks to the sweeping impact of the Holocaust. The portraits' subjects hail from what are now 23 countries across Europe and North Africa. Some escaped through kindertransports, some were hidden, some survived the camps, and some were partisan fighters. All were children or teenagers at the time. All began anew. ''The images captured by Martin Schoeller peer into the eyes and souls of these 75 Holocaust survivors. Several of these powerful portraits hang in my office on the Mount of Remembrance,'' remarks Yad Vashem Chairman Dani Dayan. ''For decades these survivors have guided Holocaust remembrance, research, and education. Now, nearly 78 years later, they not only continue to inspire me and all of humanity to remember, they also encourage us to act and stand up to injustice and hatred wherever it may be found.'' Sara Leicht z''l (1929–2021) told Schoeller, ''The most important thing we can do is to love. To love more and to love everyone. To be kinder, more humble and more generous, and to be better people. To love our fellow human beings, whoever they are." Eva Lavi (b. 1937) shared her mandate: ''We have much work to do in order to convince the world that the worst thing is baseless hatred. The world should stay away from hatred, from antisemitism and Holocaust denial, and from all forms of evil.'' Also on display is the Museum's permanent exhibition, The Holocaust: What Hate Can Do, which similarly focuses on individual stories, bringing together over 750 artifacts to tell the history of the Holocaust through personal stories, family objects, archival video, and more. Visitors to the Museum can use the Bloomberg Connects app to enhance their experience of both exhibitions with an audio guide and artifact details. Survivors: Faces of Life After the Holocaust is made possible by The Knapp Family Foundation; the Goldie & David Blanksteen Foundation; David Wiener 189897, son of Moishe Chaim and Hannah Wiener; Ben and Victoria Feder; and other generous supporters. Survivors: Faces of Life After the Holocaust is co-organized by Martin Schoeller and Museum of Jewish Heritage – A Living Memorial to the Holocaust. Originated by Yad Vashem on the occasion of the 75th Anniversary Liberation of Auschwitz. Special thanks to Kai Diekmann, Chairman of the German Friends of Yad Vashem, and Anke Degenhard who were instrumental in realizing the project at Yad Vashem.

Selected Artists: Norman Aragones, Cali Banks, Linda Barsotti, Bonnie Blake, Spiro Bolos, John Bonath, Joshua Brinlee, Nancy Stalnaker Bundy, Dawnja Burris, Meliss Des, Richard Edic, Alexa Frangos, Regan Golden, Abbey Hepner, Brenna Hilgers, Hsing-Chia Hsieh, Steve Huth, Christine June, Valerie Kim, Wayne King, Heidi Kirkpatrick, Hannah Latham, Chantal Lesley, Holly Lynton, Forrest McGarvey, Cheryl Medow, Danielle Owensby, Valerie Pfaff, Audrey Powles, Jason Reblando, Parker Reinecker, Thibault Roland, Sara Rytteke, Patrick Samuels, Vera Sprunt, Karen Stentaford, Marta Wapiennik, Vinci Weng, Vale Yang, CC Young. Theme: Since the beginning of photography, photographers and artists have been altering and modifying their images. We are in a time where the possibilities and methods available to create desired outcomes are boundless. We are looking for your creations that reflect your creativity and inspiration. This can include but is not limited to images altered by computer, drawing, darkroom, chemicals, collage, text, sculptural, or installation-based work. Jurors Statement From the moment photography was announced to the world, its first practitioners were already altering their images to suit particular messages, styles, and points of view. Many of the earliest manipulated photographs were attempts to compensate for the new medium's technical limitations: photographs were hand-colored to replicate the colors of the natural world, negatives were combined to create landscapes with both land and sky equally exposed, and large group portraits and tableaux included multiple captures to compensate for long exposure times. Yet, each of these manipulations necessitated artistry and a particular point of view. In the 1990s, the computer replaced manual darkroom techniques as the dominant means of altering photographs. Today's digital technology has revealed the endless malleability of the photographic image and opened new doors of artistic practice. The fracture, sampling, appropriation, and layering that define the field of digital media have also become fundamental concepts in photography. The artists featured in this exhibition have embraced contemporary methods of image alteration in order to present a variety of viewpoints. Layering imagery, cultural commentary, and a wide variety of materials, these works of art explore themes of ancestry, nature, consumerism, and memory. In our digital age, image alteration is more relevant than ever, not only as a rich formal language, but also as a mode of contemporary expression. "To find a form that accommodates the mess, that is the task of the artist," noted famed writer Samuel Beckett. -Lisa Volpe

