Photo Exhibitions

Drawing primarily from the National Portrait Gallery's vast collection of self-portraits, this exhibition will explore how American artists have chosen to portray themselves since the beginning of the last century. As people are confronted each day with "selfies" via social media and as they continue to examine the fluidity of contemporary identity, this is an opportune time to reassess the significance of self-portraiture in relation to the country's history and culture. The exhibition will feature more than 75 works by artists such as Josef Albers, Patricia Cronin, Imogen Cunningham, Elaine de Kooning, Edward Hopper, Joan Jonas, Jacob Lawrence, Alice Neel, Louise Nevelson, Diego Rivera, Lucas Samaras, Fritz Scholder, Roger Shimomura, Shahzia Sikander and Martin Wong. "Eye to I: Self-Portraits from 1900 to Today" is curated by Brandon Brame Fortune, chief curator, National Portrait Gallery. This exhibition concludes the Portrait Gallery's 50th anniversary celebrations, and an expanded, illustrated companion book will be published in spring 2019.

“No matter how dark a situation may be, a camera can extract the light and turn a negative into a positive. In creating Flint Is Family In Three Acts, I see the role of photographs as empowering and enacting visible change: in Act I, the photographs bear witness and reclaim history; in Act II, the photographs reveal a hidden narrative; in Act III, the photographs are a catalyst for obtaining resources.” --LaToya Ruby Frazier Flint Is Family In Three Acts is a multi-part exhibition by renowned artist LaToya Ruby Frazier. For five years, Frazier researched and collaborated with two poets, activists, mothers and residents of Flint, Michigan, Shea Cobb and Amber Hasan, as they endured one of the most devastating ecological crises in U.S. history. Resulting in a monumental oeuvre of photographs, video, and texts Frazier developed Flint Is Family In Three Acts (2016–2021) to advocate for access to clean and safe drinking water for all regardless of race, religion and economic status. The series records stories of surviving and thriving, especially within racialized and marginalized neighborhoods in Flint, to ensure that they remained visible in national debates concerning environmental justice. Drawing inspiration from the urgency in Frazier’s work, which also sheds light on building equitable and inclusive futures Stamps Gallery, part of Penny W. Stamps School of Art & Design at University of Michigan, initiated a partnership with the Flint Institute of Arts and the Eli and Edythe Broad Art Museum at Michigan State University to bring this important exhibition together for the first time in Michigan. As co-presenters of this landmark exhibition our goal is to offer a creative pedagogical platform that reaches broader audiences across Michigan and beyond—Flint is Family: Act I (2016–2017) will take place at the Flint Institute of Arts, Act II (2017–2019) at the Eli and Edythe Broad Art Museum, and Act III (2019) at Stamps Gallery. The exhibition served as a catalyst to bring three disparate institutions together to deepen our understanding of individual and institutional agency in advocating for equity, transparency and environmental justice in our respective communities, while also highlighting the role of the artist as an agent for enacting positive social change. Organized by Stamps Gallery in partnership with the Eli and Edythe Broad Art Museum at Michigan State University, and the Flint Institute of Arts. Curated by Srimoyee Mitra, Tracee Glab, and Steven L. Bridges with the assistance of Jennifer Junkermeier-Khan, Rachel Winter, and Rachael Holstege.

For 50 years, Robert Adams (born 1937) has made compelling, provocative, and highly influential photographs that show the wonder and fragility of the American landscape, its inherent beauty, and the inadequacy of our response to it. American Silence: The Photographs of Robert Adams celebrates the art of this seminal American photographer and explores the reverential way he looks at the world around him and the almost palpable silence of his work. Capturing the sense of peace and harmony created through what Adams calls “the silence of light” that can be seen on the prairie, in the woods, and by the ocean, American Silence features some 175 pictures from 1965 to 2015. Other images on view question our moral silence to the desecration of that beauty by consumerism, industrialization, and lack of environmental stewardship. Divided into three sections—The Gift, Our Response, and Tenancy—the exhibition includes works from not only the artist’s most important projects but also lesser-known ones that depict suburban sprawl, strip malls, highways, homes, and stores, as well as rivers, skies, the prairie, and the ocean. While these photographs lament the ravages that have been inflicted on the land, they also pay homage to what remains. Organized in cooperation with the artist, the exhibition is accompanied by a fully-illustrated, 332-page catalogue published by the National Gallery of Art and Aperture, New York. The exhibition is curated by Sarah Greenough, senior curator and head of the department of photographs, National Gallery of Art. This exhibition is organized by the National Gallery of Art, Washington. The exhibition and catalog are made possible through the leadership support of the Trellis Fund and a generous gift from Jane P. Watkins. The exhibition is also made possible in part by The Shared Earth Foundation. Additional support is provided by Randi and Bob Fisher, Wes and Kate Mitchell, Nion McEvoy, Greg and Aline Gooding, and the James D. and Kathryn K. Steele Fund for Photography.

Scottish born photojournalist Harry Benson CBE came to America with The Beatles in 1964 and in his words, "never looked back." In the decades since, the award-winning photographer has demonstrated incredible range. He photographed Civil Rights marches and the Watts Riots, was on the scene when Robert F. Kennedy was assassinated, and covered conflicts in Kosovo, Bosnia, and the Gulf War. The only photographer who has photographed the last 13 U.S. presidents from Dwight D. Eisenhower to Joe Biden, Benson has also turned his lens on everyone from Mohammad Ali to Queen Elizabeth II. His photographs of historic events, political figures, and luminaries have been published in major magazines including LIFE, The Daily Express, Time, Vanity Fair, W, Newsweek, French Vogue, Paris Match, Forbes, The New Yorker, People, Quest, and The Sunday Times Magazine. The subject of a 2015 documentary, Harry Benson: Shoot First, Benson's work has also been published in numerous monographs including the recently released Paul celebrating the 80th birthday and career of Paul McCartney. Building on the Addison's holdings of works by Benson and amplified with loans from the artist, this exhibition focuses on four powerful photo stories from the 1960s: the building of the Berlin Wall, the Beatles' first American tour, the James Meredith March Against Fear, and the assassination of Robert F. Kennedy. These photographs not only catapulted Benson's career, but also incisively capture defining moments of this tumultuous period in history.

Andrew Smith Gallery is pleased to announce the exhibition: The Devil’s Highway: On the Road in The American West. There will be a special book signing and opening reception for the artist, Joan Myers, on December 10th, from 7-10 pm. For close to 50 years Joan Myers has been exploring and photographing the American West and has been showing at the Andrew Smith Gallery for nearly 30 years. Much of this time Myers lived in Santa Fe where the Andrew Smith Gallery had been located since the early 80s until its move to Tucson in 2018. Joan was a frequent visitor to Tucson and in 2022, relocated to Tucson permanently. Originally trained in musicology at Stanford University, she became interested in non-silver photographic processes in the 1970s. She moved to Santa Fe in 1980 and began an impressive series of photographic projects, most of which have resulted in books. Her projects have ranged from the Santa Fe Trail, portraits of aging women, the pilgrimage route to Santiago de Compostela in Spain, Antarctica, Japanese internment camps in the US, the Salton Sea in southern California, worldwide volcanic sites in her series Fire & Brimstone, and the frontier settlement of Pie Town, New Mexico. Myers has said of her work, "I don't do portraits or social commentary. What interests me is living — the way human beings affect the landscape in which they live. My job is to see clearly." Image: ©Joan Myers

All About Photo is pleased to present 'Bombay Beach' by Bram Coppens Bombay Beach is a place in Imperial County, California, USA. The population was 231 at the 2020 census. It is located on the Salton Sea, and is the lowest community in the United States, located 223 feet (68 m) below sea level. Once a popular getaway for beachgoers until the 1980s, when the draining and increasing salinity of the Salton Sea destroyed the lake's ecosystem and drove businesses and private landowners out of the area, rendering Bombay Beach a ghost town. Despite this, by 2018, a number of people had moved into the area, and the town's many abandoned structures and features from its past have drawn visitors back in. Bombay Beach was "enjoying a rebirth of sorts with an influx of artists, intellectuals and hipsters who have turned it into a bohemian playground." The Bombay Beach Biennale, an annual art festival, is held here. Living In Los Angeles at that time I knew Salton Sea so it was on my list to visit for years. Hearing that it was turning into some sort of artist micro community triggered me to finally do that road trip and go. Arriving there and while waiting for the perfect light situation, I was drawn by the atmosphere and the artistic community, but above all drawn by the desolate vibes. As I wanted to translate this desolate vibe into a visually driven language and capture the authentic look and feel of the moment, I tried to steer away from any obvious new art installation and tried to focus on the dead Salton Sea part, the ghost part of the town. The series was shot in Bombay Beach California in 2019 on Medium format analogue 6x6 film.

The Center for Photography at Woodstock (CPW) is pleased to announce Parallel Lives: Photography, Identity, and Belonging, an ambitious and innovative group exhibition of international contemporary artists, drawn from CPW’s annual open call for submissions. Organized by noted curator Maya Benton, this is the largest exhibition in CPW’s 45-year history and will be on view at a specially designed gallery space at the former IBM headquarters at Tech City, in Kingston, NY from November 5, 2022, through February 5, 2023. Parallel Lives: Photography, Identity, and Belonging draws attention to complex notions of community and belonging, and in particular how our social and familial relationships have been reimagined as a result of the conditions of isolation and uncertainty imposed by the Covid-19 pandemic. Shared tendencies bring this geographically and ethnically diverse group of artists together, including the impulse to explore complex political histories, challenge modes of self-representation, excavate personal and family trauma, and an intense yearning for connection, kinship, and community. At a time of profound anxiety about the future and collective loss, the artists in Parallel Lives – ranging in age from their early 20s to their late 60s – are placed in dialogue with each other, presented in pairs or couplings, to encourage connections, conversations, and shared searches for meaning. The works engage with such topical issues as violence and intergenerational trauma, race and self-representation, immigration and border policing, constructions of gender and masculinity, and intimacy and the body. The artists draw from sources as diverse as their own family albums, government surveillance tools, and international archives of modern conflict – and they experiment with a wide range of photographic practices, including archaic techniques like cyanotype and wet collodion and the deployment of expired photographic materials. “In direct response to the isolation and confinement of the pandemic years,” states curator Maya Benton, “this exhibition aims to spark dialogue between artists and audience about vital social and political issues concerning race, representation, immigration, policing, gender, intimacy, and community. I sense a profound desire to facilitate and to reactivate the consolations and connections of communal gatherings.” The thirteen emerging and mid-career artists featured in this exhibition are Manual Acevedo (Newark, NJ), Jillian Marie Browning (Birmingham, AL), Billie Carter-Rankin (Milwaukee, WI), Marcus Xavier Chormicle (Las Cruces, NM), Scarlett Coten (Arles, France), Noelle Mason (Tampa, FL), Susan Mikula (Western Massachusetts), Marc Ohrem-Leclef (Brooklyn, NY), Deanna Pizzitelli (Bratislava, Slovakia), Felix Quintana (Los Angeles, CA), Jared Ragland (Logan, UT), Rashod Taylor (Springfield, MO), and Iris Wu (Chicago, IL). Parallel Lives is the most recent installment of the series Photography Now, CPW’s annual call-for-entry, in which a curator of national or international repute is invited to create a survey exhibition of contemporary photography. The selection of artists was drawn from over 600 submissions. Benton notes, “What is striking about this group of emerging artists is the diversity of backgrounds and approaches. Their wide-ranging responses to specific political and social forces amount to a kind of barometer of the key issues for photography today.” The large, pop-up exhibition will occupy 8,000 square feet of the former IBM offices at Tech City in Kingston, radically transforming an abandoned space that is itself in the midst of a revival. In tandem with the Parallel Lives exhibition, CPW will host a five-part speakers series in January, featuring artists and invited guests. Check CPW website for further details.

This landmark exhibition surveys the work of Christina Fernandez, the crucially important Los Angeles-based artist who has spent thirty years in a rich exploration of migration, labor, gender, her Mexican-American identity, and the unique capacities of the photographic medium itself. Christina Fernandez: Multiple Exposures brings together the artist’s most important bodies of works for the first time, allowing audiences to discover the threads that connect them, both formal and conceptual. Through work that spans decades, Fernandez compels us to reconsider history, the border, and the real lives that cross and inhabit them. Christina Fernandez: Multiple Exposures is organized by UCR ARTS and is curated by Joanna Szupinska, Senior Curator at the California Museum of Photography. Chon Noriega, Distinguished Professor of Film, Television, and Digital Media at UCLA, is curatorial advisor. This exhibition is available to other venues through UCR ARTS Traveling Exhibitions. Please contact the museum for more information. Christina Fernandez: Multiple Exposures was made possible by grants from The Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts. Support for the publication was provided by AltaMed Health Services, Fundacion Jumex Arte Contemporaneo, and Furthermore: a program of the J.M. Kaplan Fund. Programs at UCR ARTS are supported by the College of Humanities, Arts, and Social Sciences at UCR, and the City of Riverside. Image: Christina Fernandez, Lavanderia #1, 2002. Courtesy of the artist and Gallery Luisotti, Los Angeles.

