Photo Exhibitions

It is with pleasure, tempered by sadness that I announce Von Lintel Gallery's next exhibition, which is dedicated to the work of Floris Neusüss (1937-2020). Floris Neusüss lived and worked in Germany. He sadly passed away last year unexpectedly, and is without doubt, one of the sleeping giants of photography. It has been my great privilege to work with him and his wife and collaborator, Renate Heyne, exhibiting his works for close to a decade, both in New York, and LA. Neusüss has left his indelible mark on the rich history of the Photogram. Recognized as a true pioneer, who ignored conventions of his time, he is widely collected by major institutions like the the Art Institute of Chicago, the Houston Museum of Fine Arts, the Getty Museum, the Los Angeles County Museum of Art, the Museum of Modern Art in New York and the Victoria and Albert Museum in London, amongst many other esteemed institutions. The J Paul Getty Museums entry on their website describes Neusüss's accomplishment perfectly: As an artist, writer, and professor, Floris Neusüss embraced the photogram in the 1960s and never let go for the rest of his career. A camera-less process that brings objects in direct contact with light-sensitive paper, the photogram was first employed by William Henry Fox Talbot in 1835. Neusüss followed in the footsteps of photography pioneers such as Talbot and Anna Atkins, as well as those of twentieth-century artists Christian Schad, Man Ray, and László Moholy-Nagy, injecting new ambition into the process beginning in the 1960s, when he made large-scale, whole-body photograms titled Körperbilder. His 1970s Nudograms series featured the nude forms of women, who appear to be floating in space. Despite the lack of surface detail that makes it impossible to identify distinctive features, these full-scale images convey a sense of intimacy. Neusüss once said, "This intimate physical connection inscribes itself into the paper and this, if you are open to it, is the real fascination of photograms.” When he stepped outside of his studio in 1978 to make large-scale photograms of subjects in situ, he focused on a latticed window at Talbot's home, Laycock Abbey in Wiltshire, England. In the 1980s Neusüss began the series Nachtbilder, for which he placed photo-sensitized paper face-side down in a woodland or garden at night, allowing ambient light to expose the paper. At times, lightning storms would create bursts of light that both captured and transformed flora, fauna, and figures. "Photograms never allow you to see through them. The 'space' in them comes from the viewer's imagination,” Neusüss once explained. "Perspective and horizon are absent from photograms, so the space is theoretically unending." The Von Lintel Gallery exhibition features work spanning 50 years, including his early experimental photography of the late 50's and early 60's when he was a student at the Bavarian State School of Photography in Munich followed by his studies with Heinz Hajek Halke at the Academy of Fine Arts in Berlin. We will of course also show a selection of his iconic Nudograms-Körperbilder-from the 1960s and 70s that were made by exposing the human figure directly onto photographic paper. The proximity of the model to the paper influenced the sharpness of the contours and the amount of light dispensed affected the intensity of the tones. Movement-either accidental or intentional-dissolved and fractured the silhouettes into transcendent forms removed from any sense of time or place. Despite the subject's absence, a palpable intimacy-or, presence-is felt. Such is the magic of a photogram. A similar phenomena transpired when Neusüss applied the photogram to portraiture. He and Robert Heinecken were friends and collaborators. The Getty Museum owns Dinner for Heinecken-a Neusüss photogram exposed during a dinner that used light-sensitive paper in lieu of a table cloth. During another work session, Floris exposed Heinecken's full body on profile. The work- included in the show-does not reveal any surface details and yet the expressive body language and attitude of the subject is uncannily recognizable. As Neusüss says, "If you knew Robert Heinecken, when you look at his portrait photogram, you automatically feel close to him.” Nachtbilder, a series produced by placing photo paper emulsion side down into a woodland or garden at night will also be featured. At times created during a thunderstorm, lightning would expose the paper from all directions, catching gusts of impressions from below and above. A sense of movement and chaos transformed the familiar into something much more arresting; an aesthetic echoed throughout Neusüss' career.

Daniel Cooney Fine Art is pleased to announce a solo exhibition by Jill Freedman titled "Jill Freedman: Street Cops 1978-1981" Featuring never-before-exhibited images from the artist's most significant body of work, Jill Freedman: Street Cops 1978-1981 features 50 vintage prints that document NYPD officers on patrol during one of the city's most turbulent eras. A true believer, Jill Freedman (1939-2019) was the last of a dying breed who gave her life to create art above all things, sacrificing money, fame, and status in the pursuit of beauty, honor, and truth. She died at 79 in New York City, her adopted hometown of 55 years, which she photographed throughout her singular career, amassing an unparalleled archive of street life. A self-taught photographer inspired by the work of W. Eugene Smith and André Kertész, Freedman understood the power of photography lay in human relationships. But unlike the traditional photojournalist, Freedman was not an "objective" outsider bearing witness to a foreign world; she threw herself wholeheartedly into her work, creating bonds with the people she photographed to forge a deeper emotional connection with her subjects. Hailing from Philadelphia, Freeman graduated from the University of Pittsburgh where she studied sociology before traveling to Israel to live on a Kibbutz. She sang cabaret in Paris and worked on a television variety show in London before moving to New York City in 1964 to work as an advertising copywriter. In 1968, after Dr. Martin Luther King Jr. was assassinated, Freedman quit her job to join the Poor People's Campaign on the National Mall in Washington D.C., bearing witness from start to finish of "The Last Crusade." Equal parts artist and activist, Freedman lived inside the shantytown, making photographs that were published two years later in her first book, Old News: Resurrection City. After a stint documenting the circus as it traveled up and down the East Coast, Freedman returned to New York with renewed vigor, recognizing history unfolding outside her front door. The city crumbled under the weight of the Nixon White House's policy of "benign neglect," which systemically denied government services to Black and Latino communities nationwide. As New York's infrastructure collapsed, the middle class fled en masse to the suburbs in an exodus known as "white flight," while landlords hired arsonists to set fire to their buildings in order to collect insurance payouts, transforming once vibrant neighborhoods into devastated landscapes. As the city teetered along the edge of bankruptcy, New Yorkers persevered, continuously adapting themselves to ever-changing landscape with a distinctive mix of creativity and resilience. Now among her own, Freedman gravitated towards the spirit of brotherhood as it manifested among firefighters and police officers — the city workers spending their days and nights on the frontlines of an undeclared war waged against the people by their own government. After publishing Firehouse in 1977, Freedman began working on Street Cops, getting unfettered access to the harrowing world of crime and punishment. Like Weegee before her, Freedman had a front row view of the perpetrators and victims, bearing witness to the role police played in the fracas. Unabashedly pro-cop, Freedman wasn't without empathy for the alleged criminals, many of whom faced the wrath of racist policing policies. Despite her impressive bodies of work, Freedman never achieved the acclaim of her male contemporaries during her life. Like her work, Freedman was forthright, contentious, and proud, never one to shrink herself or go along with the crowd. Her behavior, both common and admirable in male photojournalists, was well ahead of the curve for women working in a notoriously biased industry. But Freedman was also vulnerable, sensitive, and intense, unafraid of the gory viscera of life. "A chain smoker who liked to drink," John Leland wrote in her New York Times obituary, "she found her stride in New York when the city was still mostly seedy, living her life and work as if she were auditioning for a role in one of her photos. A police siren, she said, meant that someone was playing her song." With Street Cops, Freeman set out to deglamorize violence and show the sleazy, the ugly, the tender, and the compassionate in equal measure. "Sometimes it's better not to know too much. Sometimes it isn't. This story wasn't easy," Freedman wrote in the introduction to Street Cops, which was published in 1981. "I wanted to show…. moments of gentleness, good times as well as bad. That's why I love photography. I can catch a moment, print it, and share it with you. Jill Freedman (1939-2019) was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others. Freedman is the author of seven books including Old News: Resurrection City, Circus Days, Firehouse, Street Cops; A Time That Was: Irish Moments, Jill's Dogs, Ireland Ever, and Resurrection City 1968.

The Fahey/Klein Gallery is pleased to present Nick Brandt: The Day May Break, an exhibition of new works, made in 2020, as part of the first in a global series of images portraying people and animals that have been impacted by environmental degradation and destruction. The photographs from The Day May Break were taken at five sanctuaries & conservancies in Kenya and Zimbabwe. The animals featured in this series are almost all long-term rescues, victims of everything from the poaching of their parents, to habitat destruction and poisoning. The human subjects have all been badly affected by climate change - some displaced by cyclones that destroyed their homes, others displaced and impoverished by years-long severe droughts. Both subjects share the same space and are shot together in the same frame - at the same time. The images from The Day May Break, as with all of Brandt's works, are an investigation into and a plea for the conservation of the natural world. ...the times in which we now live are no longer about proverbial canaries in coal mines; we are in the middle of a liminal epoch that is groaning to the soundtrack of a most unsettled earth. - Yvonne Adhiambo Owuor, essay excerpt from The Day May Break. In the works on display both animal and human subjects from Brandt's exhibition are displaced “veterans of the planet's unruly rumblings.” Crafted using light and fog, there is a nearly disorienting visual aesthetic. The images portray a quiet, almost enchanted, sense of tragedy and loss. However, in spite of their loss, these people and animals are the survivors. And therein lies possibility and hope. The Day May Break . . . and the world may shatter. Or perhaps . . . The Day May Break . . . and the dawn still come. Humanity's choice. Our choice. - Nick Brandt, essay excerpt from The Day May Break. Born in England, Nick Brandt studied film and painting at St. Martin's School of Art in London. He turned to photography in 2001 with his trilogy On This Earth, A Shadow Falls, Across the Ravaged Land - to be followed up by Inherit the Dust and This Empty World. Nick Brandt co-founded Big Life Foundation with one of the most respected conservationists in East Africa, Richard Bonham. The new book, The Day May Break (Hatje Cantz, 2021; 168 pages) contains 60 photographs and essays by authors Yvonne Adhiambo Owuor and Percival Everett, along with an essay by Nick Brandt - and is available for purchase through the gallery (while supplies last) for $65.

The FRESH 2021 Annual Photography Exhibition is co-curated by Darren Ching and Debra Klomp Ching. Finalists are selected on the basis of having demonstrated a strong vision, excellence in craftsmanship, and potential to expand and grow their creative practice. Of the photographers, some are already known, whilst others are just beginning to carve out their place within the contemporary art scene. Well-resolved projects sit beside those that are just beginning to be fleshed out. Wherever they are in their state of production, each Finalist's creative practice shows great promise for adding substantially to the dialogue of contemporary photographic practice. The exhibition at the Klompching Gallery features work by five photographers, selected from the 20 FRESH Finalists. Each exhibiting artist is represented with a selection of photographs, from the single body of work that was submitted to the open call.

The Bruce Museum will present the exhibition, Patrick Nagatani: Chain Reaction, on view from May 1, 2021 through August 1, 2021. The exhibition will feature the entire Nuclear Enchantment series, a powerful body of work made between 1988 and 1993, which deals with the history of nuclear weapons development in New Mexico, as well as the effects of this industry on the people and places there. As a Japanese-American, this was a particularly resonant subject for Nagatani, whose parents were both put in internment camps during WWII, and whose father's family hailed from outside of Hiroshima. Originally planned for August 2020, the exhibition was intended to coincide with the 75thanniversary of the U.S. bombings of the Japanese cities of Hiroshima and Nagasaki, but was delayed due to the Covid-19 pandemic. Consisting of 40 photographs, the series presents a politicized intervention as Nagatani constructs multilayered and wildly imaginative images that unsettle our understanding of this complex time and place in U.S. history. The jarring juxtaposition of ancient symbols and figures from Japanese and Native American culture alongside uranium mining facilities and contaminated deposit sites creates a visual discord that speaks to this complexity. At once harrowing and humorous, these artworks participate in the ever-relevant debate weighing the benefits of scientific and technological progress against the preservation of cultural history and the natural world. The exhibition will also feature artifacts from the Bruce Museum historical collection, including Native American objects, as well as a Soviet-issued gas mask and Geiger counter, echoing the dissonance that the photographs create, and enhancing the exhibition experience for museum visitors. The exhibition is curated by Stephanie Guyet, an independent curator and former Zvi Grunberg Resident Fellow for the Bruce Museum. The Bruce Museum is grateful for exhibition support from the Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts.