Fashioning Self: The Photography of Everyday Expression examines the role of photography in shaping, sharing, and shifting identity. Whether for a selfie or formal portrait, we all craft our appearance and identity for a public audience. We consider cultural and social norms, the emotions we wish to express or hide away, where we’re going and with whom, and the purpose of the photograph when choosing how we dress, adorn, and present ourselves. The resulting images serve as a window into a particular moment of our life, with intimate details that alert viewers to who we are, as filtered through the photographic medium. Organized by Phoenix Art Museum and the Center for Creative Photography (CCP), Fashioning Self: The Photography of Everyday Expression features 54 works of street, documentary, and self-portrait photography from 1912 to 2015 that explore this long-intertwined relationship between fashion as a tool for self-expression and photography’s role in chronicling it. Iconic views by Dennis Feldman, Laura Volkerding, Linda Rich, John Simmons, David Hume Kennerly, Teenie Harris, and more illuminate the dialogue that occurs between photographer and subject—the give-and-take between self-performance and art making. Alongside these works drawn from CCP’s outstanding collection, Fashioning Self also features a rotating display of social media images reflecting community members and individuals from across the United States. Throughout the duration of the exhibition, the Museum and CCP will invite visitors, Arizona residents, and our collective social media followings to take their own selfies and portraits in the galleries or in their environments and share them via the hashtag #FashioningSelf for display in Norton Gallery. By placing these contemporary, real-time images in conversation with works by renowned photographers of the Americas, the exhibition interrogates what it means to be an artist or maker in a world where cameras are commonplace and everyone curates a feed. Image: Kozo Miyoshi, Tucson, Arizona, 1992. Gelatin silver print. Center for Creative Photography, University of Arizona: Gift of the artist, DEP’T CO.,LTD., Tokyo, Nippon Polaroid, Tsudani Oil Co. Ltd.© Kozo Miyosh.

American photographer Gillian Laub (b. New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness. In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated. Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation's history. 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 her photographic images 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. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter Movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South. Southern Rites is a specific story about twenty-first century young people in the American South, yet 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 curated by Maya Benton and organized by the International Center of Photography.

This annual display in the historic mansion provides a glimpse of George Eastman’s life and work one hundred years ago. The new selection of objects highlights the goings on in 1923—most notably the release of the Ciné-Kodak and 16mm motion picture film and a 10-week expedition in the Cassiar region of Alaska and British Columbia, which became his favorite camping destination for the remainder of his life. During spring, Eastman returned to Oak Lodge—his retreat in North Carolina—where he continued filming home movies—as he had first done during his fall visit the year prior. The focus of his filming shifted from primarily pre-planned scenes starring Eastman and his friends and instead took more of a spectator approach, documenting rural life at Oak Lodge. In July of 1923, George Eastman entered the final year of his 60s. He spoke increasingly of his readiness to retire and began to take the first steps toward transferring daily responsibility for running Kodak to trusted executives. He expressed that he felt most fulfilled while tweaking the Eastman Theatre, Eastman School of Music, and the Rochester Philharmonic Orchestra, as he worked to broaden appeal for Rochester’s leisure seekers. In late summer, Eastman embarked on a hunting and camping expedition in the northern reaches of British Columbia, which he called “perfectly gorgeous in its fall colorings; the finest I have ever seen.” At home, Herro the guard dog joined Eastman: his first pet since childhood. Eastman had quickly grown fond of the dog, whom he called “a strong character.” During his short tenure, Herro took breakfast with Mr. Eastman every morning. See objects from the collection related to these and other aspects of George Eastman’s life in 1923, beginning March 18 and on view throughout the year, in the Sitting Room. A selection of digitized home movie footage is on display in the George Eastman Study Center, at the end of the second-floor corridor.

Bradford Washburn (1911–⁠2007) was an American mountaineer, cartographer, photographer and student of Alaska's mountains and glaciers. Washburn established the Boston Museum of Science and served as its director from 1939 to 1980. But he was best known for ascending multiple Alaska peaks over the course of two-and-a-half decades and for pioneering aerial photography while surveying Denali in the 1930s. This exhibition presents a selection of photographs from the Anchorage Museum collection. These black and white images were taken between 1930 and 1979 in the Coast Range, Alaska Range, the Chugach and St. Elias Mountains. Washburn's photographic work incorporated aerial documentation of the landscape, as well as abstracted views of the stark contrast between shadowed abyss and sunlit snow. The photographs on view in this exhibition demonstrate Washburn’s ongoing fascination with the beauty of Alaska’s peaks and glaciers.

Opening in the centennial year of the completion of the Alaska Railroad, this exhibition created in collaboration with Alaska Railroad historians and experts looks at the history, impact, and legacy of the railroad through archival images, objects, and ephemera. Examining three key eras of railroad history spanning the 20th and 21st centuries, the exhibition highlights crucial moments, technological innovations, and human stories connected to the railroad and its operations in Alaska. All Aboard includes public programs presented in collaboration with the Alaska Railroad, community clubs, and railroad enthusiasts.