PDNB Gallery is proud to announce two solo shows by gallery artists: Keith Carter & Earlie Hudnall, Jr. Keith Carter’s show is in conjunction with the release of his new book, Ghostlight. Earlie Hudnall’s show will be a small exhibition in celebration of his recent Lifetime Achievement award given by the Art League, Houston. Keith Carter (b. 1948, Madison, Wisconsin) In Keith’s companion book essay, Sunday Morning, he writes, “The Big Thicket has always been a place of swamp ghosts, spirits, legends, contrarians, peckerwoods, and outlaws: over one hundred thirteen thousand acres of dense tangled forests, angry water moccasins, and amber waterways-known the world over as a biological wonderland.” For those not familiar with this impressive National Preserve, let Keith introduce you. His document approaches the mystical wetlands, a terrain that he visits often, with heightened senses. As an artist, Keith immerses himself in the environment and becomes close to his subjects: the trees, birds, vegetation and yes, the spirit of this magical, ecological treasure called the Big Thicket. Ghostlight is one of many books published featuring Keith’s photographic journeys. It all started in 1988 with, From Uncertain to Blue, a document he and his wife, Patricia, created, traveling to small towns in Texas with odd names. Some of Keith's most successful books, The Blue Man, Mojo, and Bones, informed us of the culture of Southeast Texas, where he has lived most of his life. He has broadened his sphere, photographing around the world, but he has come back to his homeland and dedicated this series, Ghostlight, to loved ones that have passed. Keith has been creating inspiring imagery for over fifty years. His photographs can be found in many major museum collections including the Amon Carter Museum, the Dallas Museum of Art, J. Paul Getty Museum, the Museum of Fine Arts Houston, George Eastman House, the Art Institute of Chicago, and the Smithsonian American Art Museum. Special collections include Elton John, Michelle & Barack Obama, Diane Keaton, and Horton Foote, who wrote a forward in Keith’s first book. *There will be a Book Signing scheduled later, upon the release of Ghostlight. Published by the University of Texas Press.

Anne Noggle’s (American, 1922–2005) life is the stuff of legend. Born in Evanston, Illinois, in 1922, she earned her pilot’s license as a teenager. In the 1940s she flew missions as a Women’s Air Force Service pilot (WASP) a small, elite group of women who served during World War 2. She then went on to become a stunt pilot in an air show and a crop duster, and then again flew missions during the Korean War. Emphysema grounded her from official aviation shortly after that, but she never fully abandoned personal flight. She did, however, begin a second, influential career as a photography professional, making photographs, teaching photography at the University of New Mexico, and working as a curator at the New Mexico Museum of Art. In all of these capacities, Noggle foregrounded women in photography. As a curator, she produced a major exhibition for the San Francisco Museum of Modern Art, Women of Photography: An Historical Survey in 1975. As a photographer, she explored the aging process of women, a process she referred to as “the saga of the fallen flesh.” In her most famous body of work, Noggle repeatedly photographed herself throughout the 1970s and ’80s in direct, revelatory images that record, for example, her face shortly after a facelift with sutures still visible under her eyes. Her desire to present her own body, with all of its wrinkles and folds, challenged traditional art historical concepts of feminine sexuality in pictures. Her adventurous and fearless spirit is perhaps best embodied in the self-portrait she made while flying her own plane. One of the greatest selfies ever produced, Noggle would have had to temporarily let go of the plane controls to hold the camera and release the shutter. Finally, even later in life, Noggle tracked down and photographed as many WASP members as she could find. The portrait here of Bonnie Dorsey Shinski is further evidence of Noggle’s devotion to preserving the contributions of women in the twentieth-century.

This exhibition explores fashion and street style photography through the eyes of Swiss collector and patron Nicola Erni, who has built one of the most important private collections of fashion photography. It is the first time that this comprehensive collection of more than 250 photographs is being presented in a public institution. Alongside high fashion photography, originally created for editorial and commercial projects by famous photographers such as Richard Avedon, Tina Barney, Guy Bourdin, Arthur Elgort, Hiro, Horst P. Horst, Peter Lindbergh, Steven Meisel, Tyler Mitchell, Helmut Newton, Irving Penn, Cindy Sherman, Albert Watson, and Esther Haase, street style photography will also be on view. This photographic genre, noted for its candid and spontaneous approach to capturing everyday people in their daily, urban lives, is documented in work by renowned artists such as Harry Callahan, Lee Friedlander, Anthony Hernandez, Helen Levitt, Garry Winogrand as well as Bill Cunningham and Scott Schuman (The Sartorialist), amongst others. Rather than showing the works chronologically, High Fashion & Street Style looks at the binding themes and synergies that run through the photographs, dividing the exhibition into twelve sections such as The New Look, Fiction & Fantasy, Unreal, or Unfiltered. In addition to the main sections, High Fashion & Street Style includes backstage material from the world of fashion including portraits of era-defining models and designers that shaped our view of beauty and clothes from the 1930s to the present day. The exhibition will present rare vintage prints, large-format photographs, Polaroids, and original collages. It is a strongly personal exhibition, which reflects Nicola Erni’s close relationship with a great number of artists. A substantial number of prints are unique and were especially produced for the Nicola Erni Collection or commissioned by her.

Renate Aller uses large-format photographic installations to create “picture windows” that invite the viewer to enter into an immersive visual environment. Aller offers us images of breathtaking landscapes, and we unquestioningly follow her as she directs our gaze straight on and in. The photographs take us from pale sand dunes to the vastness of the Atlantic ocean—from the majesty of the Alps to the intimacy of a forest floor in Florida. Throughout, we are absorbed by the textures of the landscapes and all that they imply: movement, change, time, and human influence. Aller’s photographs portray a stillness that belies a state of constant flux and movement of these natural environments—melting and eroding, changing with the seasons and the wind, never the same as they were seconds ago. Aller does not use drone technology for her photos. She is physically present in each location, looking through her camera’s viewfinder, bearing witness—and we see through her eyes. In these photographs, Aller asks us to immerse ourselves in our surroundings, to notice every fissure, stipple, vein, and crag, with the understanding that this moment she has frozen in time has passed, and we will never experience the same landscape again. The textures that draw us into the large photographs are made even more palpable in an image of a juniper tree printed on ash wood veneer. The grain of the ash invites the viewer to consider the surface of the piece, its material, and its relationship to the juniper in the photo. Aller celebrates the many gifts juniper trees have given us: Their sap has antibacterial and antifungal properties, it has been used for its healing potential for centuries, and in some cultures its wood is burned as incense. Junipers can easily grow in places where other plants cannot survive, its presence symbolizing hope. Aller honors the ash tree by using its wood as the surface on which the photograph is printed. Ash is a tree that is dying out throughout the forests of North America. Aller says, “The juniper trees are presented with pigment ink on ash wood veneer in the spirit of reciprocity… By bringing both trees together into one sculptural piece, I am wrapping the ash tree with the resilience of the juniper tree’s spirit.” Ideas of reciprocity and interconnectedness also inhabit the site-specific installation Aller has created on the stage space of the exhibit, using rocks borrowed from the West Brattleboro home of artists Wolf Kahn and Emily Mason. The moss and lichen covering the rocks play an important role in keeping forests alive as they filter water, maintain moisture, and offer protection from erosion. The stones serve the same purpose as the landscapes Aller has captured from around the globe. But instead of being frozen in time, this ephemeral installation will change before our eyes, further encouraging us to be awake to the present and to the changes taking place in our natural environments. In the introduction to his book of essays Art Can Help, photographer Robert Adams writes, “It is the responsibility of artists to pay attention to the world, pleasant or otherwise, and to help us live respectfully in it.” Aller’s work calls attention to the details and the often indescribable forces that connect us to our surroundings—and to each other. Aller’s work whispers in our ears, telling us to look, take a breath, and look again. — Sarah Freeman, Curator Image: ©Renate Aller

Shane Brown is an Oklahoma-based, Cherokee photographer and filmmaker documenting the present-day cultural landscape of the American West, experimenting with representations of time and motion, and working on a variety of film projects. Brown’s documentary photography project “In the Territories,” is a photographic survey of the cultural landscape of the American state of Oklahoma, its convoluted histories and their present-day manifestations. Other photography projects include “Life Out There,” an exploration of the Atomic Age-based mythology of the American West; and, “Great Plains Schema,” a survey of the ethos, archetypes, and myths of the Great Plains region. Brown’s projects reveal that the American West, Oklahoma, and the Great Plains region—in spite of or, perhaps because of, their mythos—have not escaped the 21st century any more than they did the 19th, 16th, or 5th centuries. Over the last two decades, Brown has pursued freelance and creative projects in documentary and experimental photography and cinematography. Presently, Shane is the on-set still photographer for the Peabody Award winning FX series, Reservation Dogs, created by Taika Waititi and Sterlin Harjo. The series depicts contemporary reservation life through the lives of four teenagers. Other photography and cinematography clients and projects include—The New York Times, Bloomberg Businessweek, Tiger King 2, Teton Trade Cloth, First Americans Museum, Smithsonian Magazine, American Indian Quarterly, Bob Dylan Archive, Woody Guthrie Archive, Yeti, Buffalo Nickel Creative Agency, and Love and Fury (2020), Mekko (2015), and This May Be the Last Time (2014), all feature-length films by director Sterlin Harjo. In 2022, Shane was part of a team of Wall Street Journal editors, journalists, and photographers nominated for a Pulitzer Prize in Explanatory Journalism.

Fridman Gallery is honored to present Infra Structures, Jan Tichy’s third solo exhibition with the gallery, continuing the artist’s exploration into the politics of light. The exhibition comprises three bodies of recent work. Over the last two decades, Tichy has created over 40 projection installations which have been exhibited around the world. The installations deal with the encounter between the artist’s formal visual language and the context in which it is created. Tichy uses light to examine the way in which architectural structures, infrastructure and the public space are mandated by social, economic, political or national agents of power, and how they affect the fabric of society. Tichy has coined the concept of ‘social formalism’ to describe his work. The Installations series continues his investigation and experiments with light as material. The series consists of 40 photo etchings (around half of which are on display in the exhibition), one print per installation. Tichy sought to move from the photographic medium to engraving and printing in order to rediscover light – this time outside of space – and to reveal a new range of shades and qualities of concentration and dispersion. Appropriately, Installations is having its U.S. debut at Fridman Gallery, which exhibited five of the installations over the last decade. The site-specific installations that Tichy created with Fridman over the years have connected the gallery to the political, economical and social infrastructures of its environment. In 2014, Installation no. 20 (walls) questioned the very infrastructure of the gallery space; two years later, Installation no. 27 (Long Lines) examined the implication of telecommunication surveillance as manifested in the infrastructure of its architectural skeleton, the Long Lines building just south of the gallery’s then-current location in SoHo. In 2020, at the new gallery location, Installation no. 38 (Light Shop) focused on the lack of democratized light on the Bowery, contrasting conspicuous consumption, gentrification and nightlife with the dwindling presence of lighting stores in the area. The new Installation No. 43 activates objects that manifest decaying physical and political infrastructures, which the artist observed while at the gallery’s residency in Beacon, NY. The illuminated electrical cable perilously dangling from the ceiling of the gallery evokes rolling blackouts and bombed-out power stations in Ukraine, and the dangers inherent in power generated from fossil fuels. Presented in the gallery’s basement media room is Tichy’s four-channel video installation Destroy All Monsters (2023), which mirrors the basement of Mike Kelley’s public artwork the Mobile Homestead located outside the Museum of Contemporary Art Detroit. Kelly’s two underground basements are closed to the public, originally intended as creative spaces for the artist and his band Destroy All Monsters, named after the original Godzilla movie. Tichy was allowed into the underground space while developing a project for the Mobile Homestead. According to the house rules, the space is meant for creative purposes but the artwork cannot be exhibited on premises. Tichy watched the original 1968 film Destroy All Monsters in the darkness of the basement, lighting up the walls with the glowing light of his screen. Filming the flickering walls and re-projecting them into a new space, both creates and recreates the dark space with animated light. As we sense the violent flashes of Godzilla demolishing the physical infrastructure of the city, the light flickering in the basement suggests the erosion of seemingly impenetrable power structures above. Image: Installation no. 27 (Long Lines), 2016, Photograph of site-specific installation at Fridman Gallery © Jan Tichy

Featuring work made over the past two decades, this exhibition is the first museum survey dedicated to Deana Lawson. Working primarily in photography, Lawson investigates and challenges conventional representations of Black identities and bodies. Her work evokes a range of photographic histories and styles, including family albums, studio portraiture, and staged tableaux; she also employs documentary pictures and appropriated images. In Lawson’s highly staged scenes, individuals, couples, and families are pictured in intimate domestic spaces and public settings, interacting with one another. The artist describes her work as “a mirror of everyday life, but also a projection of what I want to happen. It’s about setting a different standard of values and saying that everyday Black lives, everyday experiences, are beautiful, and powerful, and intelligent.” Lawson’s practice is global in scope, as she creates her images throughout the African diaspora in locations as varied as Brooklyn, Haiti, Jamaica, Ethiopia, Brazil, the Democratic Republic of the Congo, and the Southern United States. This broad geographical range points to a collective memory of shared experiences and various cultural histories of the past. This exhibition is co-organized by the Institute of Contemporary Art Boston and MoMA PS1.