Obscura Gallery proudly presents a photographic exhibition by Lebanese-born American artist Rania Matar entitled SHE which focuses on young women in the US and the Middle East who are leaving the cocoon of home and entering adulthood, highlighting how female subjectivity develops in parallel forms across cultural lines. The Obscura Gallery exhibition is in conjunction with the Radius Books release of the same name and celebrates an opening reception with the artist on Wednesday, August 25 at Obscura Gallery from 5-7pm. As a Lebanese-born American artist and mother, Rania Matar's cross-cultural experiences inform her art. She has dedicated her art work to exploring issues of personal and collective identity through photographs of female adolescence and womanhood- both in the United States where she lives, and in the Middle East where she is from. In 2017, Rania was awarded a residency at Kenyon College, Ohio for academic year. Never having been to the Midwest or having seen the landscape and the particularities of the winter there, she found herself inspired by this new landscape she was discovering-and the young women she saw moving through it. Matar's career had already been devoted to photographing young women, mainly her daughters, in the transition between girlhood and womanhood-and in Ohio during the residency, unsure of what form her work would take, she began a series of portraits of young women she'd recently met. The series, now having come to be known as She, then continued after Matar left Ohio and traveled back to Lebanon, and throughout the U.S. Together with the women she photographs, Matar's images are a window into a precipitous moment in the lives of young women from around the world. Focusing on women in their late teens and early twenties who are leaving the cocoon of home, entering adulthood and facing a new reality, the project highlights how female subjectivity develops in parallel forms across cultural lines. Each young woman being photographed becomes an active participant in the imagemaking process, presiding over the environment and making it her own. Matar portrays the raw beauty of her subjects-their age, individuality, physicality, and mystery-and photographs them the way she, a woman and a mother, sees them: beautiful, alive.

California is home to the largest population of individuals of Asian descent in the U.S. From the galleon ships that brought sailors to the Americas from the Philippines in the 16th century to the contract laborers who arrived from China in the 1850s, many groups from Asia immigrated to escape hardship, war, or colonization, only to endure policies of exclusion, indentured servitude, racist policies, and negative stereotyping in their new home. Today, violence and prejudice continues in the form of scapegoating around the COVID-19 pandemic. Ctrl+Alt+Yellow convenes Bay Artist artists with Asian lineage who imagine alternative modes of existence. They employ radical modes of narration, exemplifying how communities can take charge of their own stories to re-construct their own understanding of the past, the realities of the present, and future possibilities. Through media spanning video installation, print, and photography, six contemporary artists conceptualize Asian American identity through humor, movement, and intergenerational dialogue. Theresa Hak Kyung Cha employs language and mythology to examine the discomfort of one's own “foreign” language(s). Zihan Jia explores a script created by Qing women—the only known language created and used exclusively by women. Genevieve Quick employs science fiction narratives while Taro Hattori invites people of Asian descent to share their stories and experiences to foster understanding. For You Performance Collective engages AAPI elders to amplify their voices and stories, and Vasudhaa Narayanan's work meditates on what it means to build durational relationships with family and self. Ctr+Alt+Yellow is an apexart International Open Call exhibition. For the latest information on the exhibition and related events, visit apexart.org/oh.php or contact elizabeth.larison@apexart.org.

Hindsight presents a case for the decisive impact of women upon the history of documentary photography through a selection of prints drawn from Mia's collection as well as that of Dan Shogren and Susan Meyer. Centering the work of six American photographers - Margaret Bourke-White, Esther Bubley, Imogen Cunningham, Dorothea Lange, Genevieve Naylor, and Marion Post Wolcott - the exhibition showcases images that were created for a diverse range of projects, from governmental commissions to editorial assignments. Meant to communicate with audiences increasingly attuned to global social and political movements, these photographs provide insight into lives both everyday and extraordinary: the routines of working people in Brazil; the impact of industrialization upon rural Americans; Black Americans' experiences of racial segregation and economic inequality; the nonviolent political resistance of Mahatma Gandhi against British colonial rule. In these ways, Hindsight reveals each photographer's power in the making of historical memory.

Vibrant portraiture set inside a world of bold colors, varied textures, and frenzied patterns commands attention in VOGUE, The Arab Issue. Hassan Hajjaj's photography challenges the viewer through an eclectic confrontation of styles, and invites them to re-examine cultural stereotypes and cliches. Alive with color and patterns, this immersive exhibition brings together five important series developed over the past three decades.

From the beginnings of the medium in the 19th century to today, photography has been inextricably linked to time. The photographer's art has been easily conflated with memory and to a moment frozen outside of the temporal flow. But for many artists, the ability to collaborate with time has provided them with new ways to find expression through photography. When? A Brief History of the Relationship between Time and Photography features works by artists from the 19th century to the present including Eadweard Muybridge, Harold Edgerton, Takahiro Sato, Nicholas Kahn & Richard Selesnick, and Jason Salavon.

DNB Gallery artist, Jeanine Michna-Bales, has fortified her activist mission with yet another heavily researched project that plunges into the dark side of American history. As in her previous project, following the undocumented Underground Railroad, Jeanine has recently followed the journey of one American Suffragist, Inez Milholland, on her October 1916 campaign across America to promote Women's right to vote. With the artist's new series, Standing Together, we find the subject very relevant to this era of controversy about validating the 2020 Presidential election and the passing of restrictive voting laws. It is impossible for any problem that confronts the nation today to be decided adequately or justly while half the people are excluded from its consideration. If democracy means anything, it means a right to a voice in government. -Inez Milholland, quoted in the Casper Daily Tribune, Wyoming, October 18, 1916 The struggle for the woman's vote was an arduous and sometimes violent journey. Jeanine illustrates, with her camera, Milholland's 1916 mission, traveling across the country via train and automobile, stopping in cities and towns speaking to crowds of passionate, politically active citizens. Each segment of her October journey becomes more and more difficult, since she tires easily from her illness, pernicious anemia, thought to be a fatal disease at the time. Her doctors prescribed arsenic and strychnine to medicate her, which inevitably killed her when she reached California. The solo exhibition features Jeanine Michna-Bales's photo essay of Inez Milholland's cross-country campaign on behalf of women's suffrage in 1916. The story is told through contemporary images of majestic landscapes encountered along her route, combined with recreated scenes via historic reenactments and still life images. Michna-Bales portrays narrative elements and key locations from Inez's journey - Inez giving a whistlestop speech from the back of a train, a lectern on the stage of an historic auditorium, a hotel's grand staircase, or an interior view of a passenger train car from the period. She also creates symbolic statements with the theme, Standing Together, in mind. The reenacted, still life and symbolic images - separate from the landscapes - are presented in small period reproduction light box frames, created by the artist, that recall the earliest color photographs called "autochromes". The overall impact is similar to Michna-Bales's earlier documentation of the Underground Railroad in Through Darkness to Light…she takes your hand and gives witness to one woman's journey to fight for women's suffrage. All these images can be found in the companion book to this exhibition, Standing Together: Inez Milholland's Final Campaign for Women's Suffrage, published by MW Editions. Jeanine will be signing copies of the book at the opening reception of this show, Saturday, August 28, 2021. Jeanine's project was planned to be released last year, which marked the Centennial celebration of the passing of the 19th Amendment. Because of COVID-19, the book release and exhibition were delayed. Jeanine Michna-Bales's (born 1971, Midland, Michigan) photographs are in major museum collections, including the Phillips Collection, Washington DC, the Museum of Fine Arts Houston, TX, the Harn Museum of Art, University of Florida, Gainesville, FL, the Library of Congress, Washington, DC, Princeton University Art Museum, Princeton, NJ, the Hunter Museum of American Art, Chattanooga, TN, and the Nelson-Atkins Museum of Art, Kansas City, MO.

Higher Pictures Generation presents new work by Curran Hatleberg. This is the artist's third solo exhibition with the gallery. The photographs on view span Hatleberg's second body of work, for which he has been travelling the country by car to photograph the slough of the white man's American dream. Hatleberg is known for his depictions of human exchange, in all of its complexity. This presentation is, in a first for the artist, a purposeful turn. The photographs are nearly completely emptied of bodies; when they do appear, they are fragmented and obscured. We are left with only traces of human presence: the remains of an abandoned kitchen, the open road beyond a car windshield, or a dangling alligator carcass. The artist writes, "Our country is different and changed in its present iteration and we can't help but regard it with a stare that we hold in reserve for the most difficult circumstances." Curran Hatleberg (b. 1982) earned his MFA from Yale University in 2010. Recent exhibitions of his work include But Still, It Turns at the International Center of Photography (2021); the 2019 Whitney Biennial; and The Half-Life of Love, MASSMoCA (2017). Hatleberg's work is held in the collections of the Davison Art Center, SFMOMA, the Whitney Museum of American Art, the Williams College Museum of Art, and the Yale University Art Gallery, among others. Hatleberg's first monograph, Lost Coast, was published by TBW Books in Fall 2016, and his second monograph is forthcoming from TBW Books (2022). Hatleberg lives and works in Baltimore, Maryland.

Justyna Badach's work examines the transmutation of history and repackaging of violence through appropriation and recontextualization of images derived from films created for a male audience. Her latest projects, Land of Epic Battles and Proxy War are comprised of large-scale prints made using gunpowder. The images depict scenes culled from the online archives of ISIS recruitment data streams as well as American and Russian military internet propaganda, released as part of the ongoing war in the Middle East. Land of Epic Battles (2015-2018) focuses on the hyper-masculine, violent world of ISIS recruitment videos that grew out of these socio-economic, technological, and cultural shifts that are occurring on a global level. Disseminated via YouTube, as well as through private, encrypted internet subscription channels, ISIS data streams are endemic of the larger proliferation of computer files and digital "info-war" visuals that are provided on demand and watched by choice, negating concerns about legality and morality that have traditionally defined mass-media content. Similarly, Proxy War (2018-present) examines the parallel world of Russian and US military internet propaganda that grew out of "the war on terror" and seeks to glorify military operations taking place across the Islamic world. As these two adversarial nations compete to maintain their sphere of influence in the region, they, like ISIS, employ the pervasive glorification of violence and wanton destruction as a tool to motivate their "followers". In Land of Epic Battles, the title for each image is taken from the ISIS video episode in which the image appeared, drawing our attention back to the horrific acts disseminated by these streams. These titles, such as The Necks Cutting; Crush Your Enemies; or My Revenge, lend context and form to what at first glance may seem like a series of random objects and sites. An image that resembles a graphite drawing of an empty truck in the desert or a helicopter hovering in a cloud-filled sky is indeed innocuous, until we're told that the context is ISIS-produced media and that the print itself is made of explosives. The appropriation of language is also an important to the understanding of Proxy War, which take their image titles directly from language used during US and Russian press conferences on the war in Syria, Iraq and Afghanistan. Land of Epic Battles and Proxy War become the means through which we witness the pernicious forces at play in contemporary internet war media that employs the sophisticated tools and visual vocabulary of virtual reality games, reality TV, and DIY videos. Employing and subverting methods commonly used in the entertainment industry, ISIS and the military create media that feeds on viewers' addiction to social media, exploits the voyeuristic lure of reality TV, and nourishes their audience's desire to watch what is socially taboo. One of most striking features of the ISIS DIY "video streams" is their slick production strategies, and like the military messaging, their ability to continuously morph their distribution channels in order to avoid attempts at image suppression or origin verification. It is clear that our collective experience is becoming increasingly fragmented and the reality of global vents is being defined and shaped by surreptitious media producers and algo-rhythms designed to get as close as possible to viewers. As such, Land of Epic Battles and Proxy War registers the initial signs of a larger impending seismic shift that will inevitably alter our future collective experience and understanding of conflict and war.