For more than forty years, Los Angeles–based artist Uta Barth (born in West Germany, 1958) has made photographs that investigate the act of looking. In her multipart works, she explores the ephemeral qualities of light and its ability to overwhelm and entirely destabilize human vision. In certain series, the repetition of motifs—including aspects of her home—creates a rhythm that suggests movement, carrying viewers from one image to the next. Barth also highlights photography’s abiding connection to the passage of time with her sequential images captured at intervals over a particular period. This exhibition traces Barth’s career from her early experimentations as a student to later studies of the eye’s capabilities and the camera’s role in helping an artist translate visual information into a photograph. Barth’s most recent work is displayed here for the first time: a project commissioned in celebration of the Getty Center’s twentieth anniversary. Image: Field #9, 1995, Uta Barth. Chromogenic print. © Uta Barth

Richard Nickel (1928-1972) was a Polish-American architectural photographer and preservationist. Nickel first encountered the work of Louis Sullivan (1856-1924) as a student, when photographing the architect’s buildings for a project at the IIT Institute of Design. In the 1960s and 1970s, many of Sullivan’s buildings began to be demolished to make way for new development—part of the “urban renewal” movement of the period—and Nickel became an activist. He picketed buildings designated for demolition, organized protests, and wrote letters to news media and politicians in the hopes of saving them from destruction. Realizing that his efforts were futile, he embarked on a mission to meticulously document the buildings in various stages of destruction. Today, Sullivan is well-known as an influential architect of the Chicago School, the “father of modernism,” and as a mentor to Frank Lloyd Wright. The fact that we have a comprehensive overview of Sullivan’s Chicago architecture today is largely thanks to Nickel’s tireless efforts to document Sullivan’s design philosophy and to preserve the architect’s legacy. Focusing on Adler & Sullivan’s Chicago buildings of the 1880s and early 1890s, the exhibition will explore the firm’s architecture through the lens of Nickel’s photography, which provides a detailed record of these buildings and, in particular, Sullivan’s signature ornamentation. The exhibition will highlight the integral role Nickel played in preserving Sullivan’s legacy—the photographer’s work is all that remains of many of Adler & Sullivan’s major buildings—while ultimately losing his life in an effort to salvage artifacts during a demolition. Featuring around forty photographs as well as a selection of over a dozen architectural fragments from The Richard H. Driehaus Collection and loans from other private collectors – many initially saved by Nickel himself – Capturing Louis Sullivan: What Richard Nickel Saw will be on view at the Driehaus Museum from August 26 through February 19, 2023. The exhibition is curated by David A. Hanks. “Capturing Louis Sullivan: What Richard Nickel Saw is the last project initiated by the late Richard H. Driehaus, who founded the Driehaus Museum and served as its board president for more than a decade before passing away unexpectedly last year,” said Anna Musci, Executive Director of the Richard H. Driehaus Museum. “Just as Richard Nickel dedicated his life to documenting and salvaging Sullivan’s architecture, Richard H. Driehaus dedicated his to preserving significant architecture and design of the past, most notably the 1883 Nickerson Mansion, a home for his beloved Chicago community to be inspired through encounters with beautiful art. Presenting this exhibition is a celebration of both Chicago’s architectural legacy and those who have gone to great lengths to ensure that its beauty and cultural heritage are preserved for future generations.” Image: Lawn Chair Catapult, 2017 © Richard Nickel

The California Science Center proudly presents the North American premiere of Amazônia, the critically acclaimed exhibition featuring more than 200 photographs by world-renowned Brazilian photojournalist Sebastião Salgado, including portraits of the Amazon's indigenous peoples and large-scale rich landscapes. Enhance your experience seeing Amazon Adventure 3D, an immersive IMAX movie that transports viewers to the lush Amazon rainforest to meet some of the region's captivating animals on our 7-story screen. Discover stunning portraits of the Amazon's indigenous leaders and communities, dramatic landscapes taken from intrepid riverboat expeditions, and sweeping aerial shots of immense waterfalls and stormy skies. Accompanied by an immersive forest soundscape and original music composed by French musician Jean-Michel Jarre, Salgado's breathtaking black-and-white photographs will draw viewers into the planet's largest rainforest and its hidden worlds. Lélia Wanick Salgado's curatorship and amazing scenography immerse us in the forest, among its inhabitants. Heralded by The Guardian as what "may be the most urgent exhibition of the year," Amazônia will enrich our understanding of life in the Amazon, the ongoing threats from the outside world, and the vital role of sustainable development and conservation to ensure its survival for generations to come. Photography by Sebastião Salgado, organized by Lélia Wanick Salgado, Curator and Scenographer.

Throughout 2020, Rasmuson Foundation gathered with Alaska Black leaders to discuss critical issues and how the Foundation could be a better partner to the Black community in Alaska. Through these conversations, a need for more positive media by and for Black Alaskans was highlighted. Black in Alaska is a multimedia project with interviews, photos and short videos profiling 50 Black Alaskans. Participants are from all over the state and represent diverse backgrounds in age, gender, and socioeconomic status. Through storytelling, this project aims to dismantle stereotypes and create a deeper connection between communities. Stories, photos, and videos are available on Black in Alaska social media channels as well as the website blackinalaska.org.

Through the generous support of Linqto, the Center for Photographic Art is kicking off 2023 with CPA Celebrates!, four diverse exhibitions at the Pacific Grove Art Center. These exhibitions and accompanying programming augment the ongoing world-class exhibitions hosted at CPA’s storied gallery in Sunset Center, Carmel. • Up Close and Personal: The Journey Continues (Gill Gallery) highlights the photographs of three cultural documentarians: Monica Denevan, Richard Murai and Manuello Paganelli. • Oceana: Deep Reverence (Dyke Gallery) celebrates the 30th anniversary of the Monterey Bay Marine Sanctuary and features work by leading local underwater photographers Bryant Austin, Scott Campbell, Chuck Davis, Camille Lenore, Robin V. Robinson and Ryuijie. • Bella Italia (Annand Gallery) features work by noted San Francisco photographer, Ernie Luppi. His retrospective exhibition highlights four decades of documentary photography and his commitment to film photography and darkroom printing. • Arts in Progress: Where Photography’s Past Meets Its Future, (Boyer Gallery) is a collaboration with Arts Habitat and Zach Weston and the Weston Collective. The exhibition acknowledges the Collective’s twenty years of commitment and passion nurturing fine art photography among the youth of the Monterey region. Meet the Artists! Join us for the following lively discussions and programs. These spirited exchanges and walk-throughs will add clarity to the work of the artists as they share their insights and experiences. Free admission.

"The image inspired me to search fro the poem, which I weave word by word, image by image, metaphor by metaphor to make the magical carpet that files the reader to unknown spaces." – Osama Esber Born in Syria in 1963, Osama Esber is a widely published author of poetry, an essayist and short story writer, as well as a major translator of English writings into Arabic. He currently lives in the United States, where he arrived as a visiting scholar at the University of Chicago in 2012, leaving the wartorn country of Syria to avoid the bombing and violence he and his family witnessed. Esber is also an editor for the Arab Studies Institute’s Tadween Publishing House and a host of Status Audio Magazine and co-editor in the Arab section of Jadaliyya Magazine. Esber has translated novels and poetry into Arabic by Henry Miller, Toni Morrison, Bertrand Russell, Seamus Heaney, Elizabeth Gilbert, Raymond Carver, Michael Ondaatje and Noam Chomsky, to name a few. In fact, he translated ‘The English Patient’ by Ondaatje before the book became famous and made into the Oscar winning film. He has published 7 poetry collections. "Photography was a savior for me as a poet. It liberated me from the influence of a long literary tradition and the dominating language of powerful Arab poets through escaping from the memory of language to the open possibilities of visual reality." – Osama Esber Image: Rebirth © Osama Esber

The Robert Koch Gallery is pleased to offer works from Edward Burtynsky’s latest African Studies series. Between 2015 – 2019 Burtynsky focused on Sub-Sahara Africa’s complex and ever-changing landscape. A new monograph of the same title published by Steidl accompanies the exhibition. Edward Burtynsky’s works are held in the collections of over 60 major museums around the world, including The Museum of Modern Art, New York; the Guggenheim Museum in New York; the Whitney Museum of American Art in New York; the Tate Modern London; the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; the Art Gallery of Ontario; and the National Gallery of Canada. Burtynsky is a recipient of the 2004 TED Prize honoring individuals who have shown they can positively impact life in a global context, as well as the ICP Infinity Award for Art (2008), the Rogers Best Documentary Film Award (2006), The Outreach Award at the Rencontres d’Arles (2004), and the Roloff Beny Book Award (2003). The National Gallery of Canada organized and toured in 2003 the first retrospective of Burtynsky’s work, Manufactured Landscapes, which subsequently travelled to the The Brooklyn Museum of Art, New York; the Museum of Photographic Arts, San Diego; and the Cantor Center for Visual Arts, at Stanford University.

The Hulett Collection is proud to present iconic music images including everything from The Rat Pack to Sex Pistols, Queen, Led Zeppelin and Bob Dylan amongst many others. The Gallery's preeminent collection includes work from such artists as Roberta Bayley, Andrew Kent, Lisa Law, Graham Nash, Terry O'Neill, Neal Preston and more. These artists were initiators of a movement and have captured the culture that was and is rock and roll. Music is a reflection of our culture and our place in time. It is the adhesive that draws us together and propels us forward towards shared aspirations. This undeniably emotional collection of photographs contains images that appeal to viewers of all ages and musical appetites. The photographs will set aside commonplace notions while showcasing the tremendous influence of both the photographers and their subjects.

Edwynn Houk Gallery is pleased to present an exhibition by Christopher Bucklow (British, b. 1957), Guests and Tetrarchs: A Retrospective. Bringing two of his most well-known series together, this show includes vibrant, large-scale cameraless photographs that have become the artist’s trademark. Part painter, part photographer, part alchemist, Bucklow harness the power of the sun to infuse his figure studies with energy. He begins by tracing the shadow of his sitter onto a sheet of aluminum foil into which he pricks hundreds of tiny pinholes. An accomplished art historian, Bucklow brings his knowledge of photography’s early years to this work, adapting a pinhole camera not unlike those used in the 19th century. At one end, he places a sheet of light-sensitive photographic paper. At the other, the punctured aluminum silhouette. When held to the sun, the light filters through colored gels over the pinholes, each one acting as an aperture. The resulting object is a photogram silhouette filled with thousands of tiny pinhole photographs of the sun—luminous and unique. The colors of the paper shift depending on the angle of the sun, its intensity, and the length of the exposure time. The azure blues, fiery oranges, and luscious lavenders seem like auras—the subjects’ energies radiating from the surface of the paper behind the ethereal constellations of their bodies. Christopher Bucklow began his career as a curator at the Victoria & Albert Museum, London. He has exhibited his photographs and paintings extensively throughout Europe and abroad. His works are included in numerous public collections including the Museum of Modern Art, New York; the Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the High Museum, Atlanta; and the Museum of Fine Arts, Boston. He is the author of several monographs including Christopher Bucklow: Photographs (Blindsport Publications, 2004), Christopher Bucklow: Drawings (British Museum, 2004), among others. He lives and works in southwest England. Guests and Tetrarchs: A Retrospective is on view from 10 January to 25 February 2023. The gallery is open Tuesday through Saturday from 11am to 5pm. For more information, please contact info@houkgallery.com. Image: 17M Tetrarch 10.35am, 23rd November, 2007 © Christopher Bucklow

Foto Relevance is pleased to announce Somos Millones, a solo exhibition of works by Karen Navarro. Somos Millones (we are millions) is a visual expression of identity though the artist’s uniquely deconstructed and reconstructed portraits of first, second and third generation American immigrants. Navarro’s mixed-media works investigate a sense of belonging as influenced by race, migration, and the artist’s own indigenous identity. By exploring her ancestral culture, and her experience as an American immigrant, she creates connections between a vast constellation of identities in the present time — connections which reinforce a vision of a more just future. Navarro utilizes crowdsourced skin tones, data, and language to craft deeply resonant portraits and experiential installations, inviting the viewer to see the world through her gaze. Somos Millones will be on view at Foto Relevance from January 13 through February 25, 2023. Image: DESPOJO, 2022 © Karen Navarro

A wide-ranging survey featuring typologies and industrial landscapes. Fraenkel Gallery is pleased to present an exhibition of photographs by celebrated German artists Bernd and Hilla Becher, their fifth with the gallery. Spanning the Bechers’ career, the exhibition features approximately 35 works made between 1967 and 2010, including examples of their pioneering typologies, a selection of early industrial landscapes, and a collection of iconic water towers. The exhibition coincides with a major retrospective of the Bechers’ work organized by the Metropolitan Museum of Art, on view at the San Francisco Museum of Modern Art from December 17, 2022, until April 2, 2023. Image: Industrial Landscapes: Zeche Consolidation, Gelsenkirchen, D, 1974 © Bernd and Hilla Becher

Other People’s Pictures: Gifts from the Robert and Kerstin Adams Collection explores the reciprocal relationships among artists and their creative exchange of objects. Comprised of more than 70 photographic works selected from a collection donated to the DAM in 2018 by Robert and Kerstin Adams, this exhibition also examines the themes of collecting, the pleasure of looking, and how diverse points of view interact to shape perspectives. Through photographic themes of landscape and recreation; people and places; forces of nature; slowing down; and ethics, belief and memory, Other People’s Pictures invites visitors to contemplate their own connections to the objects, people, and places in their own lives and how photographs can convey that attachment.

Dating back to the Renaissance, artists have used the dramatic technique of painting shadows and bathing a subject in a single light source. The effect was used both to illuminate and lead the viewer’s eye, making a particular area the focal point within a painting. The method, known as chiaroscuro, derived from two Italian words chiaro, meaning clear or bright and oscuro meaning dark. Burn it In pays homage to the beauty and the power of the dark print, bringing together the work of four internationally renowned photographers: W. Eugene Smith, Roy DeCarava, Ray Metzker and Alex Majoli. W. Eugene Smith, perhaps the single most important American photographer in the development of the editorial photo essay, famously instructed his then darkroom assistant, the photographer James Karales: “You have to work it over and over… you have to burn it in.” For Smith, authenticity of the emotion of a scene outweighed the authenticity of the scene itself. Using heavy contrast, so heavy that it created a dramatic chiaroscuro effect, he believed that 90% of a photographic image was made in the darkroom, using potassium ferrocyanide to paint and pull areas back into the light. Spanish Wake, 1951 included in this exhibition, could well be considered an homage to one of Rembrandt’s masterpieces The Anatomy Lesson of Dr. Nicolaes Tulp painted in 1632 both in composition and sensibility of light. Roy DeCarava in conversation once stated: “I’m not a documentarian, I never have been. I think of myself as poetic, a maker of visions, dreams, and a few nightmares.” Combining often pointed political commentary with aesthetic and formal rigor, his pictures were characterized by moody lighting and darker tones to break through a kind of literalness and achieve a creative expression. Ray Metzker considered himself ‘an intellectual wanderer,’ his images pushed the boundaries of what seemed formally possible in black and white photography and in the words of Keith F. Davis, senior curator of photography at the Nelson-Atkins, ‘transcended any simple notion of technical experimentation of formalism to illuminate a vastly larger human realm.’ Italian born photographer Alex Majoli is the only photographer in the exhibition making work today and has traveled the world photographing political demonstrations, humanitarian emergencies and quiet moments of daily life. Inspired by the paintings of Caravaggio, whose dramatic use of illumination and extreme shadows came to be known as tenebrism, from the Italian tenebroso meaning dark and mysterious, Majoli’s images possess a quality of light and sense of human theatre which is again highly dramatic. Majoli, in spite of making his pictures during daylight hours, unlike the other photographers in this exhibition, uses an elaborate off-camera flash method to plunge the surroundings into darkness to create, quoting curator David Company, ‘something resembling moonlight,’ transforming the scene profoundly. Pioneers in their field, the photographers in this exhibition, some of whom began working almost a century ago, invite profound reflection upon not only the human condition, but what it is to experience the negative space. Photography begins with darkness, an unexposed sheet of photographic film will produce a clear negative that will print as pure black. The act of ‘burning in,’ to take a negative in part back towards it’s original state speaks to origins both of the human condition and of the history of art. Image: W. Eugene Smith - Mad Eyes, Haiti, 1959 © Mona KuhnW. Eugene Smith

Lehmann Maupin presents Part Two: Run, an exhibition of new photographs, film, and sculptures by Los Angeles-based artist Alex Prager. The multi-part exhibition will culminate in the debut of Prager’s ambitious new film at the gallery’s New York location in January 2023. Directly responding to a period of cultural ambivalences and uncertainties, the exhibition urgently examines the collective will to exist and explores the opportunities for empathy, participation, and action present both within art and everyday life. Throughout the ten photographic works that comprise Part Two: Run that will be featured in Palm Beach, Prager examines the cultural mythologies and archetypes that shape our shared existence. Fervently cinematic, works such as Claire and Frances, Diner, and The West craft richly developed characters and interrogate genres such as the noir and the Western as they probe contemporary concerns and anxieties. Occupying a tenuous relationship to time and place, the carefully staged figures remain suspended between the past and the present. Across her practice, Prager crafts rich, often ambiguous narratives. Slyly suspended in action, Prager’s carefully staged but ultimately open-ended scenes invite questioning and active engagement from viewers. Prager’s work suggests a relentless, unyielding movement forward through time even in the face of suspended uncertainties and anxieties, but her nostalgic and cinematic body of work also evokes a notion of contemporary experience that looks to the past to interpret the present and explore themes about common humanity. The Palm Beach exhibition builds upon a solo presentation of the artist’s work at Lehmann Maupin London earlier this year. In this new body of work, Prager engages theatrical strategies and cinematic conventions, exploring how both our senses of self and our engagement with others are often mediated by identification with familiar narratives and tropes. Shot from above, Mime is a vivid, intricately orchestrated image of a group. The work’s sharp angle renders the scene uncanny, at once exposing its artifice and undermining it. Present in the lower edge of the work is the titular mime, gesturing expressively with her hands, but the mime as the idea of a farcical drama is present in the entirety of the frame. In Prager’s work, the mime is not only a character, but also, perhaps, a method for thinking through strategies of representation: here, and across Prager’s practice, figures assume familiar postures and poses in order to inhabit character; to engage and reflect; and ultimately, to understand and empathize with others. Viewers, too, become active participants in Prager’s works. At the center of Mime is a woman with a camera, who faces the viewer and points her lens toward them. Here, as throughout the exhibition, Prager invites viewers into her visually and symbolically saturated works, suggesting that they, too, have critical parts to play. The foundation for this new body of work is the artist’s powerful new film, Run, which will be exhibited at the gallery’s New York location in January 2023. Featuring musical compositions by Ellen Reid and Philip Glass and starring Katherine Waterston, the film deploys cinematic archetypes and absurdist humor as it examines human resilience in the face of catastrophe. An otherwise ordinary day in an uncannily generic setting erupts into chaos when a massive, mirrored sphere propels itself through a community. Here, forward motion is countered by retrospection, and figures collide into their own reflections in the sphere’s surface, and Prager suggests a curative, collective reckoning with those forces outside of our control. Image: Alex Prager, Diner, 2022 - Courtesy Alex Prager Studio © Steven Cuffie

Robert Mann Gallery is pleased to announce the representation of Larry Fink along with his inaugural exhibition at the gallery, opening on December 7th. The show will feature works from the series: Social Graces, Boxing, and Loggers among others. Born in Brooklyn in 1941 and raised in New York City, Fink began making pictures in his early teens. He was privately taught and mentored by photographer Lisette Model whose work greatly influenced Fink. He was strongly influenced by the dichotomy within his family, and in particular, the contradictory nature of his mother—who he has described as a bourgeois woman and a Marxist. Since the 1970’s, Fink has lived and worked on a farm in Martins Creek, Pennsylvania, where he met the Sabatine’s. Images of this family would later become of great importance in the series Social Graces. Fink photographed normal moments in their lives, such as birthday parties and graduations, while simultaneously exploring the upper crust of Manhattan Society. Fink would attend parties in New York City where he photographed the eccentricities of Manhattan’s high society, driving hours back and forth in his truck, downing gin and tonics at the bar to get himself comfortable at the scene. Then, he would drive back home to immediately develop his film. These images of the Sabatine Family and high society parties explored issues of class and ultimately gave way to Fink’s most acclaimed series: Social Graces. Social Graces was the subject of a solo exhibition at the Museum of Modern Art in 1979 and his first monograph published by Aperture in 1984. Fink’s distinctive style, using a handheld flash separate from his camera, allows him to isolate his figures in space, setting his work apart while he explores his subjects with empathy. His work has been published in Vanity Fair, The New York Times Magazine, W, and GQ Magazine to name a few. He has spent over half a century as an influential teacher at institutions including Bard College, Yale University School of Art, Cooper Union, Parsons School of Design, and New York University. Fink will also have an exhibition along with Judith Joy Ross, entitled Timestamp at the Allentown Art Museum from December 15, 2022 - April 16, 2023. Larry Fink has had solo exhibitions at the Museum of Modern Art, the Whitney Museum, the Philadelphia Museum of Art, the deCordova Sculpture Park and Museum, the Musee de l'Elysee in Switzerland, the Musee de la Photographie in Belgium, a 2019 retrospective exhibition at the Fotografia Europea in Italy, among others. He has been awarded two John Simon Guggenheim Fellowships (1976 and 1979), two National Endowment for the Arts, Individual Photography Fellowships, the International Center for Photography Infinity Award for Lifetime Fine Art Photography, was the recipient of the Lucie Award for Documentary Photography in 2017 and 2015, alongside many other prestigious awards and achievements.

Joseph Bellows Gallery is pleased to announce its upcoming exhibition, Steve Fitch: Drive-In Theaters. The show will open on January 14th, and continue through March 4th in the gallery's Atrium exhibition space. An opening reception will be held on Saturday, January 28th, from 11:00 am – 1:00 pm and is the first solo exhibition of the photographer's work presented by the gallery. Drive-In Theaters will showcase a remarkable selection of vintage and modern gelatin silver prints representing the architecture of these distinctly American movie-viewing monuments. For more than forty years, Steve Fitch has been photographing the American West revealing its changing vernacular landscape and vanishing roadside attractions. After graduating from the University of California at Berkeley in 1971 with a bachelor's degree in anthropology, and while teaching photography at the ASUC Studio on the Berkeley campus, Fitch began work on a project photographing the vernacular roadside of the American highway. He received two National Endowment for the Arts Fellowships to aid in completing this project, one in 1973 and the second in 1975, and published the acclaimed monograph, Diesels, and Dinosaurs (1976). His serial photographs of the Drive-Ins, seen together, shape an intriguing typology of a disappearing architectural form. These cinematic landmarks are now mostly artifacts of a shifting cultural landscape; they are, however, perfectly preserved in Fitch's extraordinary photographs, which mostly picture their subject under the fluorescent glow of the Drive-In's signage. Fitch received his master's degree in fine arts from the University of New Mexico in Albuquerque in 1978. After graduating, He accepted a teaching position at the University of Colorado in Boulder. In 1981, as a member of the "Marks and Measures" project, he began photographing prehistoric Native American pictograph and petroglyph sites in the American West, funded by the last National Endowment for the Arts Survey Grant in 1981. His work on the project, along with that of the other four project members, was published in a monograph, Marks in Place: Contemporary Responses to Rock Art, by the University of New Mexico Press in 1988.  In 1990, after teaching at Princeton University for four years in the Visual Arts Program, Fitch returned to New Mexico and began photographing the ongoing abandonment of the High Great Plains, receiving the Eliot Porter Fellowship from the New Mexico Council for Photography in 1999 to aid in the completion of this project. In 2003, a book of these photographs entitled Gone: Photographs of Abandonment on the High Plains, published by the University of New Mexico Press and the University of New Mexico Art Museum, was organized into a traveling exhibition. Fitch's work is in the collections of the Whitney Museum of American Art, San Francisco Museum of Modern Art, Museum of Modern Art, New York; J. Paul Getty Museum; Amon Carter Museum, Center for Creative Photography, California Museum of Photography, among others.  Monographs on Steve Fitch's work include Diesels and Dinosaurs (Long Run Press, 1976), Gone: Photographs of Abandonment on the High Plains (University of New Mexico Press, 2002), Motel Signs (Nazraeli Press, 2018), American Motels Signs (The Velvet Cell, 2016), Vanishing Vernacular: Western Landmarks (George F. Thompson, 2018), American Motels Signs II (The Velvet Cell, 2020).