Inspired by exhibition: The New Women Behind The Camera, the current exhibition at the Metropolitan Museum of Art jointly curated with the National Gallery of Art, How She Sees: Several Exceptional Women Photographers 1919 - 1970, seeks to highlight several female artists that all made significant contributions to the field of fine art photography and the art world as a whole. With works ranging from the early 1900's up to the 1960's, each of these women created compelling bodies of work: some revolutionary in changing the often predictable aesthetics of their time, while others opened doors and inspired many artists who came after them. Margaret Watkins was a pivotal figure in the early 20th century art world in transitioning away from Pictorialism and ushering in modernist-design. As an artist, a commercial photographer and a teacher at the Clarence White School of Photography in 1910's - 1920's, Watkins transformed the genre of domestic still lives typically associated with women photographers of the time into dynamic geometric modernist works. Images such as her iconic Domestic Symphony influenced so many artists thereafter, both male and female, and it had a profound impact on the advertising world as well. A more recent discovery, Elisabeth Hase's six decades of extraordinary work is only now coming to light. Her early genre bending and role-playing imagery of the 1920's and 1930's is just one body of work that historians and curators are recognizing as one of the earliest explorations of its kind in photography. Hase left a dense and rich archive of work that included quasi-surreal portraits of children and dolls, documentation of pre and post war Germany, landscapes, cityscapes, still lives and more. Ellen Auerbach and Grete Stern, both students of the Bauhaus, formed the German avant grade duo ringl+pit, a commercial graphic and photo design studio in Berlin in 1930. Together they challenged the conventional perceptions of how to present consumer objects through their striking and carefully choreographed compositions. After fleeing Germany and settling in New York and Argentina respectively, both continued in the field and went on to create significant bodies of work. Born in Vienna, Lisette Model began her photography career in the late 1930's. Shooting with a 35-millimeter camera, Model's best known series captures people on the Promenade des Anglais in Nice and on the streets of New York City's Lower East Side. Her honest portrayals of various “characters” in current society changed the direction of documentary photography in America and opened the door for others to follow, some taking this direction further, most notably her student Diane Arbus. Diane Arbus's intimate portraits of people on the fringe of society taken during the 1960's completely transformed photography and the role it has played thereafter. Arbus's passionate commitment to document marginalized groups and present them as acceptable members of society still stands today as one of the most compelling and innovative bodies of work. We are pleased to introduce the work of Anne Treer. Leaving behind a very small collection of photographs taken in and around New York City during the 1950's and 1960's, Treer's work is moody, atmospheric and sensitive. Her self-taught print making skills rendered beautifully rich and sumptuous prints. Treer studied photography under Sid Grossman and David Vestal and was an adjunct member of the New York Photo League. Her work was exhibited at MoMA and the Art Institute Chicago.

Throughout my childhood years, growing up beneath the shadow of Mt. Diablo in the California suburb of Walnut Creek, I watched the rolling hills and valleys mushroom with tract homes and strip malls, and to me and my teenage friends, they were the blandest, saddest homes in the world.The starkness of the landscape hurt my eyes. The low brown hills coated with dry grass, scratching my ankles, fox tails caught in my socks. I was always looking for a place to hide from the bright, white sky. - Mimi Plumb Robert Koch Gallery presents Mimi Plumb: The White Sky, the gallery's second exhibition by American photographer Mimi Plumb. Plumb's black and white photographs of 1970s life in Walnut Creek expound evocatively on the peculiar banality of Californian suburban sprawl, touching on candid narratives of youthful summertime wanderlust. The resulting eerily compelling images lead the viewer through tangential story lines that are mysterious yet familiar. The exhibition is accompanied by a monograph of the same title (Stanley/Barker, 2020) and like Plumb's seminal monograph Landfall (TBW Books, 2018), The White Sky has received much critical acclaim. Both publications were selected as one of the best photography monographs of that year by a number of critics and photography luminaries.

Howard Greenberg Gallery will present the photography exhibition Gordon Parks: A Choice of Joseph Bellows Gallery is pleased to present Reed Estabrook: American Roadside Monuments. This solo exhibition of vintage gelatin silver prints will run from October 23 thru November 27, 2021, in the gallery's Atrium space. "American Roadside Monuments is really about a Yankee kid's encounter with the vastness of America and the American West. People of my generation would routinely travel across the country via automobile. I'd round-tripped it twice by the time I graduated college. But in 1971, in my first teaching job at the University of Illinois, I found myself on the prairie. I could look out my bedroom window and see the Panama Limited train headed south from Chicago to New Orleans. The tracks were six miles away: flat is an understatement. Every summer, we would escape the tyranny of green by driving west, and these structures became dominant. They are literally "MONUMENTS," often handmade, quintessentially American, linking one to the life and lives of that place, and standing dramatically against the blue of the sky. They embodied that wonderful shared experience of roaming and discovery." - Reed Estabrook. The show will also feature Estabrook's hand-colored photographs, a process by which he extends his photographic exploration. These hybrid prints give life by both mechanical and manual techniques. They freely and comfortably inhabit the controversial territory between painting and photography, continuing the formal conversation these two media have been engaged in since photography's inception. Reed Estabrook (American, b. Boston, 1944- ) studied with Harry Callahan at the Rhode Island School of Design (BFA, 1969) and with Ken Josephson at the School of the Art Institute of Chicago (MFA, 1971). In 1974, he moved to the University of Northern Iowa to develop the photography program, and in 1983/84, he chaired the photography program at the Kansas City Art Institute. In 1984 he created a new degree program in photography at San Jose State University, initially developing the dual-track curriculum and most recently leading the transition to a fully realized digitally based program. Estabrook has participated in numerous solo and group exhibitions, including The Great West: Real/Ideal (1977), Mirrors and Windows: American Photography Since 1960, The Museum of Modern Art, New York (1978; Attitudes, Photography in the 1970s (1978); and American Photography Today (1982). His work is including in the collections of the Museum of Modern Art, the Art Institute of Chicago, the Museum of Fine Arts, Houston, Fogg Art Museum, the J Paul Getty Museum, and the San Francisco Museum of Modern Art.

Generations before statehood and earlier even than the Klondike gold rush of the 1890s, Black men and women arrived in Alaska and have since participated in politics, economic development and culture. They patrolled the seas, built the roads, served in the military and public life, opened businesses, fought injustice, created art and forged communities. This exhibition, told through archival photos and collected materials, showcases the richness and resilience of Black lives in Alaska.

Lea Lund & Erik K's photographic collaboration is a story about love, a photographer finding her muse and a subject claiming his identity. Lea, born and raised in Switzerland, and Erik, born and raised in Zaire (now the Democratic Republic of Congo), met ten years ago on a street in Lausanne and have been together since. Their photographs explore their relationship, the history of Zaire, and the effects of colonization on Erik and his identity. In 1971, years after Joseph Désiré Mobutu overthrew the government and took control, he banned women from wearing pants and men from wearing suits and ties, forcing all men to wear a Mao collar jacket. Today, Erik makes his own hats, dresses, ties, and other clothing, proudly defying the ban that was forced upon him. Together, Lea and Erik create images that place Erik in settings that challenge the norms in which black men are often seen: Instead of the chauffeur, he owns the car; instead of working the land, he surveys his property; instead of shining shoes, he is the shoe-wearing customer. Together, Lea and Erik call attention to the role of ownership, as seen through the poses and eyes of an elegant, black man. Erik's history is complicated. As he says: "Originally from the eastern Kasai, the diamond region, I come from the Luba tribe. Before colonization, my great-grandfather was one of the last kings of the Lubas, in the Mpiana tribe. The rest of the story up to my birth is long and complicated...I was born in Lubumbashi, in Katanga, the richest region of Zaire, thanks to its copper mines, on February 12, 1970. My first memories... I am in Kinshasa, the capital city. Daycare and primary school are in a neighborhood called Lemba... The most striking thing was the absence of my mother, whom I did not know. Without anyone telling me, I understood that she was not with me... After my father died in 1995, I left Zaire [now The Democratic Republic of Congo] for Cabinda, then Luanda, Angola. I lived there for three years, during the war between Eduardo Dos Santos and Jonas Savimbi, which traumatized me. In 1998, I managed to leave for Europe. I arrived in Switzerland, where I worked as a driver, then as a salesman in ready-to-wear and watchmaking. In 2011, I met Lea. After a few months, I resigned from my job to devote myself to our life of creation and travel." Lea's history is less complex. She is a graduate of the fine arts of Lausanne, with a long career as a visual artist, designer, illustrator, photographer, and graphic designer. When she met Erik on the street, she says: "We were both recently divorced, it was a "collision" rather than a meeting... The next day, I offered to shoot his portrait. He accepted and I was challenged by what he had released in these first photographs, a mixture of melancholy and detachment, an appearance of an eternal stranger to the world... Very quickly, we made exhibitions, and continued to make photographs every day. Our life became a life of three; Erik, me, and the camera. A life of nomads in search of places, buildings, architecture, or landscapes." Ten years later, Erik and Lea still travel, making photographs every day.

Keith de Lellis Gallery is honored to present the photography of Ozier Muhammad in the artist's first one man exhibition in New York. Ozier Muhammad (b. 1950) is a Pulitzer Prize winning photojournalist from Chicago who has documented the cultural events of black citizens across the world for over four decades. Our exhibition showcases Muhammad's dedication to utilizing photography as a truth telling medium that explores racial issues throughout society and sheds light on the daily joys and strife of the African and African American communities. Muhammad is the grandson of Nation of Islam Founder Elijah Muhammad who mentored popular figures of the civil rights movement including Malcom X and Muhammad Ali. During Muhammad's childhood he was surrounded by other influential figures such as Gordon Parks and Roy DeCarava. Parks was the first African American photographer for Life magazine and DeCarava is one of the most celebrated photographers of the 20th century. Seeing photographs by Parks and DeCarava peaked Muhammad's interest and inspired him to pursue a career in photojournalism. Muhammad began his career in Chicago in the early 1970's as a staff photographer at Jet and Ebony magazines. Both publications were devoted to telling the intricate stories of African Americans that were not covered in white- owned magazines. He began traveling to Africa in 1974 to report on the end of colonialism. In 1984 while working for Newsday, his involvement in a report “Africa, The Desperate Continent” earned him a joint Pulitzer Prize for International Reporting. Muhammad's work has won other prestigious awards and fellowships. In 1994 he documented Nelson Mandela's historic presidential win to become the first non-white president of South Africa. In 1992 Muhammad became a staff photographer for The New York Times where he went on to cover President Obama's revolutionary journey of becoming the first African American president of the United States in 2008. Muhammad's work captures the incredibly empowering moments in black history and serves as an influential voice for his community. Muhammad's body of work, from Harlem to Kenya, is not too dissimilar from that of a cultural anthropologist. Throughout his career Muhammad has taken an honest look at the world around him while recording moments in history. His work has brought awareness to the hardships and triumphs that have been, and continue to be, experienced by Africans and African Americans alike. A photograph taken during his travels to Ethiopia captures an exhausted mother waiting outside a dislocation camp in central Ethiopia ran by Doctors Without Borders. In another photograph from the same camp we see a severely malnourished Ethiopian girl whose fragile limbs dangle from a weighing scale while under the care of doctors. Muhammad's work documents both the difficult and poignant experiences that represent what life is like for many black citizens around the world. Included in the exhibition is a photograph of a young boy as he joyfully plays his broken trombone in the streets of Harlem while another photograph shows a formidable line of Nation of Islam men as they gather in a public housing project in Chicago to assist the residents in stopping gang violence. Whether documenting global events or everyday moments in Harlem, Muhammad is dedicated to photographing his community with honesty and compassion. Muhammad's work is in the collections of The Art Institute of Chicago, Bank of America, Haverford College and the Z. Smith Reynolds Foundation. This exhibition will be on view at the Keith de Lellis Gallery through December 4, 2021.

On October 28th Foley Gallery opens an exhibition of over 30 black & white photographs by American Photographer Rosalind Fox Solomon. The Forgotten draws from her extensive portfolio of work from 1976 – 2019. The show will coincide with the release of her MACK book, The Forgotten. Signed copies of the book will be available during the reception. Pictures from The Forgotten introduce us to people who are chained to events in history that have permanently affected how they live. These events can never be forgotten. They often register on the body. They act as a reminder of incidents that others would like to forget. A scene from Cambodia, presents two teenage girls smiling for the camera, though each has lost a leg to a landmine. A photograph made a generation after the war in Vietnam, shows the genetic effects of Agent Orange. A young man in New York reflects the tragedy of the AIDS epidemic. The body is not the only recorder of life. The space in which these stories play out tell us a something about Fox Solomon's subjects. In a school in rural Guatemala, young children pretend to make music with paper instruments. A photograph from Tennessee presents an older woman seated on her stairs, mouth open, body blocked by rails, surrounded by an army of dolls. Each Fox Solomon photograph is a story of a life waiting to be discovered. Wherever she finds herself in the world, she finds individuals willing to share themselves with the camera, and ultimately to us. What allows us to look deeply into Fox Solomon's photographs is her compassionate point of view on subjects that might typically persuade us to look away, trying to forget what's right before our eyes.

Drawn from SBMA's distinguished collection of photography, this installation features 25 modern and contemporary works featuring the human face as central and absorbing subject matter. Highlights include: the renowned American photographer Kwame Brathwaite's engagingly direct and vivid 1964 self-portrait from the era he and his colleagues popularized the still influential phrase "Black is Beautiful"; Austrian-American photographer Trude Fleischmann's intimate 1933 double portrait of Helen and Marion Post, who working later as Marion Post Wolcott would become one of the most important photographers of the Great Depression; Tseng Kwong-Chi's conceptual investigations into self and identity pictured in well-traveled tourist locales; and British photographer Cecil Beaton's poignant portrait of Eileen Dunn, a three-year old air raid victim during the London Blitz whose portrait from this same sitting appeared on a famous September 1940 Life magazine cover.

Born in Graz, Austria in 1923, Inge Morath lived through the trauma of World War II to establish a career in the early 1950s as one of the few women photographer members of the renowned Magnum Agency in Paris. From this pioneering place Morath would go on to become one of the most significant photographers on the world stage in the second half of the 20th century. Beautifully composed yet full of unstudied energy, Morath's photographs feature internationally-known figures and people she met on her numerous assignments all over the world, all of whom she captured with a remarkably clear vision and rare humanity. This installation features the 15 wide-ranging works in the 1977 portfolio "Photographs by Inge Morath," along with her iconic vision of a jaunty llama taking a ride in a car in Times Square.

Exhibiting artists: Lala Abaddon, Edie Bresler, Katherine Chudy, Lauren Davies, Letitia Huckaby, Kyle Meyer, Astrid Reischwitz, Chelsea Revelle, Greg Sand, Charlotte Schmid-Maybach, Heather Evans Smith, Liz Steketee "Photography and textile design may seem like unrelated artistic practices, but the artists featured in Hand Eye Coordination combine the two into a single discipline. This exhibition showcases contemporary photographers embroidering, weaving, and applying other traditional textile design techniques to both original and historical photographs, literally threading together dissimilar media. If a photograph is a moment frozen in time in which the viewer knows neither what happened before or after the moment captured, the handcrafted alterations employed by the artists in Hand Eye Coordination serve to tell the rest of the story. Their assembly and reassembly of memory, identity, and history from fragmented parts illustrate the provocative capabilities of both media and achieve a balance with the resulting remarkably layered handmade objects." - Sage Brousseau, 2021

Joy Bush, Anton Gautama, Judi Iranyi, Charles Mintz, Colleen Mullins, Roberta Neidigh, Jane Szabo, Brandy Trigueros, Kathleen Tunnell Handel, Ira Wagner and Melanie Walker As we head back inside after a summer exploring outdoors and the world around us, The Griffin Museum of Photography in Winchester, Massachusetts showcases eleven photographers' presenting solo exhibitions under the overarching idea of "Home". Home Views opens on Tuesday October 26th contrasting eleven different visions of the emotional and physical spaces we inhabit. During the course of the exhibition, we will hear from these eleven artists with a series of panels and artist talks, telling their stories and showcasing the works from each of their series featured here. Joy Bush- Places I Never Lived The series Places I Never Lived is an exploration of the way that people put their mark on the world. While photographing the facade of each house in a sleuthlike fashion, I fantasize about who lives there and what life is like on the inside. It is not spying or voyeurism. It is about imaging my life in a different place. Anton Gautama - Selections from Home Sweet Home Home Sweet Home is a one-year journey into the evolution of the Chinese- Indonesian culture. It is the story of a harmonious marriage of two beautiful cultures, three centuries in-the-making. It was not a journey without obstacles, but it certainly was one with countless rewards. Judi Iranyi - Mantel For some time, I have been interested in mantels and fireplaces and the symbolisms they represent. In all my travels, I have photographed fireplaces and mantels throughout the world. Some cultures believe them to be a shrine, idols or images of deities were placed on the mantle, a fire was lit, prayers were offered and, in some cultures, offerings were made by burning possessions or trinkets of a departed person. Charles Mintz - Lustron Stories Lustron Stories video explores the course of the Great American Dream since that unique time immediately after the Second World War. At the same time, it looks at the history of prefab and manufactured housing that began with the Bauhaus ideal of using industrial methods and materials to produce affordable housing. Colleen Mullins - The Bone of Her Nose The Bone of Her Nose documents a phenomenon, I call, the grayification of San Francisco. The genesis of this work was my volunteer work pruning trees with the Friends of the Urban Forest, starting in 2015. This work brought me to neighborhoods throughout the city, and everywhere I went, massive renovation was happening, or already had happened. The end result was always the same: gray exteriors, punctuated with sans-serif fonts for house numbers, a brightly colored door, and horizontally-slatted redwood garage doors or glass variants. Roberta Neidigh - Property Line Where two plots of suburban land meet, a visual dialogue begins. This point of contact, on the property line, reveals communication between neighbors through landscape as an extension of the self. There is no margin here. Are we connected or divided by the place our land touches the land of another? How is this line drawn? In this body of work, I explore the way we protect our boundaries by creating a buffer in a place that has none, and how we cling more strongly to our own identity as our space near its edge. Jane Szabo - Somewhere Else The series Somewhere Else maps an emotional route of exploration and escape. When I am here, I want to be there. Yet once I get there, I am left to wonder if this place answers or fulfills my quest. Somewhere Else features simply made homes covered in a wide array of maps, photographed in natural settings and within architectural interiors. The maps that cover these homes do not reflect the location of the image, but rather lead back to places I explored as a child or long to escape to in the future. Brandy Trigueros - There's No Other Like Your Mother Through memory, metaphor, and imagined destinies, "There's No Other Like Your Mother" seeks to explore the complexities and constructs of female identity and the maternal subject as I reconceive my fertile state of being. The sudden death of my mother prompted the (re)birth of my artistic self at the age of 29 and the emergence of this series which contemplates my own shifting identity, once firmly rooted in the domestic tradition but now seemingly unmoored. Kathleen Tunnell Handel - Where the Heart Is: Portraits from Vernacular American Trailer and Mobile Home Parks As the availability of affordable housing continues to erode, and housing and financial instability reach crisis proportions, Where the Heart Is: Portraits from Vernacular American Trailer and Mobile Home Parks investigates this deeply affected, primarily American housing form. This ongoing photographic study challenges the ingrained stereotyping of both the estimated 20 million Americans who live in manufactured housing (as stigmatized trailer and mobile homes are being rebranded) as well as of the rapidly vanishing mobile home parks themselves within which this project is focused. Ira Wagner - Twinhouses of the Great Northeast The Twinhouses of The Great Northeast neighborhood of Philadelphia reflect how people share a common border. Some families choose to mark their space with a fence or shrubbery. Others differentiate themselves with varying architectural elements and subtle changes to trim, windows and paint colors. One family chooses to hide completely behind a tall hedge; another lives in front of the house with common backyard elements - chairs, grills, patio tables, open for all to see. Common upkeep, such as mowing the lawn, ends at a rough approximation of the property line rather than being shared. One side of a structure shows pride of ownership, the other is missing a shutter on a window. When borders are such an important issue in the world, these images reflect a human inclination to mark and delineate one's space rather than share it. Melanie Walker - Wanderlust Connected by metaphor, place and association, disparate images are woven together as are life experiences in dreams. Wanderings through memory, body, mind and world are synchronized into a rhythm of thought, like a chord...walking and falling... The word wanderlust designates a strong desire for and an impulse to wander. This body of work is the result of allowing myself to wander through influences, impulses and all of those ideas that I left behind on the cutting room floor, so to speak. The works are drawn from images that I have taken over the years during my wanderings. This work combines landscape images and glimpses of daily routine in ways that address the layered and fragile nature of time, sense of place and memory. Home is a memory...

Throughout the history of photography, artists have explored the vast terrains of our planet Earth, building a profound pictorial legacy on our collective understanding of the natural world. Photography can capture worlds we know and those we don't, recording the planet's diverse and dynamic topography. The mystery and grandeur of the natural environment, coupled with the photographer's poetic capacity to capture the landscape's arresting scenery, ultimately showcases the planet's myriad dimensions and infinite beauty. Stephen Wilkes, Andre Lichtenberg, Francesca Piqueras, Nick Brandt, and Brett Weston's works detail our natural world, from stunning visual panoramas to abstracted, massive landforms. These photographs record the Earth's fascinating geography as well as the grandeur and scale of the environment. Throughout the history of photography, artists have explored the vast terrains of our planet, building a profound pictorial legacy on our collective understanding of the natural world. Photography can capture worlds we know and those we don't, recording the planet's diverse and dynamic topography. The mystery and grandeur of the natural environment, coupled with the photographer's poetic capacity to capture the landscape's arresting scenery, ultimately showcases the planet's myriad dimensions and infinite beauty. Stephen Wilkes, Andre Lichtenberg, Francesca Piqueras, Nick Brandt, and Brett Weston's works detail our natural world, from stunning visual panoramas to abstracted, massive landforms. These photographs record the Earth's fascinating geography as well as the grandeur and scale of the environment. Stephen Wilkes is one of the most original, contemporary photographers on the international scene. His art practice challenges ideas of time and space by painstakingly creating composite panoramic photographs that transcend the frozen moment of a traditional picture. Wilkes's cutting-edge methodology began after being commissioned as a still photographer for Romeo + Juliet in 1996. After figuring out how to shoot a panoramic shot in a tight, closed space, Wilkes came upon a discovery that helped him develop a new way of seeing the passage of time. He achieved this by collaging many photographs to create one single image. The photographer spends up to 30 hours perched at least 50 feet in the air for his renowned series Day to Night. While high above the ground, Wilkes shoots over a thousand frames from the same vantage point to preserve a location from morning to nighttime in the same image. Stephen Wilkes's photographs transcend time and create a novel way to see the landscape. For Wilkes, a photograph is a pictorial record of a day in the life of an environment. Andre Lichtenberg creates an abstract and elaborate linear tableau of skyscapes that presents the unique architecture of various cities. Lichtenberg effectively knits dozens of small detail shots together, like a puzzle, creating a final composite photograph. Part of his abstraction involves inverting the colors of the cityscape, offering a rare opportunity to view the city anew. Lichtenberg's images are analogous to an exercise in memory and akin to the meticulous discipline of a draftsman, rediscovering the character of a town while examining the nooks and crannies of every building's elevation, roof, and city street. Andre Lichtenberg reimagines the city, dusting off the familiar sights of the picturesque sunny urban environment to present a fresh take on the cityscape genre, one gathered from the annals of memory and the individual spirit of a place. His photographs are generally long exposure nighttime captures of a location, patiently knit together to create a composite dream-like image. Francesca Piqueras's photographs capture the influence of humanity on the landscape. Her images present the calculated transformation of the environment. From cut jagged, snow-covered mountains in Italy and waves crests at the fore of oil rigs in South America to massive bursts of water swelling through dams in China, Piqueras aims to capture the complex visual testament of man shaping nature. Piqueras references the Anthropocene, our current geological era, and human behavior's vast impact on our ecology. The industrial activity captured by Piqueras offers a disparate view of economic pursuits, the extractive nature of these processes, and the resulting aftermath on Earth's natural topography. Finally, Francesca Piqueras's body of work serves a purpose. Like a photographic essay, her pictures document the physical transmutation of organic matter for economic purposes and their resultant, discarded forms. Like the stranded husk of a cargo vessel abandoned on the shores of Patagonia, this form, initially made by extracting organic materials from the Earth, is now swallowed by the sea. This natural cycle of construction and decay is central to Piqueras aesthetic inquiry, a poetic quandary on the effects of economic progress and industrialization. Her photographs ultimately deal with the reciprocal nature of our ambition to harness the environment and its ability to transform and break down our attempts to control it. Nick Brandt is an English artist whose photographic themes have revolved around conservation in Africa, mainly the imminent peril and disappearance of natural wildlife. For the past two decades, Brandt has been ahead of the curve in his philosophy and photography, recording the last of Africa's imperiled environment. He has created a body of work that underlines the critical need for conservation efforts. Through his early trilogy of photographic series, Brandt established a style of portrait photography of animals in the wild that helps to emit a sense of empathy. These photographs link the viewer to the animals as living, sentient beings, not so different from us. In his latest series, Inherit the Dust and This Empty World, Brandt creates complex pictures that evaluate the landscape and the disappearance of animals from their natural habitats. Ultimately, Brandt makes a profound and moving body of work that preserves nature's majestic creatures. The pictures remind us that our lives depend on a delicate balance between an existence that respects the natural world and that shows the danger of a short-sighted growth that puts our immediate needs ahead of the larger ecosystem. Brett Weston is one of the leading photographers of the 20th century. He is known primarily for his bold compositions based on Western landscapes and natural forms and his extraordinary printing style. Brett Weston was among a small group of influential California photographers in the 1930s, known as the Group f/64 that included photographic legends like Ansel Adams and Brett's father, Edward Weston. Brett began taking pictures as a teenager in Mexico in the 1920s while living there with his father. Surrounded by some of the best international artists of the time like Frida Kahlo, Diego Rivera, Jose Clemente Orozco, and Tina Modotti, Brett Weston began to craft a unique vision. The literalness of what he photographed had strong, abstract compositional forms. With time, Brett became one of the first photographers to use negative space effectively. Using the camera to transform landscapes and expound the creative potential of contrasts using blacks and whites, Brett studied the formal components of photography. He reduced his subjects to studies of lightness and darkness, composition, and form. By his late teens, Brett participated in the exhibition “Film und Foto,” granting him international recognition to establish an illustrious career spanning five decades.