CLAMP is pleased to announce “ARCHITETTURA,” a collection of photographs by artist Mickey Smith relating specifically to the practice of architecture. A presentation of selected works from the collection will be displayed on the gallery’s mezzanine through March 4, 2023, with an expansive solo exhibition of the larger series titled “VOLUME” planned for the main gallery in 2024 to coincide with the 20th-year anniversary of the beginning of the project. “ARCHITETTURA” draws from Smith’s ongoing body of work “VOLUME,” which documents bound periodicals and journals in public libraries. In the images Smith does not alter reality through lighting or manipulation. The artist leaves the books as they are found and photographs them as they were seen in the library. The majority of bound periodicals and journals photographed over that time have since been deaccessioned, so Smith’s images now represent the sole record of their existence. Pulitzer Prize-winning author Louis Menand writes of the series: “One important thing about the images is their found-ness. The photographs are taken from life; they’re not made from props in a studio. The artist was on library safari.” It is only through framing and angle, by deciding what is and is not included within the image itself, that Smith transforms these objects. By cutting off a word, or through repetition, Smith generates poems and lingual experiments that interact with the varying materials and colors of spines and bindings. Human interventions and indicators of age, like handwritten labeling, scuffs, and tears, act as punctuation marks to the isolated words, estranged from context, against a black abyss.

Maude Schuyler Clay: Portraits of a Place features nearly 100 photographic works by Clay of images that move across time. They are of objects and people informed by the past, belonging to Clay and her family and the larger community. Each image serves as a memory device that assists the viewer with recall. The works presented in this exhibition trace the disappearance of time within our present. Sumner, Mississippi, with its current population of under 500 inhabitants, is the setting for the majority of Clay’s images. The porch of Clay’s intergenerational home, built in 1911 by Clay’s great grandfather Joseph Albert May, offers an idyllic view of Cassidy Bayou, one of the longest bayous in the world. Images in the exhibition inform us of a people, their social placement, their fading architecture, and the freedom of existing in the shadows of historical constraints. While visitors might be familiar with Clay’s images of Delta landscapes and Delta dogs in a distant fog, the majority of this exhibition, guest curated by Phoenix Savage, is a compilation of Clay’s family portraits represented in an intimate size to convey the relationship between the photographer and the subject. These portraits speak to the domestic realm that binds femininity to motherhood and home. In documenting her immediate family, Clay transcends the boundaries of domesticity and serves as a visual archivist, recording the daily life in a manner that brings awe and delight.

Utilizing the instruments of photography, video, installation, and social practice, artist and educator Stephanie Syjuco interrogates the construction of American history and foregrounds its colonial practices. She is a tireless researcher of national archives who, through examination and appropriation, questions the neutrality of images and counters existing power structures. Dedicated to repositioning narratives and constructing new ones, Syjuco asks her viewers to shift their perspectives and critically engage in creative acts of inclusion. White Balance/Color Cast derives from Syjuco’s established interest in photographic standards of imaging, color calibration charts, and photography’s suggestive powers. The commonly used term, white balance, refers to the process of removing an image’s color cast, shifting the image to what could be considered a more “neutral” or accurate representation. In Syjuco’s case, she uses these traditional imaging terms to question how photography and imaging standards—such as the quest for “correct” color—reflect deep seated biases, positioning whiteness as its center. Born in the Philippines in 1974, Syjuco received a BFA from the San Francisco Art Institute in 1995 and an MFA from Stanford University in 2005. She is the recipient of a 2014 Guggenheim Fellowship Award, a 2009 Joan Mitchell Painters and Sculptors Award, and a 2020 Tiffany Foundation Award. Her work has been exhibited widely, including at MoMA/P.S.1, the Whitney Museum of American Art, The San Francisco Museum of Modern Art, the 2015 Asian Art Biennial (Taiwan), among many others. Syjuco’s work is represented in the Museum of Modern Art, the San Francisco Museum of Modern Art, the Fine Arts Museums of San Francisco, Smithsonian American Art Museum, Walker Arts Center, Berkeley Art Museum and Pacific Film Archive, among others. A dedicated educator, she is an Associate Professor in Sculpture at the University of California, Berkeley. She lives in Oakland, California and is represented by Catharine Clark Gallery in San Francisco and RYAN LEE Gallery in New York. This exhibition is organized by the Anderson Collection at Stanford University. We gratefully acknowledge support from Pamela and David Hornik. Image: Stephanie Syjuco, Cargo Cults: Head Bundle (Small), 2016. Pigmented inkjet print. Edition of 15 + 2AP; 21 x 16 inches framed. Courtesy of the artist, Catharine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York.

Bruce Silverstein Gallery is pleased to present Shawn Walker: Lost & Found, an exhibition of rediscovered early exhibition prints by one of the founding members of the Kamoinge Workshop. These extraordinary photographs, created in the first decade of the artist’s sixty-year career, depict and immortalize members of the artist’s community who were all too often overlooked and unseen, serving as a window into the origins of the artist’s creative practice. Having rested dormant, safely stored, and forgotten in The Schomburg Center for Research in Black Culture archives for over a half-century and now reunited with the artist, many of the photographs exhibited in Lost and Found are being shown in public for the very first time. They are some of the few early prints still in the artist’s possession after his archive of over 100,000 images was acquired by the Library of Congress in 2019 in what would become the first photography archive of a black artist procured by the institution. Shawn W. Walker (b. 1940) was born and raised in Harlem, New York, with parents originating in “The Jim Crow South.” Coming of age, he grew fond of photography through his uncle, an avid street photographer. Around 1960 Walker began to walk the streets of his Harlem neighborhood with his camera, documenting the life of a vibrant and diverse community. In 1963, a friend of Walker invited him to West 112 Street in Harlem to Al Fennar’s apartment where he met and joined the photographers who became The Kamoinge Workshop, a newly formed collective of local Black photographers who shared the common goal of raising the perception of the black community in America and abroad through positive imagery. The Kamoinge Workshop continues to be the longest-running photography collective in the world and has recently been featured in shows at the Virginia Museum of Fine Art, the Whitney, and the Getty. Walker remains an active member of the Workshop to this day. Through Kamoinge, Walker was exposed to such artists as Louis Draper, Adger Cowans, Roy DeCarava, Al Fennar, and most importantly, Ray Frances, Walker received his true education, attending weekly critiques of photography and in-depth discussions and lessons in painting, filmmaking, literature, and jazz. He often worked two or three jobs to support himself during these early years, but in 1965, he joined as a founding member of the Third World Newsreel, alongside his other position as a staff photographer for the Harlem Daily. While on staff for the Newsreel, he was assigned a major three-month tour of Cuba where he would photograph everyday life, specifically creating a motion picture documenting the building of a new school. This trip, however successful, led Walker to be listed by the F.B.I. as an internal threat. Deciding to stay out of the United States, he was invited to Guyana to visit a friend. While in Guyana, he assimilated with a culture close to his own, stating, “when I traveled to photograph, I never felt inclined to visit Europe; I always felt connected to the people in Africa.” Works from Cuba and Guyana are on view in this exhibition. Walker began photographing parades in New York City starting in 1960. Walker looked to these gatherings as an opportunity to explore, integrate, and learn about himself within other ancestral traditions. Like most Black Americans, Walker does not know his cultural roots; his family origins are lost to years of imperialism and slavery. Walker states, “I wanted to learn how these rituals come about and what they mean to that specific culture.” Walker’s images would reveal paradoxes and nuances of his subjects’ lives. He continues his Parade series today but on a limited basis. It was during the late 1950s into the early 1960s when drugs began to devastate Walker’s community - “about 75% of the guys I grew up with died, got strung out, or ended up in prison - this was an intentional situation created to destroy us as a people.” Drug use and abuse completely changed the landscape of Walker’s neighborhood, and Walker fell prey to its allure. As Walker states, “most of the photos I took for my series on drugs were just quick snapshots of the people I was hanging out with at the time.” The resulting images have proven to be some of Walker’s most intimate and were subsequently featured in an Essence magazine exposé in 1970. Walker notes that he chose to follow his art and not the street. In the 1970s, he moved to 6th Avenue and 38th Street in an area where several other Kamoinge members had studios, and later, he moved to the Bronx for a short time. He moved back to Harlem in the early 1980s. In 1980, Shawn Walker received his B.F.A. from Empire State College and taught photography at the City College of New York for nearly 40 years. Besides teaching at City College, Walker also taught at York, BMCC, Queensborough, and several other programs. Shawn Walker’s photographs have been showcased extensively throughout the country in solo exhibitions and alongside other Kamoinge photographers. Working Together: Louis Draper and The Photographs of the Kamoinge Workshop traveled around the United States, beginning in Virginia and ending at The Getty. Walker’s work has also been included in numerous publications such as Working Together: Louis Draper and the Kamoinge Workshop (Virginia Museum of Fine Arts, 2020); Timeless: Photographs by Kamoinge (Schiffer, 2015); The Self in Black and White: Race and Subjectivity in Postwar American Photography (Dartmouth, 2010); Committed to the Image: Contemporary Black Photographers (Brooklyn Museum of Art, 2001); Nueva Luz: A Photographic Journal, Volumes 5-8 (En Foco, 1997); Reflections in Black: A History of Black Photographers (W.W. Norton, 2000); and An Illustrated Bio-Bibliography of Black Photographers, 1940-1988 (Garland, 1989). Shawn Walker’s work is a part of numerous public collections, including the Brooklyn Museum of Art, Brooklyn, NY; Harlem Arts Collection, New York, NY; James Van Der Zee Institute, New York, NY.; Museum of Modern Art, New York, NY; Museum of Modern Art, San Francisco, CA; National Afro-American Museum, Wilberforce, OH; New York Public Library, Main Branch, New York, NY; The Schomburg Center for Research in Black Culture; The Studio Museum, New York, NY; Whitney Museum of American Art, New York, NY; The Getty, Los Angeles, CA; Virginia Museum of Fine Arts, Richmond, VA; and the William Patterson Foundation. Walker’s archive is held by the Library of Congress in Washington, D.C.

Arsenal Contemporary Art New York is pleased to present Exile from Babylon, Jean-François Bouchard’s second solo exhibition in the gallery. For this new body of work, the Canadian artist documented a squatters' camp in California. Driven by homelessness, drug addiction or libertarianism, some Americans choose to reject modern society - Babylon as they call it - to form unlikely communities of squatters and wanderers seeking collective refuge. On a decommissioned military base in the desert, the community photographed by Bouchard lives without any form of local government and without any basic services such as running water, electricity, or garbage removal. On inhospitable grounds, they established themselves in shanties, makeshift tents, shipping containers, crumbling recreational vehicles, and even dens dug into the ground. For Exile from Babylon, Bouchard has elected to represent the community’s grueling reality metaphorically through a series of still life photographs of trees. Each is adorned with garbage and debris that were either thrown at them or carried through the harsh desert winds. Collectively, these surreal postapocalyptic scenes testify to vast disparities that exist in our modern societies and the quest of fascinating characters for a sense of fulfillment derived through absolute freedom and how it is acquired at a great personal sacrifice. Image: © Jean-François Bouchard

A Gallery For Fine Photography is pleased to present sixteen silver gelatin prints by artist Michael Kenna. About Michael Kenna: Michael Kenna’s mysterious photographs, often made at dawn or in the dark hours of night, concentrate primarily on the interaction between the natural landscape and human-made structures. Kenna is both a diurnal and nocturnal photographer, fascinated by light when it is most pliant. With long time-exposures, which might last throughout the night, his photographs often record details that the human eye is not able to perceive. Kenna is particularly well-known for the intimate scale of his photography and his meticulous personal printing style. He works in the traditional, non-digital, silver photographic medium. His exquisitely hand crafted black and white prints, which he makes in his own darkroom, reflect a sense of refinement, respect for history, and thorough originality. During Kenna’s fifty year career, his photographic prints have been shown in almost five hundred one-person exhibitions and over four hundred group exhibitions in galleries and museums throughout the world. They are also included in well over a hundred permanent institutional collections. Eighty-five monographs and exhibition catalogs have so far been published on Kenna’s work. Image: Mountain Tree, Danyang, Chungcheongbukdo, South Korea. 2011 © Michael Kenna