In partnership with the Hatton Gallery, the Center hosts Odette England's solo exhibition, Degrees. Degrees comprises large-scale photographs in various forms made during and after the Australian bushfires of 2019-2020. England spent six weeks photographing in one of the fire zones and collecting buckets of ash that she rubbed into her prints' surfaces. The works speak to loss, the fickle and uncontrollable nature of the fire, the urgency of change, and how we learn, forget, remember, and persevere.

Robert Klein Gallery is pleased to present a selection of photographs by Boston-based photographer Rania Matar in SHE, a series of portraits depicting women and womanhood across cultural boundaries. The women photographed in SHE contain multitudes: They're playful but self-assured; soft yet strong; curious and adventurous. From Massachusetts to Beirut, Matar collaborates with these women to create images that reflect their experiences leaving home and entering adulthood. "My work addresses the states of 'Becoming,' the fraught beauty and the vulnerability of growing up, in the context of the visceral relationships to our physical environment and universal humanity, but it is also about collaboration, experimentation, performance, empowerment, and about pushing the limits of creativity and self-expression—both for the young women and for myself."

Hal Fischer (United States, b. 1950) is a gay conceptual photographer and an alumnus (BFA '73) of the University of Illinois Urbana-Champaign. Hal Fischer Photographs: Seriality, Sexuality, Semiotics presents a first full retrospective of his work, showcasing all his photographic series, which were created in San Francisco during the late 1970s—the heyday of gay liberation.

This exhibition highlights 50 years of photographic expression by a diverse roster of artists working within, against, and beyond the history of the medium: Nona Faustine, Martine Gutierrez, Deana Lawson, An-My Lê, Rania Matar, Lorraine O'Grady, Adrian Piper, Selma Fernandez Richter, Martha Rosler, Nona Faustine, Mickalene Thomas, Carrie Mae Weems, and Carmen Winant. Spanning the past half-century in modern and contemporary photography, these photographs contend with many of the period's defining issues, especially within the United States. They meditate on the intersection of personal and political histories, freshly interrogate matters of national identity and belonging, reflect on cycles of trauma and healing, and imagine worlds beyond the inequalities of our time.

A tale of two Americas, told through iconic photographs from the 1930s, will be the subject of dual exhibitions at Howard Greenberg Gallery from March 19 through May 9, 2020. One Third of a Nation: The Photographs of the Farm Security Administration depicts the challenges impoverished families were enduring with photographs by Dorothea Lange, Walker Evans, and Gordon Parks, among others, while Lewis Hine: The WPA National Research Project Photographs, 1936-37 portrays the workers and the innovations that spurred the nation's economic growth. Together the exhibitions demonstrate the extraordinary power of photography to define an era and inspire social change. As the consequences of the Great Depression, unemployment, poverty and the effects of the Dust Bowl ravaged the country in the 1930s, government programs such as the Farm Security Administration (FSA) were established. American photographers were employed to document the dire conditions. At the same time, Lewis Hine was hired by the Works Progress Administration's (WPA) National Research Project (NRP) to show the modernizing accomplishments of the nation's factories, in the years prior to WWII. His efforts focused on the country's reorganized workplace that fueled industrial growth and drove out the Depression. The powerful work of these photographers under President Franklin Delano Roosevelt's New Deal programs ushered in an unprecedented new era for the medium: across the entire nation photography was communicating what words could not. Weapons from October 8 through December 23 in the new gallery on the 8th floor of the Fuller Building at 41 East 57th Street. One of the world's leading galleries for classic and modern photography, the Howard Greenberg Gallery is celebrating its 40th anniversary with an exhibition of important work by the renowned photographer and filmmaker Gordon Parks. Through his still images, both candid and staged, the exhibition explores the roots of Parks' future as a filmmaker. Parks, who described his camera as his “choice of weapons," was known for his work documenting American life and culture with a focus on social justice, race relations, the civil rights movement, and the African American experience. He was hired as staff photographer for Life magazine in 1948, where over two decades he created some of his most groundbreaking work that cast light on the social and economic impact of poverty, discrimination, and racism. In 1969, Parks launched a pioneering film career by becoming the first African American to write and direct a major studio feature, The Learning Tree, based on his semi-autobiographical novel—a career move foreshadowed through his cinematic approach to photography. Marking the 50th anniversary of the release of Parks' second feature-length directorial endeavor, Shaft (1971), a classic New York City detective film that spawned the blaxploitation genre, the gallery will present photographic works that reveal the artist's cinematic approach. Parks' earliest photographs often imply a narrative beyond the individual frame, echoing his desire to represent complex facets of his subjects' lives and communities. Like his films, Parks' photographs present robust narratives that seek to reveal the complexities of his subjects' lives. The works on view include those staged in 1952 in collaboration with Ralph Ellison and inspired by his novel Invisible Man, as well as those made while Parks was embedded with the New York gang leader "Red" Jackson in 1948, and images of the Fontenelles, a Harlem family that struggled to feed their eight children in 1967. The exhibition coincides with the release of the HBO documentary A Choice of Weapons: Inspired by Gordon Parks in November, and the extended presentation of works from his series The Atmosphere of Crime in the permanent collection galleries of the Museum of Modern Art, New York. About Gordon Parks (1912-2006) Gordon Parks was born into poverty and segregation on a farm in Kansas in 1912, the youngest of 15 children. He worked at odd jobs before buying a camera at a pawnshop in 1938 and training himself to become a photographer. From 1941 to 1945, Parks was a photographer for the Farm Security Administration and later at the Office of War Information in Washington, D.C. As a freelance photographer, his 1948 photo essay on the life of a Harlem gang leader, Red Jackson, won him widespread acclaim and a position as the first African American staff photographer and writer for Life magazine, which continued until 1972. In addition to being a noted composer and author, in 1969, Parks became the first African American to write and direct a Hollywood feature film, The Learning Tree, based on his bestselling novel of the same name. This was followed in 1971 by the hugely successful motion picture Shaft. Parks was the recipient of numerous awards, including the National Medal of Arts in 1988, and was given over 50 honorary doctorates from colleges across the United States. Photographs by Parks are in the collections of many major museums, including the Museum of Modern Art, J. Paul Getty Museum, National Gallery of Art, and the Metropolitan Museum of Art. Harvard Professor Henry Louis Gates, Jr. stated, "Gordon Parks is the most important Black photographer in the history of photojournalism. Long after the events that he photographed have been forgotten, his images will remain with us, testaments to the genius of his art, transcending time, place and subject matter.” About The Gordon Parks Foundation The Gordon Parks Foundation permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media, and supports artistic and educational activities that advance what Gordon described as "the common search for a better life and a better world." The Foundation is a division of the Meserve-Kunhardt Foundation.

At the beginning of 2021, cultural and preservation leaders met at the 9/11 Memorial Museum to discuss cultural institutions' response to the 9/11 20th anniversary and plan arts programming to provide our communities with spaces to gather and reflect on the power of the arts in NYC to heal. The Alice Austen House presents 1977 Landmarks Commission photographs of historic Staten Island firehouses and a contemplative slideshow of all 5 boroughs to commemorate the heroic contributions of firefighters and their loved ones in response to the devastating tragedy on 9/11/2001. All photos by: Jerry Spearman

The work of the Armenian-Iranian photographer Antoin Sevruguin (ca. 1851–1933) captures changing life in Iran, as documented in a wide range of subjects, at the end of the nineteenth century as the country stood at the cusp of modernity. In contrast to his Western contemporaries who in the Orientalist tradition focused primarily on documenting traditional Iran and the ruins of its glorious past, Sevruguin sought to capture this shift to the modern age. His innovative use of light, shadow, and perspective also set him apart and brought a sense of individuality and humanity to his work. Sevruguin, like other Qajar photographers, used the albumen process, a method of producing a photographic paper print first invented in 1847 and which became widespread in the second half of the 19th century. The OI's collection was acquired by the then Haskell Oriental Museum of the University of Chicago in 1901 from a former Protestant missionary in Iran, Mary Clarke. A selection of the original prints is displayed alongside printed reproductions and digital projections. The exhibit also celebrates the conservation of the full collection of original prints, thanks to generous funding by the American Institute of Iranian Studies.

Since the invention of the medium, photographers have been drawn by the allure of flowers. This group exhibition excerpted from Aperture's book The Photographer in the Garden celebrates the rich history of artists working in the garden as a site of inspiration and reinvention. Sam Abell, Alice Austen, Mack Cohen, Stephen Gill, Lonnie Graham, Justine Kurland, Lori Nix, Bill Owens, Sheron Rupp, Collier Schorr, Mike Slack When photography was introduced to the public in 1939, it immediately began to displace the record-making function of other art forms, such as drawing and painting. At the time, photographs seemed to be a direct transcription of reality, precisely recording what was put in front of the camera or in contact with photographic materials. In creating these early transcriptions, it is not surprising that most photographers turned to gardens for inspiration. The earliest processes worked best when the photosensitive surface was fresh or still wet. They also required long exposures to an intense source of light. Thus, photographers engaged with subject matter found in their own backyards since those spaces were close to darkrooms, provided abundant light for their compositions and often contained botanical specimens that could be used to test the light sensitivity of the chemistry. Contemporary photographers continue to call into question the human-nature relationship that these public and private spaces have inspired and create images that take the viewer on a journey. Careful looking reveals that the garden is not natural at all, human-made and that “paradise” requires caretakes to shape nature. When considered together, the photographs here illustrate the changing relationship between humans and nature from the nineteenth century to today. From private flowerbeds to sweeping public spaces, photographers have documented our ever-changing attitude toward the natural world. Their history takes us from an agricultural society through industrialization and suburbanization to today's global community engaged in discussions about past and present land use. A study of the garden could tell us as much about the gardener as it does about the beauty of blossoms and reveals as much about landscaping as it does about an individual's relationship to nature. The difference is one of degree rather than kind.

Spanning more than 2,800 square feet on the sixth floor of the Martin Building, the new Delisa & Anthony Mayer Galleries nearly double the space for photography in the museum and will be a place to see regular rotations of work from the permanent collection and beyond. The inaugural two-part exhibition, Curious Visions: Toward Abstract Photography, explores experimentations with abstraction from the past 100 years. Approximately 60 works are featured, spotlighting historical images by photographers including Berenice Abbott, Eliot Porter, Man Ray, Aaron Siskind, Edward Weston, and Minor White alongside contemporary artworks by Gary Emrich, Jungjin Lee, Laura Letinsky, Alison Rossiter, and others. The exhibition encourages viewers to identify different ways of thinking about abstraction, and to understand techniques that artists have used to explore that aspect of photography. The new galleries also incorporate opportunities for visitors to engage and rethink their relationships to photography in daily life. An interpretive area, "Through the Lens," explains how cameras work and how different lenses affect the way pictures look. Visitors can look through replica box cameras and watch a video presentation that dives into the work of the abstract photographer Aaron Siskind. Additional prompts inspire visitors to experiment and capture their own images both in the galleries and beyond.

This retrospective exhibition will survey the career of Marion Palfi (1907-1978), who produced an important visual document of 20th-century American injustice. Freedom Must Be Lived: Marion Palfi's America, 1940-1978 features more than 100 photographic prints and numerous archival materials, including photobooks, magazine spreads, research journals, and grant applications, drawn exclusively from the Center for Creative Photography's vast Marion Palfi Archive. Many of these prints and materials have never before been exhibited or published and will offer an unprecedented opportunity to draw new insights into the work. Palfi's philosophy of using photography to influence social change shaped her vision and distinguished her career. A German immigrant to the United States during World War II, Palfi arrived in Los Angeles to find a reality far from the myth of the American Dream. Outraged at the economic, racial, and social inequalities she encountered, she spent more than three decades traveling throughout the United States documenting various communities to expose the links between racism and poverty. As a self-described "social research photographer," Palfi aspired for her photographs to live in the world and effect social change. Her work was featured in numerous American periodicals, including Ebony and The New York Times. Sponsors for her work included the Council Against Intolerance in America, the NAACP, and the New York State Committee on Discrimination in Housing.

Rising sea levels affect us all. In Rising Tide: Visualizing the Human Costs of the Climate Crisis, Dutch documentary photographer Kadir van Lohuizen illustrates the dramatic consequences of climate change across the world through photographs, video, drone images, and sound. Experience the effects of rising sea levels in Greenland, Bangladesh, Papua New Guinea, Kiribati, Fiji, Amsterdam, Panama, Miami, and our own neighborhoods here in New York City.

Ways of Seeing: The Art of Travel, Trade, and Transportation is an exhibition that brings together over seventy objects from BMA's permanent collection to explore subjects of travelling for both pleasure and necessity. Even in the digital age, access to affordable, reliable, and safe transportation is vital to life. Transportation-beginning with our feet-supports all travel and thus all trade, which includes securing food for survival, access to work, and connections to communities that are necessary to thrive. The Art of Travel, Trade & Transportation, the fifth iteration of the exhibition series Ways of Seeing, explores the experience of the wider world through not only the visual arts, but also the very materials that comprise them. Both artists who traveled to foreign lands and those who stayed closer to home, generated aspirational and enjoyable imagery for the armchair traveler-often their intended audience. The joys of leisure travel are contrasted by the more poignant aspects of necessities of travel-for economic opportunity, military service, fleeing hardship, or being transported against one's will. Localized and globalized trade in prized goods such as silver, ivory, tea, tobacco and glass have a lasting and complicated legacy of beauty and tragedy. These works of art will surprise and delight viewers as well as provide room for reflection on the costs and benefits of travel, trade and transportation. Drawn entirely from the Museum's permanent collection, the exhibition features over 70 works, many of which have never been seen by the public. Nearly all media is represented ranging from paintings to woodblock prints, lithographs and photographs to quilts and jewelry. Works range in date from the 2nd to the 20th centuries and feature works by artists from: China, Cote d'Ivoire, England, France, Germany, Italy, Japan, Mali, Navajo Nation, Scotland, South Africa, Sri Lanka, and the United States of America-including a number of Alabama artists. Highlights include: Paintings and drawings by Thomas Birch, Richard Blauvelt Coe, Giacomo Guardi, Li Kui, Ya Ming, Reverend Benjamin Franklin Perkins, Rosalie Pettus Price, Arnold Rönnebeck, Deng Tao, Kwan S. Wong, Wu Zuoren. Photographs by Sid Avery, Ed Willis Barnett, Anton Bruehl, Weegee (Arthur Fellig), Phyllis Galembo, Adama Kouyaté, Willy Ronis, and Peter Stackpole among others. Prints by John Taylor Arms, Radcliffe Bailey, Thomas Hart Benton, Louis Lozowick, Reginald Marsh, James McBey, Hasegawa Sadanobu II, Elizabeth O'Neill Verner, Hiroshi Yoshida, Utagawa Yoshikazu, Utagawa Yoshikuni I, and Utagawa Yoshitora. Textile arts by Helen McCain Cargo, Ramona Faye McCormick McRae, Louise Nez, Opal Wenonah McCormick Villadsen

Ruven Afanador is an internationally renowned photographer of limitless imagination, powerful vision and profound sense of self. His work is distinguished by an opulent classicism nuanced by an irreverent point of view. His idiosyncratic visual language is informed by the fierce emotion and lavish style of his Latin American heritage, filtered by an exquisitely mannered elegance saturated with singular erotic charge. Ruven Afanador was born in Colombia, in the sixteenth century city of Bucaramanga, La Ciudad de los Parques high in the scenic plateau above the Rio de Oro. He lived there until adolescence, surrounded by breathtaking mountains and immersed in old traditions and enchanting rituals that imbued everyday life with mystery and wonderment. Religious ceremonies involved the meticulous costuming of saints and marked every holiday, turning narrow colonial streets into rich visual feasts where ordinary objects acquired symbolic meaning; elaborate beauty pageants showcased glamorous women of deliberate beauty and intentional charm; and long hours were filled with the reading of adventure books or listening to the improbable tales of those coming back from journeys abroad, a peculiar form of imaginary traveling which nurtured an intense curiosity for faraway places. At fourteen, Afanador moved to the United States to attend school in the Midwest, right in the American heartland, a starkly different place from the magical world of his childhood, but one he saw as full of possibilities. And then, while studying art, he discovered photography. "From my first assignment I knew that photography would be my life's passion", says Afanador. With that passion, he would transform ordinary reality into captivating splendor. Or, as he himself puts it, "....into my way of seeing things." After graduation Afanador spent two years in Washington, DC, gaining distinction as a fashion photographer of audacious taste, as well as a portraitist with an original and inventive eye. In 1987 he moved to Milan to broaden his vision, hone his technical skills and build a portfolio. Lack of studio space in the Italian city, forced him to develop techniques for photographing outdoors, in alleyways and streets, on the steps of churches and palazzos, incorporating backgrounds to frame images with texture and depth, a highly conceptual approach that Afanador uses to this day. While in Italy, he also discovered the type of model, that was to become his prototype: interesting rather than conventionally beautiful, of sculpted neck and arms, and the graceful long torso for centuries favored by painters----enigmatic and timeless. He returned from Italy in 1990 with an impressive portfolio, settling in New York and soon coming to the attention of editors at the major magazines. Since then, his distinct fashion editorials, signature advertisements and iconic portraits of the emblematic beauties and powerful male figures of the worlds of contemporary art, literature, music and film, have constantly appeared in the world's leading fashion, celebrity and portrait magazines. His work has been the subject of numerous exhibitions and installations in galleries, museums and outdoor spaces in Latin America, Europe, Asia and the United States. But it is in his three books that the singularity of Afanador's rare aesthetic and charged eroticism become truly evident. In his first book, Torero, a collectors' item among fashion and photography connoisseurs. he presents black and white images of matadors from Spain, Mexico, Colombia and Peru, using the conventions of couture photography to bend masculine stereotypes. In Sombra, his second, he employs nineteenth century photographic techniques in a collection of erotic male nudes in poses inspired by the gestures and movement of classical ballet. And, in the recently published Mil Besos, he celebrates the women of flamenco, capturing them in surreal photographs in his inimitable black and white, once again twisting pre conceived notions of beauty. In his extensive body of work, Afanador has created an intensely personal language characterized by the balance of bold emotion and delicate nuance. The expressive images in his books and fashion editorials reveal extravagant dreamlike sequences that seem to emerge from Afanador's original imagination already full grown, always splendid sometimes mischievous, often decadent, all steeped in classic formality. In his portraits, he unfailingly pierces the carefully wrought personnas of the beautiful and powerful symbols of our age to expose their essence with eloquent certainty. In a recurring theme, he juxtaposes startling masculine force and surprising feminine strength to challenge conventional definitions of gender and beauty with confident audacity. Joining such legendary artists captivated and inspired by the beguiling traditions of Spanish culture as the composer Manuel de Falla, the poet Federico Garcia Lorca and the filmmaker Carlos Saura, Afanador pays homage to the great painters, who, like Goya, have portrayed its unique splendor. In focusing his expert lens in the most astonishing manifestation of this quality with an eye solidly planted in the avant-garde, he crosses to the eccentric realm of the ground-breaking films of Luis Buñuel and Pedro Almodóvar, while the surreal quality of his enchanting composition places his work alongside the stories of his fellow Colombian and iconic archetype, Gabriel García Márquez, showcasing with worldly sophistication the spellbinding Latin American aesthetic that is his singular subtext.

In our image-saturated and media-obsessed world, what stories remain untold? Employing images, lights, and mirrors, Alfredo Jaar (Chilean, b. 1956) asks us to acknowledge subjects who are often under-recognized. Projects range in scope and subject: as one artwork focuses on an Ethiopian refugee amid the Eastern Sudan crisis, another observes remarkable but overlooked women including human rights lawyer Shada Nasser, author and activist Nawal El Saadawi, and politician Camila Vallejo. Featuring a selection of key works and installations that span three decades, The Structure of Images showcases Jaar's critical approach to addressing injustice in our world. The exhibition is organized by Isabel Casso, Marjorie Susman Curatorial Fellow. It is presented in the Cohen and Stone Family Galleries on the museum's fourth floor.

This fall, the International Center of Photography (ICP) presents a new exhibition focusing on the work of five emerging Black artists who have turned the lens inward to explore and capture the "unseen" moments of their lives during a time of unprecedented change. INWARD: Reflections on Interiority features newly commissioned photographs by Djeneba Aduayom, Arielle Bobb-Willis, Quil Lemons, Brad Ogbonna, and Isaac West. On view September 24, 2021 through January 10, 2022, INWARD is curated by Isolde Brielmaier, PhD, ICP's curator-at-large, and newly-appointed Deputy Director, the New Museum. Presented in the museum's new building at 79 Essex Street in New York, which opened in January 2020, the fall/winter season at ICP also will feature the exhibitions Gillian Laub: Family Matters and Diana Markosian: Santa Barbara. Although a number of the photographers have worked on assignment for major publications such as the New York Times, Vogue, Vanity Fair and Time, the exhibition offers a rare opportunity to see their artistic and personal work in their first museum exhibition. The photographers showcased in INWARD use a range of manual and digital image-making tools in their individual practices—for this exhibition, they have created the photographs using iPhone. The resulting images move beyond the endless scope of the constructed selfie to examine the intimate interactions and inner thoughts that make up their daily experiences as artists in a time of Covid-19, Black Lives Matter, and the 2020 U.S. election. "The five artists featured in INWARD provide a thought-provoking window into their interior lives," said curator Isolde Brielmaier. "The revealing new photographs explore intimate thoughts and personal relationships with great honesty, as the artists delve deep into the new reality and challenges of our contemporary lives at a time of global introspection."