Nailya Alexander Gallery is pleased to present the online exhibition “Alexey Titarenko: The City of Dreamers,” featuring a selection of photographs of New York City, as part of an ongoing series the artist has been working on for the last twenty years. A dreamer since childhood, Titarenko came to New York from St. Petersburg in the early 2000s, found a deep affinity with the city, and made it his home. For him, the soul of New York is its people, who juggle life in a high-paced environment, busy with their daily tasks while delighting in the excitement and fulfillment that is unique to their chosen city. Sean Corcoran, the Senior Curator of Prints and Photographs at the Museum of the City of New York, writes in Titarenko’s monograph The City is a Novel (Damiani, 2015), “To the casual observer, the city can feel cold and impersonal. However, from his (Titarenko) home in Harlem, the photographer’s meanderings revealed neighborhoods and a more intimate city whose citizens pursued their personal orbits.”  The works in “The City of Dreamers” are distinguished by Titarenko’s signature style of applying long exposure to street photography, which introduces an element of time into the two-dimensional print. The movement of cars, tree branches, and silhouettes, whether couples or an elderly woman waking a dog, are depicted against a backdrop of both turn-of-the-century façades and the multivalent, overlapping signage of the modern era. The effect of long exposure also allows Titarenko to highlight solitary figures among the crowds of pedestrians, as in 58th Street, 2012. In this image, a crowd surging across 5th Avenue softens into a blur; while the viewer’s eye is drawn to a taxicab, a street lamp, an American flag, a traffic light, and the dynamic play of the sunlight through the branches of a tree. In the lower right corner, a single figure sits in contemplation, his posture reminiscent of Rodin's famous sculpture Le Penseur (The Thinker). In his photographs of the Flatiron building, from 2003, Titarenko creates a poetic, Whistler-like palette; the prints glow with soft twilight and imbue magic to golden street lights. These photographs echo with the famous image of the landmark building by Edward Steichen. Titarenko also highlights the rapid changes in the city over the years by drawing our attention to one of the city’s old fire alarm boxes, which were installed around a century ago to allow passers-by to alert the city to fires. Titarenko’s signature gold toning imparts to this antiquated, often overlooked object an aura of dignity, even grandeur. His photograph Morningside Park, 2015, is unique in this series in that it captures the city in a state of nature, with no buildings, streets, or vehicles visible. The only signs of the surrounding bustle of urban life are a couple and the many footprints on the snowy path at the center of the image. A master in the darkroom, Titarenko constantly experiments with his craft and crafts each print by hand, producing a rich, subtle range of tones that renders each print unique. The prints from his New York series are labor-intensive and notable for such complicated techniques as application of partial bleaching by brush on the wet print; selective sepia, selenium, and gold toning; and the use of the nineteenth-century Sabattier effect, also known as pseudo-solarization. Titarenko’s masterful printmaking also helps to highlight his longtime interest in water and its relationship to the city, bringing out the texture and reflective quality of snow and rain and infusing each image with moisture and light. As Corcoran writes, “… His images reflect his attempt to reach a deeper understanding of place through the effects of history. It should not be surprising, then, that Titarenko’s vision of New York resonates with the work of Alvin Langdon Coburn and Alfred Stieglitz—men who strived to embody the dynamism of the city and its people in photographs at the turn of the twentieth century. As Titarenko’s relationship with New York grows and changes, so too will the photographs he creates. It is the nature of his working method." Titarenko’s work has been shown in solo and group exhibitions in galleries and museums worldwide. In addition to “The City of Dreamers,” he is the subject of the solo exhibition “Alexey Titarenko: A Tale of Two Cities,” which opens at the C. Grimaldis Gallery in Baltimore on January 26 and runs through March 4. The show features Titarenko’s photographs from St. Petersburg and Havana. Titarenko’s work can be found in such museum collections as the J. Paul Getty Museum, Los Angeles; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Baltimore Museum of Art; the Philadelphia Museum of Art; the Columbus Museum of Art; the George Eastman House, Rochester; the European House of Photography, Paris; the Musée de l'Élysée, Lausanne; the Musée Réattu, Arles; the Yale University Art Gallery, New Haven; the Zimmerli Art Museum at Rutgers University, New Brunswick, NJ; the Bibliothèque Nationale, Paris; the Centre National de l'Audiovisuel, Dudelange, Luxemburg; and the Museum of the City of New York, which has the largest collection of Titarenko’s New York photographs.

Art Intersection welcomes photographer Timothy H. McCoy into Ryan Gallery for an exhibition of selected photographs from five bodies of his work, Tongues to Stone, Long Long Journey, Sanctuary, The Water Course Way, and Street Life. Previously, alternative photographic process prints by Tim have been seen in several Light Sensitive exhibitions. "I was inspired to become a dedicated photographer when I attended a workshop by the legendary Frederick Sommer in San Antonio, TX. I was struck by the respect he paid to the work of each attendee, including my own rudimentary efforts. His iconic images showed that experience and insight could be infused into artistic expression. Subsequently, I left my job to study at the School of the Museum of Fine Arts, Boston. My approach has also been influenced by The Keepers of Light by William Crawford, which is an investigation of how photographic meaning is determined by the choice of camera format/lens selection, photographic paper/development, and the “framing” of the image as well as by the inherent content. Thus I often choose “alternative” printing processes (photogravure, albumen, palladium) to evoke the timelessness of my content and my interpretive rather documentary intent. Each of these processes has its own characteristic tone, both visual and emotional. I have recently added digitally-toned prints for their expressive flexibility and contemporary references." Image: © Timothy H. McCoy

Jackson Fine Art is honored to kick off our 2023 programming with Steve Schapiro: Warhol & Ali, an exhibition celebrating the life and work of an artist whose six decades of work produced images as visually moving as they are culturally significant. A masterful observer of the human condition, Schapiro portrays these larger-than-life American icons with the startling intimacy and unique wit characteristic of his work. When Schapiro passed in January of 2022, he was at work on his twelfth monograph, the Taschen collection Andy Warhol & Friends, bringing together for the first time some of the most recognizable images of Andy Warhol ever taken. Their collaboration began in 1965, when Warhol had effectively renounced his career as a painter and was in the process of reinventing himself as an avant-garde filmmaker and — perhaps more significantly — a public persona rivaling even the most accomplished of his traditional “art.” Serendipitously, it was Steve who was present to bear witness to the advent of Andy Warhol the character; in addition to capturing a leather-jacketed iconoclast, stony behind dark glasses, the photographer offers us glimpses of the person behind the persona. This same ability to candidly depict even the most image-conscious of subjects was evident two years prior, when Schapiro traveled to Louisville, Kentucky on assignment from Sports Illustrated to capture the then-Cassius Clay. At 21, the boxer we now know as Muhammad Ali was a star on the rise, and Schapiro’s images offer a glimpse of a community hero — at home with his family, at play with neighborhood kids, and (in a story now mythical) on the day that he first met a 6 ½ year-old Lonnie Williams, the future Mrs. Muhammad Ali. An opening reception will be held on the evening of Friday, January 20th from 6 to 8pm. On Saturday, January 21st at 11am, we’ll host an intimate conversation with Maura Smith, Steve’s widow and the executor of his artistic legacy.

Organized by Carnegie Museum of Art, this exhibition debuts a recent body of work by New York-based artist Elle Pérez. Including 13 photographs created between 2019 and 2021, Devotions explores relationship building, creating space to reflect on how we navigate ourselves in relation to others and the world. Pérez’s carefully sequenced images dwell in moments of grief and care, pain and pleasure, desire and self-exploration. Amidst recurring motifs of water, touch, and BDSM are also striking choices in proximity, scale, color, and light. The works will be presented at the BMA as an immersive experience, connecting the John Waters Rotunda and adjacent galleries. This exhibition is organized by the Carnegie Museum of Art. It is curated in Baltimore by Cecilia Wichmann, Associate Curator of Contemporary Art. This exhibition is supported by the Art Fund established with exchange funds from gifts of Dr. and Mrs. Edgar F. Berman, Equitable Bank, N.A., Geoffrey Gates, Sandra O. Moose, National Endowment for the Arts, Lawrence Rubin, Philip M. Stern, and Alan J. Zakon.

Yevgenia Belorusets, Oksana Chepelyk, Olia Fedorova, Alena Grom, Zhanna Kadyrova, Alevtina Kakhidze, Dana Kavelina, Lesia Khomenko, Vlada Ralko, Anna Scherbyna, Kateryna Yermolaeva, and Alla Horska (1929-1970) curated by Monika Fabijanska. Women at War features works by a selection of the leading contemporary women artists working in Ukraine, and provides a context for the current war, as represented in art across media. Several works in the exhibition were made after February 24, 2022, when Russia began full-scale invasion; others date from the eight years of war following the annexation of Crimea and the creation of separatist “republics” in Donbas in 2014. War is central to history. History has been written (and painted) by men. This exhibition provides a platform for female narrators of history and examines the perception of war as gendered. Women are generally absent from the historical accounts of war, but violating a woman is seen as a violation of land and nation. Media images reinforce the perception of gender divide. But is war indeed gendered? Women comprise c. 25% of Ukrainian armed forces. Russian soldiers rape Ukrainian civilians of all genders, including adult men. Many artists in this exhibition struggle with the notion of victimhood and pose the question in what way women have agency during war. The exhibition also serves as a gateway to Ukrainian and other Eastern European feminisms, which are significantly different from the Western mold. Finally, Women at War will contribute to a conversation about how national identity is tied to the perception of women’s role in society. There are parallels between the fight for Ukraine’s independence and the fight for its women’s equality. They stem from the paradoxes of the Soviet Union, where early modernist, anti-nationalist, and feminist promises remained but a fig leaf of propaganda in the brutal and misogynist patriarchal empire it became. Ukrainian art of the 2010s was largely focused on the discussion of whether Ukrainian identity should draw directly upon the short period of pre-Soviet independence or include the legacy of the Ukrainian SSR. This, in the country burdened with its colonial past, the unimaginable wounds of the 20th century (Holodomor, two world wars, the Holocaust), and the reality of a crisis, led to a national fixation on history. The young generation of artists focused their attention on historiography – how history is written, who writes it, who and what remains invisible. Soviet painting, especially the interpretations of WWII, came into focus of many artists. Others organized around the critique of decommunization – the destruction of Soviet monuments and mosaics in Donbas spearheaded by the post-Maidan government – and turned towards the forgotten pages of history. Image: Dana Kavelina, a still from Letter to a Turtledove, 2020, film, 20:55 min. ©Dana Kavelina. Courtesy of the artist/sup>

The Center for Photography at Woodstock (CPW) is pleased to present Race, Love, and Labor (an excerpt), a group exhibition of artists who completed Woodstock AIR, CPW’s acclaimed Artist-in-Residency. This is a re-presentation of the landmark exhibition first organized by noted art historian Dr. Sarah Elizabeth Lewis for the Samuel Dorsky Museum of Art at SUNY New Paltz in 2014. This abbreviated version of the original show provides new historical context and cultural meaning for ten significant American photographers. It will be on view at CPW, 474 Broadway, Kingston, from January 14 to March 19, 2023. Race, Love, and Labor (an excerpt) springs from the idea that throughout history, photography’s aims have been twinned and contradictory: to separate and control people, and to assert self-determination and self-expression. The labor in its title speaks to the latter—to how the work of creating photographs is an undertaking of rebirth and of claiming agency in the context of violence or threat. Why re-present a selection from this exhibition, and why now? Since the debut of this exhibition in 2014, social upheavals have rent the fabric of American culture, adding fresh urgency to the artworks’ original meaning. The Black Lives Matter movement; the struggles against violence toward LGBTQ trans people; anti-immigration prejudices and assaults against Asian people; and the mass confrontation with death, isolation, and economic destabilization brought on by the pandemic have dramatically reshaped social conditions in the United States. For this reason, Race, Love, and Labor (an excerpt) invites further scrutiny and reconsideration of the original project. Woodstock AIR, the CPW residency from which the show’s artists are drawn, aims to elevate voices from marginalized communities. For the past 23 years, Woodstock AIR has offered BIPOC artists time and space to develop their art-making free of distractions. The ten artists in this exhibition are Endia Beal, William Cordova, LaToya Ruby Frazier, Tommy Kha, Deana Lawson, Pixy Liao, Dawit Petros, Paul Mpagi Sepuya, Xaviera Simmons, and Joanna Tam. “What unites these images,” notes Dr. Lewis, “is an animating sense of what it means to live in this lineage of photography’s paradox—to reduce and to exult. These photographs, the gift of a moment in time through a unique residency, show us where a future path may lead.”

Transformations: A Gender Exploration by Mariette Pathy Allen with selections from Transformations: Crossdressers and Those Who Love Them and Fantasy & Flowers series. In 1978 New Orleans, Mariette Pathy Allen stumbled upon the mostly closeted world of men looking to express their “feminine sides.” With her camera, she set out to document and “de-freakify” the liberating world of crossdressing. She realized the potential to offer a different view of the LGBTQ+ community around the world through photography. Pathy Allen’s work has contributed to numerous publications and lectures, both academic and cultural, regarding gender variance and gender consciousness around the globe. Her collection of works exploring this misunderstood community led to the publication of her first book, Transformations: Crossdressers and Those Who Love Them, in 1989. Pathy Allen’s work is currently being archived by Duke University’s rare book and Manuscripts Library, and the Sallie Bingham Center for Women’s Studies.