A new exhibition this fall at the International Center of Photography (ICP) offers renowned New York-based photographer Gillian Laub's picture of an American family saga that feels both anguished and hopeful. On view September 24, 2021 through January 10, 2022, Gillian Laub: Family Matters balances empathy with critical perspective, humor with horror, the closeness of family with the distance of the artist. The exhibition is curated by David Campany, ICP's Managing Director of Programs, and coincides with the publication of a companion book by Aperture. Presented in the museum's new building at 79 Essex Street in New York, which opened in January 2020, the fall/winter season at ICP also will feature the exhibitions Diana Markosian: Santa Barbara and INWARD: Reflections on Interiority. For the last two decades, Gillian Laub's photography has tackled timely topics with a careful focus on community and human rights. Her work has spanned terror survivors in the Middle East (Testimony, 2007) to racism in the American south (Southern Rites, 2015), using her camera to investigate how society's most complex questions are often writ large in our most intimate relationships and spaces—including her own. She has been simultaneously, and privately, documenting the emotional, psychological, and political landscape of her own family - exploring her growing discomfort with the many extravagances that marked their lives. Intense intergenerational bonds have shaped and nurtured Laub but have also been fraught. As it moves through time, the exhibition becomes a microcosm of a deeply conflicted nation, as the artist and her parents find themselves on opposing sides of a sharp political divide—tearing at multigenerational family ties, and forcing everyone to ask what, in the end, really binds them together. "Photography is an ideal medium for mixed feelings and ambiguities," said David Campany. "In the two decades it has taken Gillian Laub to tell the story of her family, she has walked the finest of lines between humor and anguish, empathy and tension, irony, and sincerity. There are no easy answers here, just the honest narration of a complicated life." "This project is an exploration of the conflicted feelings I have about where I come from—which includes people I love and treasure, but with whom, most recently in a divided America, I have also struggled mightily," said Gillian Laub. "It is made with the intention to accept as well as to challenge—both them and myself." The exhibition is organized into four acts, with more than 60 images dating from 1999-2020. In Act I, Laub captures family events—holidays, bar mitzvahs, weddings, poolside barbecues, and vacations—such as her father carving the Thanksgiving turkey, or her grandparents and great aunt embarking on a dressy night on the town. Act II shows how Laub begins to form her own family through marriage and children as she loses relatives from the older generation. Images document Laub's wedding arrangements, including wedding dress shopping and multiple family meetings with an imperious wedding planner. A shift comes in Act III, as Laub's parents and other relatives enthusiastically support Donald Trump, while Laub is staunchly opposed, leading to heated political debates and exposing family fault lines. Images depict Laub's nephew wearing a Trump rubber mask, and her father proudly wearing a red "Make America Great Again" cap while golfing, as he encourages her to "learn to be less judgmental and more tolerant." Act IV documents the rise of the COVID-19 pandemic, racial violence, and an election—momentous world events that continue to divide the family, but also help to bring it back together. Laub's parents drive for hours to deliver a cake and balloons to celebrate Laub's quarantine birthday, peering through the sliding glass door for safety, and relatives gather for a masked outdoor Thanksgiving dinner in November 2020. Laub is a storyteller. In the book Family Matters (Aperture 2021), her photographs are accompanied by her own words. For this exhibition, much of the writing is presented as immersive sound, produced by ICP's audio guide partner Gesso, which is an integral part of the experience. Moving through the four sequential acts of Family Matters, visitors will hear the artist and her family in their own words: funny, poignant, troubled, and challenging.

Diana Markosian: Santa Barbara presents the photographer’s compelling autobiographical narrative of her mother’s path from Russia to America with her two children in search of a better life. The exhibition juxtaposes an idealized, Hollywood-like version of the American dream with the often-startling reality of the immigrant experience. Curated by Sara Ickow, Manager of Exhibitions and Collections, and David Campany, Santa Barbara features staged images, film footage, and family photographs that reimagine the past and explore themes of family and memory.

In April of 2021, the Norton's Photography Committee acquired a monumental work by Yinka Shonibare CBE, titled Le Méduse. With Shonibare's work as a catalyst, Origin Stories: Photography of Africa and Its Diaspora confronts the intertwined relationship between identity and colonialism in communities across the African continent and throughout the African diaspora. Featuring works primarily from the Norton's collection, this selection of works offers perspectives from celebrated photographers working in Africa, the Americas, the Caribbean, and Europe such as Les sœurs Chevalme, Delphine Fawundu, Ana Mendieta, Malick Sidibé, and Carrie Mae Weems.

To celebrate the bicentennial of the country's founding, in 1976 the National Endowment for the Arts (NEA) launched a multi-year program of photography surveys in communities across the United States. These surveys created a new visual record of a changing nation. Survey projects included preserving or working with historical collections; however, most were commissions of new work by an emerging generation of documentarians, many of whom became prominent figures of American photography. Of the more than seventy projects funded by the NEA, the East Baltimore Survey was unique for having been conceived, led, and carried out by women photographers-Elinor Cahn, Joan Clark Netherwood, and Linda Rich. With significant support from the community, it was also one of the most highly acclaimed at a national level. In her application to the NEA for support, project leader Linda Rich wrote that "Today, while many urban communities seem to be fighting a losing battle against physical, emotional, and spiritual decay, East Baltimore continues to grow and change, preserving its culture, integrity, and humanity." Rich, Netherwood, and Cahn approached local clergy, and were invited to attend bingo luncheons, exercise classes, first communions, and sauerbraten suppers. In time they were welcomed into the homes and private lives of the neighborhood of East Baltimore. They photographed a cross-section of its residences and businesses, celebrating its traditions while also acknowledging its many challenges. The tension between ethnicity and Americanness was a sustained theme of the Survey, as was its recognition of residents' fight for their community's survival, insisting on basic social services and defending against efforts to divide it politically or economically. In 1983, 1,500 photographs by NEA grant recipients were received by SAAM in a transfer that inaugurated its photography collection. A second transfer of 500 prints took place in 2010. Thirteen of the completed photography surveys, including the East Baltimore Survey, were among the material received by SAAM. Welcome Home: A Portrait of East Baltimore, 1975-1980 is the first presentation of those photographs. In addition, while preparing for the exhibition shortly before her death, Joan Netherwood recovered a complete "community exhibition" of the East Baltimore Survey. These were small-scale exhibitions held in churches and community centers, where the photographers showed their progress and their subjects brought pot-luck dinners and stood beside their portraits. They were "trust-raising" events In a community renowned for its suspicion of outsiders. The thirty recovered prints were donated by Netherwood to SAAM, and they are the featured centerpiece of Welcome Home. The exhibition is organized by John Jacob, McEvoy Family Curator for Photography at SAAM, with Vitoria Bitencourt, curatorial assistant.

The New-York Historical Society honors the late Ruth Bader Ginsburg (RBG)—the trailblazing Supreme Court justice and cultural icon—with a special exhibition in fall 2021, based on the popular Tumblr and bestselling book of the same name. A traveling exhibition organized by the Skirball Cultural Center in Los Angeles, Notorious RBG: The Life and Times of Ruth Bader Ginsburg takes an expansive and engaging look at the justice's life and work, highlighting her ceaseless efforts to protect civil rights and foster equal opportunity for all Americans. Notorious RBG features archival photographs and documents, historical artifacts, contemporary art, media stations, and gallery interactives spanning RBG's varied roles as student, wife to Martin "Marty" Ginsburg, mother, lawyer, judge, women's rights pioneer, and internet phenomenon. Highlights include a robe and jabot from RBG's Supreme Court wardrobe; the official portraits of RBG and Sandra Day O'Connor—the first two women to serve on the Supreme Court—on loan from the National Portrait Gallery; and listening stations where visitors can hear RBG's delivery of oral arguments, majority opinions, and forceful dissents in landmark Supreme Court cases. Also: Step into the justice's world and take a picture standing in a 3D rendering of the Supreme Court bench.

With over 120 images spanning Warhol's career, including many rare and never-before-seen photographs, Andy Warhol: Photo Factory offers a distinctly intimate visual diary of the artist's life and work, featuring his iconic Polaroid portraits, photo strips, gelatin silver prints, and stitched photographs. The exhibition pays homage to Warhol's iconic New York City studio The Factory and offers a distinctly intimate visual diary of the artist's life and work, including Polaroids of celebrities, artists and friends, such as Debbie Harry, Jean-Michel Basquiat, Dolly Parton, Grace Jones, and Keith Haring. Notably, Warhol's earliest photographic works will be presented, offering a glimpse into his experimentation with the medium and how it served as a catalyst for his early silkscreen paintings, commissioned portraits, and commercial work. All six categories of Warhol's film-based work are spectacularly represented, including polaroids of celebrities, lesser seen unique gelatin silver prints, polaroid collages, 16mm film Screen Tests, and his most recent stitched photograph series.

The iconic New Woman-modern, independent, stylish, creative, and confident-was a revolutionary model for women across the globe. Featuring more than 120 international photographers, The New Woman Behind the Camera explores the diverse "new women" who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. This groundbreaking exhibition will reveal the significant impact women have had on the history of modern photography. Women actively participated in the development of photography soon after its inception in the 19th century. Yet it was in the 1920s, after the seismic disruptions of World War I, that women entered the field of photography in force. Aided by advances in technology and mass communications, along with growing access to training and acceptance of their presence in the workplace, women around the world made an indelible mark on the growth and diversification of the medium. They brought innovation to a range of photographic disciplines, from avant-garde experimentation and commercial studio practice to social documentary, photojournalism, ethnography, and the recording of sports, dance, and fashion. A global phenomenon, the New Woman of the 1920s embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Her image-a woman with bobbed hair, stylish dress, and a confident stride -was a staple of newspapers and magazines first in Europe and the United States and soon in China, Japan, India, Australia, and elsewhere. A symbol of the pursuit of liberation from traditional gender roles, the New Woman in her many guises represented women who faced a mix of opportunities and obstacles that varied from country to country. The camera became a powerful means for female photographers to assert their self-determination and redefine their position in society. Producing compelling portraits, including self-portraits featuring the artist with her camera, they established their roles as professionals and artists. Commercial studio photography was an important pathway for many women to forge a professional career and to earn their own income. Running successful businesses in small towns and major cities from Buenos Aires to Berlin and Istanbul, women reinvigorated the genre of portraiture. In the studio, both sitters and photographers navigated gender, race, and cultural difference; those run by women presented a different dynamic. For example, Black women operated studios in Chicago, New Orleans, and elsewhere in the United States, where they not only preserved likenesses and memories, but also constructed a counternarrative to racist images then circulating in the mass media. The availability of smaller, lightweight cameras and the increasing freedom to move about cities on their own spurred a number of women photographers to explore the diversity of the urban experience beyond the studio walls. Using their creative vision to capture the vibrant modern world around them, women living and working in Bombay (now Mumbai), London, New York, Paris, São Paulo, Tokyo, and beyond photographed soaring architecture and spontaneous encounters on the street. Creative formal approaches-photomontage, photograms, sharp contrasts of light and shadow, unconventional cropping, extreme close-ups, and dizzying camera angles-came to define photography during this period. Women incorporated these cutting-edge techniques to produce works that conveyed the movement and energy of modern life. Although often overshadowed by their male partners and colleagues, women photographers were integral in shaping an avant-garde visual language that promoted new ways of seeing and experiencing the world. Beginning in the 1920s, new concepts concerning health and sexuality, along with changing attitudes about movement and dress, emphasized the human body as a central site of experiencing modernity. Women photographers produced incisive visions of liberated modern bodies, from pioneering photographs of the nude to exuberant pictures of sport and dance. Photographs of joyous play and gymnastic exercise, as well as images of dancers in motion, celebrate the body as artistic medium. During this modern period, numerous women pursued professional photographic careers and traveled extensively for the first time. Many took photographs that documented their experiences abroad in Africa, China, Afghanistan, and elsewhere, while others engaged in more formal ethnographic projects. Some women with access to domains that were off limits to their male counterparts produced intimate portraits of female subjects. While gender may have afforded these photographers special connections to certain communities, it did not exempt some, especially those from Europe and the United States, from producing stereotypical views that reinforced hierarchical concepts of race and ethnocentrism. Images splashed across the pages of popular fashion and lifestyle magazines vividly defined the New Woman. The unprecedented demand for fashion and advertising photographs between the world wars provided exceptional employment opportunities for fashion reporters, models, and photographers alike, allowing women to emerge as active agents in the profession. Cultivating the tastes of newly empowered female consumers, fashion and advertising photography provided a space where women could experiment with pictures intended for a predominantly female readership. Galvanized by the effects of a global economic crisis and the growing political and social unrest that began in the 1930s, numerous women photographers produced arresting images of the human condition. Whether working for government agencies or independently, women contributed to the visual record of the Depression and the events leading up to World War II. From images of breadlines and worker demonstrations to forced migration and internment, women photographers helped to expose dire conditions and shaped what would become known as social documentary photography. The rise of the picture press established photojournalism as a dominant form of visual expression during a period shaped by two world wars. Women photographers conveyed an inclusive view of worldwide economic depression, struggles for decolonization in Africa, and the rise of fascism and communism in Europe and the Soviet Union. They often received the "soft assignments" of photographing women and children, families, and the home front, but some women risked their lives close to the front lines. Images of concentration camps and victory parades made way for the complexities of the postwar era, as seen in pictures of daily life in US-occupied Japan and the newly formed People’s Republic of China. The photographers whose works are in The New Woman Behind the Camera represent just some of the many women around the world who were at the forefront of experimenting with the camera. They produced invaluable visual testimony that reflected both their personal experiences and the extraordinary social and political transformations of the early 20th century. Together, they changed the history of modern photography.