As the world and its inhabitants adapt with the ebb and flow of constant change, so too, does an artist’s view. From a birds-eye view of the meandering formations of the Colorado River that mimic patterns of branching trees and human lungs; to the lushness of what looks like an underwater painting celebrating the layers of life beneath the water’s surface; from the frozen Canadian tundra to the warm and lively waters of Baja Sur; all are connected, as we all are also connected. EVOLVE eloquently pairs the artist’s journey as witness and passionate defender with the natural resilience and determination of a planet on which all life must coexist. Image: © Paul Nicklen

Gitterman Gallery is proud to exhibit vintage black and white photographs by Roger Mayne (1929–2014), opening Tuesday, January 17th and running through Saturday, March 25th, 2023. This exhibition features some of the most famous images from Roger Mayne's seminal body of work on the streets of West London and similar working-class neighborhoods of Britain in the 1950s and early 1960s that made him one of the most important post-war British photographers.. The majority of prints in the exhibition comes from Ann’s Box, a selection of prints that Roger set aside for this wife Ann Jellicoe (1927–2017) and their family. The selection began when I first visited Roger after the introduction and recommendation of his London dealer, Zelda Cheatle, who closed her gallery in London in 2005. We decided to set aside some of the last vintage prints of his most noted works. —Tom Gitterman. Roger Mayne first became interested in photography while studying chemistry at Balliol College, Oxford University from 1947-51. In 1953 he developed an interest in the St. Ives School, which embraced the abstract avant-garde movement, and became friendly with the painters Terry Frost, Patrick Heron and Roger Hilton. Mayne consciously printed with high contrast and favored large prints [for the time] and tight graphic compositions to emphasize the formal qualities in his work and have a dialogue with the painting of the time.. Mayne's photographs evoke a particular moment in post-war Britain when hardships brought on by the war and rationing were still present. Mayne's photographs reflect the positive community life in the streets that would soon be coming to an end with the rebuilding and modernization of many working-class neighborhoods. His images of these communities and the people: teddy boys, jiving girls and kids playing in the street, preserve the spirit of these neighborhoods. By 1959 Mayne’s images were so indicative of this period that Vogue used them to illustrate teenage styles. Colin MacInnes used one of his images on the cover of Absolute Beginners, a novel told in the first person by a teenage freelance photographer living in West London that commented on the youth culture of the time. Mayne’s photographs were subsequently used in the 1986 film of Absolute Beginners by Julien Temple as both the protagonist’s images and inspiration for the cinematography and costume design.. Mayne worked as a freelance photographer and his photographs were reproduced regularly in magazines and newspapers. His work was included in group exhibitions in the 1950s at the Combined Societies, a progressive group of local photographic societies in Britain that broke away from the Royal Photographic Society. His work was also included in Otto Steinert’s Subjektive Fotografie in Germany, a series of group exhibitions and books of international photography that emphasized personal expression and the aesthetic potential of the medium. Mayne had solo exhibitions in 1956 at the George Eastman House in Rochester, N.Y. and at the Institute of Contemporary Arts in London. As early as 1956-57 the Museum of Modern Art, New York and the Art Institute of Chicago acquired his work.. Mayne’s work has been collected by numerous institutions including: Art Institute of Chicago; Arts Council of Great Britain; Bibiliothèque Nationale; Denver Art Museum; George Eastman Museum; J. Paul Getty Museum; Los Angeles County Museum of Art; Metropolitan Museum of Art; Milwaukee Museum of Art; Museum of Fine Arts, Houston; Museum Folkwang; Museum of Modern Art, New York; National Portrait Gallery, London; National Gallery of Australia; National Gallery of Canada; National Gallery of Victoria; The Nelson-Atkins Museum of Art; Scottish National Gallery; Princeton University Art Museum; Tate Britain; and the Victoria and Albert Museum.. Though his talent as a photographer was recognized early in his career, it was his solo exhibition at The Victoria and Albert Museum in 1986 and the subsequent use of his images on album covers and concert backdrops for the musician Morrissey in the 1990s that renewed interest in his work. Most recently, Mayne’s work was recently featured in Postwar and Modern, New Art in Britain 1945-1965 at the Barbican, London in 2022; Roger Mayne at The Photographers’ Gallery, London in 2017; Roger Mayne: Aspects of a Great Photographer at the Victoria Gallery, Bath in 2013; How We Are: Photographing Britain at the Tate Britain in 2007; Making History at the Tate Liverpool in 2006 and Art of the ‘60s at the Tate Britain in 2004. This is the fifth exhibition of Roger Mayne’s work at Gitterman Gallery.

Peter Fetterman Gallery is proud to share our first exhibition of the new year, "A Beautiful World: The Power of Nature” opening January 14th, 2023. An opening reception will be held at the gallery on Saturday January 14th from 3:00 – 6:00 PM. Landscapes have inspired some of history’s most striking photographs. Peter Fetterman Gallery curates a collection of photographs focused on the beauty and power of the natural landscape. An homage to our planet, and a call to protect its great vistas, the exhibition is released online in two parts.   The exhibition features 19th and 20th and 21st Century works including Ansel Adams, Wynn Bullock, Paul Caponigro, Jeffrey Conley, Gregory Conniff, George Fiske, Martine Franck, Flor Garduño, Henry Gilpin, Michael Kenna, Andre Kertész, Kurt Markus, Don McCullin, Ryan McIntosh, Sebastião Salgado, Pentti Sammallahti, Charles Scowen, John Szarkowski, Isaiah West Taber, George Tice, Brett Weston and Don Worth. From early 20th century gems to contemporary photography today this body of photographic work captures the imagination of each photographer and their shared respect for our beautiful world. 

Tierra Entre Medio is a multi-generational exhibition that foregrounds four Chicana photographers working in Southern California. It features new works by Christina Fernandez installed alongside works by Arlene Mejorado, Lizette Olivas, and Aydinaneth Ortiz. Organized by Fernandez, the exhibition bridges myriad concerns inherent to her own work, highlighting practices that consider the regional, cultural, and topographical diversities that span Southern California Latinx communities. Beyond demonstrating the socio-cultural and physical nuances of landscapes between the border and inland Southern California, the exhibition will provide a framework through which to consider how environments shape the perspectives and experiences of working class, migrant, and diasporic communities. About the Artists Christina Fernandez (b. 1965) is a Los Angeles-based photographer whose practice explores issues related to migration, labor, gender, Mexican American identity, and the unique capacities of the photographic medium. She earned her BA at UCLA in 1989, and her MFA at the CalArts in 1996. She is associate professor at Cerritos College, Norwalk, where she has been on faculty since 2001. Arlene Mejorado (b. Los Angeles) is a Los Angeles-based multidisciplinary artist whose practice spans analog and digital photography, video, and installation. Mejorado’s work employs documentary forms, visual media, everyday materials, and repurposed documents to counter cultural erasure and personal, collective, diasporic, and migrant experiences and stories. She earned her BA in Latin American Studies from the University of Texas, Austin, and is currently an MFA candidate in Visual Arts at UCSD. Lizette Olivas (b. 1986, El Monte, CA) is a San Bernardino-based photographer whose work chronicles the quotidian moments of inland Southern California through a blend of portraiture and landscape photography that is at once urban and rural. She earned her BA in Art at UCLA in 2014. Aydinaneth Ortiz is a Southern California-based photographer who utilizes documentary, landscape, and portrait genres to examine the intersections among the urban environment, familial relationships, mental illness, drug addiction, and immigration. She earned her BA in Art at UCLA, and her MFA in Photography at CalArts. She is assistant professor of Photography at Cypress College. Culver Center of the Arts Image: Christina Fernandez, Burn Area I, 2021 (detail). Courtesy of the artist and Gallery Luisotti, Los Angeles.

Mark Schwartz and Bettina Katz Photography Galleries | Gallery 230 Since the invention of the medium, the majority of published photographs have been printed through photomechanical processes—images made in printer’s ink rather than produced in the darkroom or digitally. Photographs in Ink explores how artists have responded to the abundance of published photographic images that have saturated our daily lives from the 1850s through the early 2000s. The exhibition presents two intertwined narratives: the use of these processes to widely disseminate images and the adoption of them as content and aesthetic choice by fine artists. These stories are told through historical and contemporary works of art by artists from Eadweard Muybridge and Alfred Stieglitz to Andy Warhol, Sigmar Polke, Carl Pope Jr., and Lorna Simpson. In the 19th century, inventors, scientists, publishers, and journalists circulated photographic images in print to an ever-expanding audience. These were utilized for visual communication; as one prominent example, Charles Darwin included Guillaume-Benjamin-Amand Duchenne de Boulogne’s 1856 photograph in his volume on emotions and evolution. Artists used the same media for creative expression. Pictorialist artists such as Clarence White and Alvin Langdon valued photogravure’s ability to produce soft tonal passages similar to drawing. The exhibition allows visitors to learn about the particular visual fingerprints of the techniques and see how patterns of dots, lines, and grids come together in our eyes and brains to form varying shades of gray. While the tools of mass media have transformed over the years, contemporary artists have continued to return to these techniques in their artistic practices but for radically different reasons. Through recent acquisitions and rarely seen works from the museum’s holdings, along with loans from several local collections, this exhibition showcases the strength and flexibility of these subtle but ubiquitous processes. Image: Tamara Karsavina in the Firebird, from Studies from the Russian Ballet, 1911. Emil Otto Hoppé (British, 1878–1972). Photogravure; image: 17.2 x 14.5 cm. The Cleveland Museum of Art, Sundry Art—Photography Fund, 2019.40. © E. O. Hoppé Estate Collection / Curatorial Inc.

For the last two decades, American photographer Gillian Laub has used the camera to investigate how society’s most complex questions are often writ large in our most intimate relationships. Her focus on family, community and human rights is clear in projects such as Testimony (2007), which explores the lives of terror survivors in the Middle East, and Southern Rites (2015), a decade-long project about racism in the American South. Throughout her career 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. Balancing empathy with critical perspective, humor with horror, the closeness of family with the distance of the artist, Laub offers a picture of an American family saga that feels both anguished and hopeful. 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—threatening to fracture the family, and forcing everyone to ask what, in the end, really binds them together. In her book Family Matters (Aperture, 2021), Gillian Laub's photographs are accompanied by her own words. This exhibition showcases her gifts as a storyteller, with much of the writing presented as an immersive audio guide. Moving through the four sequential “acts” of Family Matters, you will see and hear the artist and her family in their own words: funny, poignant, troubled, and challenging. Image: ©Gillian Laub, Dad carving turkey, 2000.

The Art Institute of Chicago has been exhibiting photography since 1900 and collecting it since 1949. During that time—indeed, since its invention in the 19th century—photography has evolved into a diverse and unruly set of creative practices, both responding to and initiating changes across the world. This exhibition celebrates that remarkable history through the Art Institute’s collection and offers an occasion to think anew about the photography’s place in the museum and in the world. Divided into eight sections, the presentation features more than 150 works that cut across time, space, and genre. Themes explored include production and circulation; engagements with identity, politics, and truth; the varied material forms of photography and media; the connections among these disciplines and other art forms; and relationships among artist, subject, and viewer. Reclassifying works in these contexts, the exhibition offers a roadmap for exploring the global, multivocal, and ever-evolving field. This display—curated by Elizabeth Siegel, curator, Photography and Media—accompanies the museum’s first-ever publication to survey our photography collection, The Art Institute of Chicago Field Guide to Photography and Media. Set to be published in spring of 2023, the catalogue features nearly 400 works organized around 75 keywords and 75 thought-provoking essays responding to those keywords, written by artists, scholars, and curators working in the field today. Support for this exhibition is provided by the Black Dog Fund. Publication of The Art Institute of Chicago Field Guide to Photography and Media has been made possible through the Elizabeth F. Cheney Foundation. Image: Kenneth Josephson. Anissa (detail), 1969. Gift of Ralph and Nancy Segall. © Kenneth Josephson.

To celebrate the 2023 Month of Photography Denver festival and the Colorado Photographic Arts Center’s 60th Anniversary, we invite you to take a journey through the history of photographic art with a special exhibition of works from CPAC’s Permanent Collection. A cultural treasure, the collection houses more than 800 prints collected over six decades, donated by regional and national artists working from the mid-1800s to today. Looking Back, Moving Forward offers a unique opportunity to see pieces from the collection for the first time in decades. The exhibit highlights 45 images spanning a range of genres, approaches, and techniques, honoring CPAC’s past while looking to the future as the organization celebrates its 60th year. Johnston’s curation combines pivotal works from the 20th century with national and regional works that demonstrate the breadth of the medium. The exhibit will include photographs by well-known masters like Ansel Adams, Imogen Cunningham, and Judy Dater, as well as Colorado artists such as Ewing Stiffler and Hal Gould, and contemporary photographers such as Greer Muldowney, Zora Murff and the collaborative duo Barbara Ciurej and Lindsay Lochman. For more information please visit CPAC’s website. Image: Detail of “Providence Wastewater Treatment (Providence View), Rhode Island,” ©Greer Muldowney.