Through a large donation of Cuban art in 2017, an earlier donation of Latin American art in 2011, and significant gifts through acquisition funds, Jorge M. and Darlene Pérez have added more than 500 works of modern and contemporary art to PAMM's permanent collection. Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection celebrates their most recent acquisitions, which consists of a sizable selection of international African and African Diaspora artists. Inspired by his upbringing in a number of Latin American countries, Pérez began collecting the work of Cuban and Afro-Latino artists several years ago. Recently he has expanded that focus to include artists of the full African diaspora. Allied with Power shows the result of these years of dedicated effort and exploration. The exhibition highlights artists whose works embody the possibilities and complexities of our contemporary moment. Allied with Power showcases a wide range of practices and thematics, including abstraction, representation, politics, spirituality, and race. Collapsing national borders, the artists in the exhibition ally with power, representing a kaleidoscope of voices that declare their authority.

Frida Kahlo, Diego Rivera and Mexican Modernism from the Jacques and Natasha Gelman Collection will be the Norton's first large-scale exhibition devoted to Mexican modernism. As a film producer in Mexico City, Jacques Gelman encountered the leading figures of the artistic renaissance that occurred after the end of the Mexican Revolution in 1920. Featuring over 150 works, including paintings and works on paper collected by Jacques and Natasha Gelman alongside photographs and period clothing, the exhibition includes the largest group of works by Frida Kahlo and Diego Rivera ever on view at the Norton. Presenting these artists' creative pursuits in a broader context, the exhibition also includes work by Manuel and Lola Álvarez Bravo, Miguel Covarrubias, Gunther Gerzso, María Izquierdo, Carlos Mérida, David Alfaro Siqueiros, Juan Soriano, and Rufino Tamayo. The Gelmans' close relationship with this community is underscored by the number of portraits of them made by their artist friends in the exhibition. Photographs related to Kahlo, Rivera, and their enduring legacy by a global roster of artists including Lucienne Bloch, Imogen Cunningham, Juan Guzmán, Graciela Iturbide, Nickolas Muray, Edward Weston, and Guillermo Kahlo—Frida's father—help round out our understanding of these iconic painters.

For more than a decade, Mimi Cherono Ng'ok has worked to understand how natural environments, botanical cultures, and human subjects coexist and evolve together. Working with an analog camera, she travels extensively across the tropical climates of the Global South constructing a visual archive of images that document her daily experiences and aid her in processing emotions and memories. For her first solo museum exhibition in the United States, Cherono Ng'ok presents photographs and a film made across Africa, the Caribbean, and South America, all as part of an ongoing inquiry into the rich and diverse botanical cultures of the tropics. She tracked flowers and floral imagery across varied contexts—enshrouding the exterior of homes, emblazoned on bedspreads, encountered in nighttime flower markets—and a range of hidden associations. Some of the plants she pictures have been used as love potions or medicines, while others have been moved around the globe as part of histories of imperial or colonial expansion. Omitting frames, titles, or any indication of place allows Cherono Ng'ok to offer viewers an experience that is immediate, intimate, and vulnerable. To expose photographic prints in this way approximates the fragile and impermanent character of their depicted contents. Cherono Ng'ok's first film, which she produced in 2020, debuts in this exhibition. Shot on 16mm black-and-white reversal film, the work concentrates on a thicket of plantain trees the artist encountered in the coastal town of La Romana in the Dominican Republic. Lacking sound or storyline, the film is a meditation on mourning that reflects the artist's own personal and profound experiences of familial loss, and the transitory nature of human and vegetal life more broadly. With stark effects of light and shadow, abrupt transitions and stationary perspective, the film shows fronds fluttering in response to gusty winds. The result is at once ethereal and mysteriously tranquil, capturing the sensitive outlook of an artist whose work is spurred by steady movement and all the introspection and memories that this entails.

Cathleen Naundorf is one of the most dynamic and creative artists working in the genre of fashion photography. Her inspiration began with the fashion statements of some of the world's greatest couture designers, such as Chanel, Saab, Lagerfeld, Dior, Gautier, etc. She uses their creations to structure her large-format black and white and color images. In her work, she often uses backdrops from museums, formal gardens, hand-painted stage sets, and exotic locales to set against the models and garments. Her work has a timeless feel - and engages our senses of mystery, desire, and beauty in the resultant images. She has primarily used large-format Polaroid film and often peels the back off the film stock - allowing the pooling dyes to transfer to another surface - abrading and transforming the image. Naundorf's photographs push the boundaries past those of commercial photography with their lush, saturated surfaces.

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

The exhibition, Shadow to Substance (title taken from Sojourner Truth), is curated by Kimberly Williams, University of Florida Doctoral Candidate in English; Dr. Porchia Moore, University of Florida Assistant Professor, Museum Studies and Dr. Carol McCusker, Harn Curator of Photography. Shadow to Substance creates a chronological arc from the past to the present into the future using historical photographs from the Harn and Smathers Library collections and through the lens of Black photographers working today. It pictures histories of enslavement, Jim Crow Florida, the Great Migration, the Civil Rights Movement and Black Lives Matter. But it does so through images that expand ideas around healing, myth, intimacy, joy, resistance and rebirth. The exhibition, and its attending programs, will create a space for visitors to see and identify with uplifting narratives shaped by an invigorated portrait of Black life. This exhibition is made possible by generous support from Dr. R. James Toussaint and Mrs. Sara Toussaint.

Left Side Right Side considers the genre of portraiture and its articulation in contemporary art. Taking its title from Joan Jonas' early exploration of the self-portrait through video (Left Side Right Side, 1972), it relates directly to one of the MOCA collection's thematic directions which, under the rubric Re-presentation, encompasses works in a variety of media, including video, photography, prints, painting, and sculpture.

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

Garry Fabian Miller and Jean-Baptiste Huynh work with the fundamental properties of light itself. With immersive artistry, both photographers create works from nature that elevate the possibilities of the photographic practice. Jean-Baptiste Huynh has used ancient polished stone mirrors to create almost abstract images that resemble the cosmos. The composite mineral constructions of the stones used for the mirrors form patterns of color and light that do not allow easy objectification. Surface light, density, and form become the broader subject matter. The large-scale magnification of small objects illuminates a hidden world created through time and use. Garry Fabian Miller posits a different form of abstraction when he makes his camera-less photographs. His images are made by focusing light passed through colored vessels onto Cibachrome film stock. He masks off specific areas of the film in his darkroom and creates final pictures that are the result of multiple exposures employing various colors and forms floating over one another. Both photographers have found their unique way of studying properties of light and color that do not depend on photography's traditional reliance on recording recognizable objects.

A major monographic exhibition of works by Jeff Wall (Canadian, b. 1946), his first in the Washington, D.C., area since 1997, will open on October 21 in Room 2 of the Pavilions. This will be the artist's largest exhibition in the United States since his 2007 mid-career survey at the Museum of Modern Art, New York. Comprised of nearly 30 artworks spanning five decades, the exhibition will bring together the full range of the artist's pioneering oeuvre, from early pictures displayed in backlit lightboxes and black and white silver gelatin prints to more recent large-scale inkjet color prints.

Photography helps us make meaning of our complex world. Our camera records things as they are. We read our personal photographs as visual diaries, conjuring up the missing pieces of the stories outside the frame. We can hear, taste, smell, and see the moment. Transported back in time- maybe a day, a month, a year, a lifetime. Taken by people to be shared with people, photographs contain clues and details that reveal the compelling stories of our shared human experience. A photograph may be a portrait or a still life of a single object at a specific moment in time. Some photographs convey unspoken messages that inform and influence how we understand our world. Photography is a visual art. Images, symbols, and hieroglyphs have been used throughout history as a way to express ideas, feelings, facts, and communicate ideals of beauty. Art also serves as a mechanism for change. The National Civil Rights Museum welcomes thousands of visitors a year each carrying an identity influenced by self and society. They bring their assumptions about the Civil Rights Movement. The courtyard is the first place where they confront those assumptions and begin to reconcile them with an alternate perspective of history. A picture tells a thousand words. As a sacred place, the plaza holds the weight of our shared mourning. As a portal, the plaza offers each visitor a pathway to greater self-knowledge and agency. For fine art photographer David Katzenstein, photography is an act of discovery and a demonstration of joy. Over the past 40 years, David has travelled around the world creating narrative imagery focused on our shared human experience. Katzentstein imbues his work with sensitivity and understanding of art, history, and cultural awareness. The collection of photographs featured in Outside The Lorraine Motel: A Contemporary Pilgrimage is part of David Katzenstein's larger body of work where each photograph shimmers with color and sound. While exploring the photographs in the exhibition, you are invited to reflect on how this experience has impacted your understanding of the Civil Rights Movement and todays' human rights issues.

Do photographs accurately convey visual truths? Or do they merely present illusions? The artists featured in this exhibition explore these ideas and challenge our understanding of the saying, "seeing is believing." Using a range of technical and conceptual approaches, and working almost exclusively without darkroom manipulation or digital editing software, their works highlight the complex relationship between reality, visual perception, and camera vision. The majority of included works date from the early 1970s to the present. Drawn from the museum's renowned photography collection, Art of Illusion will feature approximately fifty works by twenty-five artists, including many recent acquisitions on view for the first time. Artists include: Thomas Barrow, Zeke Berman, Michael Bishop, Cortis & Sonderegger, Robert Cumming, Thomas Demand, John Divola, Liat Elbling, David Hockney, Graham Howe, Kenneth Josephson, Lilly McElroy, Jerry McMillan, Duane Michels, Arno Minkkinen, Abelardo Morell, Grant Mudford, Vik Muniz, John Pfahl, Marcia Resnick, Hiroshi Sugimoto, Michel Szulc-Krzyzanowski, Lew Thomas, Ruth Thorne-Thomsen, and Rodrigo Valenzuela.

This exhibition features photographs donated by Parks to Kansas State University (K-State) in Manhattan, Kansas, in 1973. It was the first time that the artist personally curated a set of photographs to donate to a public institution, a kind of self-portrait directed towards the home crowd. The exhibition title includes the first line of a poem written by Parks in 1984, commissioned by and published in the Manhattan Mercury. K-State's New Prairie Press will publish an accompanying open-access digital catalogue with new research on Parks and Kansas. Image: Uncle James Parks, 1950, printed in 2017, gelatin silver print, 14 x 11 in., gift of Gordon Parks and the Gordon Parks Foundation, 2017.448

Any prominent work of architecture is likely to be seen more widely through photographs than in person. These images have a profound influence on how a given building is perceived. A professional architectural photographer plays an important role in interpreting the designer's work, making critical decisions about which aspects of the building to emphasize and which to suppress-or even exclude. When widely disseminated, professional photographs help to shape public impressions of the building's architectural character. An extraordinary image of an iconic building may assume iconic status in its own right. Photographer Alan Karchmer has risen to prominence in his field thanks to his skill in conveying architects' ideas and intentions. Having earned a Master of Architecture himself, Karchmer uses his knowledge of the design process, coupled with his own artistic vision, to express the essence of a building. He is, quintessentially, "The Architects' Photographer." This exhibition presents a cross-section of Karchmer's professional photographs, coupled with personal photos and artifacts that shed light on his work. While the exhibition features numerous large-format images of remarkable beauty, it also includes didactic displays examining the technical and creative processes underlying such images. It thus illuminates why certain images are so successful in expressing both the physical and emotional aspects of architecture. By displaying multiple images of specific buildings, the exhibition also examines how a series of photographs can be used to create a visual narrative conveying a cohesive sense of design, place, and experience. The exhibition sheds light on the important but sometimes elusive role of artistic interpretation, tracing how the photographer's own vision complements that of the architect, yielding final images that ultimately reflect a blend of the two. It also explores how changing technologies-especially the transition from analog to digital cameras-have influenced architectural photography.

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

Modern Women/Modern Vision: Works from the Bank of America Collection presents more than 100 images by women artists. The traveling exhibition, which has been loaned through the Bank of America Collection Art in our Communities program, will be on view in May 1, 2022, through August 28, 2022. Modern Women/Modern Vision celebrates the bold and dynamic contributions of women to the development and evolution of photography in the 20th century. Diverse in style, tone, and subject, these images range from spontaneous to composed, detached to empathetic, monumental to intimate. The exhibition is presented in six thematic sections, including Modernist Innovators, Documentary Photography and the New Deal, the Photo League, Modern Masters, Exploring the Environment, and The Global Contemporary Lens to reflect the impact of female artists in the medium of photography.