Horst P. Horst is one of the most influential photographers of the 20th century. Known primarily for his fashion photography and portraiture, Horst assimilated tenets of surrealism and classicism into his unique compositions, creating striking, unforgettable images like the iconic Mainbocher Corset (1939). With his first Vogue cover in 1935, Horst redefined the possibilities of fashion photography, inspiring a shift from hand-drawn illustrations to the full embrace of film by elite fashion magazines. Essence of the Times features 80 prints that chart the breadth of Horst’s career from his early dreamy, surrealist still lifes for Vogue to his suggestive palladium prints from the 1980s. His skill is also displayed in a series of portraits of fashionable figures from Marlene Dietrich and Diana Vreeland to Elsa Schiaparelli and Patrick Kelly.

Jimmy DeSana: Submission is the first museum survey of work by a significant yet overlooked figure in the histories of photography, New York City, and LGBTQ artists. From his time photographing suburban landscapes in Atlanta, Georgia, to his role in the New York punk scenes, Jimmy DeSana (American, 1949–1990) conveyed the radical spirit of his era through an irreverent critique of the American Dream and its images. The exhibition traces his brief yet prolific career through nearly two hundred works on view (some for the first time) and over twenty years that bridged mail-art networks, New York’s 1970s and ’80s subcultures, the illuminating image-play of the “Pictures Generation,” and various responses to HIV/AIDS. As part of punk aesthetics and its symbolic forms of resistance, DeSana and his peers sought to forge art communities outside of official institutions. The exhibition showcases his extensive involvement in zines, artist collectives, performance art, experimental film, and club culture. In his major series—101 Nudes (1972), Submission (1977–79), and Suburban (1979–84)—DeSana photographed himself and friends (often nude and faceless) in and around bland suburban homes, creating an interplay among sexual liberation, queer aesthetics, and consumerist conformity. During the late 1970s and early 1980s, DeSana was heavily involved in New York’s punk and No Wave scenes and photographed prominent creatives for album covers and alternative publications. This exhibition will be the first to feature his portraits of art and music luminaries such as Kathy Acker, Laurie Anderson, Kenneth Anger, Patti Astor, David Byrne, John Giorno, Debbie Harry, and Richard Hell. Accompanying these works are DeSana’s more abstract efforts from the late 1980s, after he contracted HIV, that show an artist who resisted dominant narratives about the body and sexuality in the early years of the ongoing HIV/AIDS epidemic. Image: Jimmy DeSana (American, 1949–1990). Marker Cones, 1982. Chromogenic print, 14 1/4 × 18 1/2 in. (36.2 × 47 cm). Courtesy of the Jimmy DeSana Trust and P·P·O·W Gallery, New York. © Estate of Jimmy DeSana.

Since the invention of the camera, photographers have enthralled viewers by interpreting the natural world. Viewfinders: Photographers Fame Nature explores artists’ varied responses to the relationship between nature and humans. These lens-based works reveal the divergent ways in which nature continues to fuel documentation of the human experience and imagination—from images symbolizing the untamed power of nature to those where the landscape has been abused for human consumption. It traces the lure of photography through five themes culminating in contemporary times where every person with a smartphone has the power to “frame nature.” Guest Curator Susan Van Scoy, Ph.D., Associate Professor of Art History, St. Joseph’s University, has selected black and white, color, and digital photography, photomontage, and video, dating from the late 19th century to the present from the Museum’s permanent collection. Legendary American photographic artists such as Edward Steichen, Larry Fink, and Berenice Abbott are represented, as are newly acquired photographs by Kenji Nakahashi and Jeremy Dennis. Dr. Van Scoy also selected a substantial number of works by notable Long Island image makers. More than 70 works will be grouped thematically into five sections: Picturesque, Wild Nature, Denatured, Abstract, and Imaginative Nature. Picturesque is the most popular type of landscape photography and follows a formula used in early 17th century paintings. We expect a pretty landscape to include a central shimmering body of water, framed by trees. Later, landscape architects followed the formula in designing New York’s Central Park, and Huntington’s Caumsett Historic Park Preserve, and photographers followed in capturing the images. Caumsett Park was a favorite of photographers N. Jay Jaffee and Neil Scholl whose work is featured in Viewfinders. Wild Nature is in many ways the opposite of the picturesque. It features vast, rugged natural scenes emphasizing the power of nature. At photography’s infancy, photographers flocked to places such as Niagara Falls to create sublime views that contributed to American nationalist iconography as well as a robust tourist industry. The hunger for sublime views and the thrill of adventure continues today with extreme travel reality shows, adventure programs, and photography on social media. Denatured reveals what happens when humans try to control or degrade the land causing the natural qualities of a landscape to be removed or permanently altered. Photographs in this section feature urban congestion, industrialization, and attempts to control nature. Abstract landscapes discarded the standard compositional formats and narrative in place of close-up, cropped, dynamic perspectives without any reference to human touch --as seen in William Eggleston’s “Jamaica Botanical Series,” with close-ups of palms and ferns. The results were that nature became more about a spectacular “image.” Imaginative Nature is the most ecologically minded landscape category in the exhibition. Here, artists create cut-and-paste collages, recycle found objects, reverse tones, and rely on reflective surfaces to create new, energetic landscapes that bring out the magical, whimsical quality of the natural world. For example, Barbara Roux creates mise-en-scènes in wooded areas with frames or mirrors placed against a leafy ground. The use of framed mirrors reflects the scene back to the viewer and connects them to nature, underlining human’s direct effect on the natural world. Image: Kenji Nakahashi, Trimming, 1987. Chromogenic color print. Anonymous gift in memory of Kenji Nakahashi

How does one move through life with the scars of the past? When I was ten, my mother died unexpectedly from a heart attack. I couldn’t understand where she went or when she would return. Just as I began to comprehend this loss, my father died. I was without support from my family and community. I was lost. Without a Map re-imagines this time that’s deeply rooted in my memories. Visiting my childhood home, synagogue and family plot provided an entry into this personal retelling. Working with family photos, creating new images from my past and turning the camera on myself, I found the means to evoke, reinterpret and address unanswered questions born from early imprints that were buried long ago. About Marsha Guggenheim Marsha Guggenheim is a San Francisco fine art photographer and 2021 and 2022 Critical Mass finalist. Storytelling is a guiding influence in her work. Marsha is deeply interested in photographing people and draws on her diverse city to capture their stories. Complementing her street photography, Marsha spent years working as a photographer with formerly homeless women. This work resulted in the monograph, “Facing Forward,” highlighting these hard-working, proud women through portraits and stories of their life experiences. Currently, Marsha is working on a personal series, “Without a Map.” Through the use of family photos, creating pictures from her memories and by turning the camera on herself, she has found the means to evoke, reinterpret and address unanswered questions that were buried long ago. Marsha’s work has been shown in over 50 galleries and exhibitions. She has been published in both domestic and international publications and is included in numerous private collections.

Ties that Bind stitches together three unique visions looking at the idea of family and the rewriting of history, myth and personal narratives. These artists work with images and objects, including various materials, with the addition of stitching on found images, personal family photos. Each artist finds ways to change the script, rewrite what has been lost and gain clarity of vision. We are pleased to bring together three artists each looking at family ties in unique ways. French Moroccan photographer Carolle Bénitah, who worked for ten years as a fashion designer before turning to photography in 2001, explores memory, family and the passage of time. Often pairing old family snapshots with handmade accents, such as embroidery, beading and ink drawings, Bénitah seeks to reinterpret her own history as daughter, wife, and mother. The work of Carolle Bénitah has been published in magazines such as Leica World, Shots Magazine, Photos Nouvelles, Spot, Center for Photography Houston, Foto Noviny, and Lens Culture, among others. Carolle Bénitah was born in Casablanca (Morocco) and graduated from the Ecole de la Chambre Syndicale de la Couture Parisienne (Paris). Her series Photos-Souvenirs was also selected to exhibit in FotoFest’s 2014 Discoveries of the Meeting Place showcase of past Biennial portfolio reviews. We thank Corinne Tapia and Sous Les Etoiles Gallery for working with the museum to showcase Carolle’s works. Astrid Reischwitz is a lens-based artist whose work explores storytelling from a personal perspective. Using keepsakes from family life, old photographs, and storytelling strategies, she builds a visual world of memory, identity, place, and home. Her current focus is the exploration of personal and collective memory influenced by her upbringing in Germany. Reischwitz has exhibited at national and international museums and galleries including Newport Art Museum, Griffin Museum of Photography, Danforth Art Museum, Photographic Resource Center, The Center for Fine Art Photography (CO), Rhode Island Center for Photographic Arts, Center for Photographic Art (CA), FotoNostrum, Dina Mitrani Gallery and Gallery Kayafas. She has received multiple awards, including the 2020 Griffin Award at the Griffin Museum of Photography and the Multimedia Award at the 2020 San Francisco Bay International Photo Awards. Her series “Spin Club Tapestry” was selected as a Juror’s Pick at the 2021 LensCulture Art Photography Awards and is the Series Winner at the 2021 Siena International Photo Awards. She was a Photolucida Critical Mass Top 50 photographer in 2021, 2020, 2019, and 2016; and is a Mass Cultural Council 2021 Artist Fellowship Finalist in Photography. Her work was featured in Fraction Magazine, Lenscratch, LensCulture, What Will You Rembember?, Wired Japan, Il Post Italy, P3 Portugal, Aint-Bad Magazine, The Boston Globe, NRC Handelsblad Amsterdam, as well as other media outlets. JP Terlizzi is a New York City photographer whose contemporary practice explores themes of memory, relationship, and identity. His images are rooted in the personal and heavily influenced around the notion of home, legacy, and family. He is curious how the past relates and intersects with the present and how the present enlivens the past, shaping one’s identity. Born and raised in the farmlands of Central New Jersey, JP earned a BFA in Communication Design at Kutztown University of PA with a background in graphic design and advertising. He has studied photography at both the International Center of Photography in New York and Maine Media College in Rockport, ME. JP’s work has been exhibited widely in galleries including shows at The Center for Fine Art Photography, Vicki Myhren Gallery at the University of Denver, The Grin Museum, Tilt Gallery, Panopticon Gallery, Candela Gallery, The Los Angeles Center of Photography, University Gallery at Cal Poly, and The Berlin Foto Biennale, Berlin, Germany, among others. His solo exhibits include shows at Foto Relevance Gallery (August, 2020) The Rhode Island Center for Photographic Arts, Cameraworks Gallery in Portland, OR and Soho Photo Gallery in Manhattan.

Co-organized with The Bronx Museum of the Arts, this is the first comprehensive museum exhibition of the profoundly moving and complex work of Darrel Ellis (1958–1992). Ellis created a multifaceted body of work that merges painting, printmaking, photography, and drawing before he died of AIDS-related causes at age 33. During his lifetime, his work was included in important contemporary surveys but only now is garnering the posthumous attention it deserves. The exhibition includes works from major public and private collections, as well as loans from artists for whom Ellis’s work serves as a crucial influence. Among the most poignant and historically significant works are a group of portraits that demonstrate how Ellis documented the experience of living with the AIDS virus. The largest body of work in the exhibition encompass variations on portraits of family members that he pictured and re-pictured in varied media. Ellis’s approach to appropriation was unique among contemporaries as he often used his deceased father’s photographic archives as primary source material. The exhibition also features a selection of ephemera that provides insights into the artist’s interventions in the art historical canon as well as technical models that reconstruct his complex working processes. This exhibition is organized by Leslie Cozzi, BMA Associate Curator of Prints, Drawings, and Photographs. Image: Darrel Ellis. Untitled (Self‑Portrait after Allen Frame Photograph). c. 1990. Collection of Spaghetti Western. © Darrel Ellis Estate

After 40-plus years working in commercial photography around the world, Montana photographer Jeff Corwin turned to fine art and found inspiration in landscape. Of the 17 pieces in “Landscapes of the American West,” most feature rural views of Montana, including areas near Sourdough, Dillon, Livingston and Wilsall. Two images are of Eastern Washington. A vacation near Ennis planted the seed for Corwin’s move to east of Bozeman. Now he lives in Cardwell, where he’s building a house. Even so, Corwin says, “I go out and shoot every day.” His work speaks to the quieter country. “I tend towards the emptiness of landscapes, not the glory of mountains and meadow and late afternoon light,” he says. “I don’t seek out that emptiness, but after so many years, just react to it.” From a pillowlike snowfield constrained only by a fence in Bozeman, to the lush green leadup to a low butte in Rapelje, Corwin finds much to focus on and frame in his Montana journey.

In Elizaveta Porodina’s exhibition Un/Masked, we are invited to gaze into the spheres of her artistry and image creation. With her experimental, dreamlike and occasionally surreal photography, she calls us to merge the past and the contemporary –- a journey through time and space. Un/Masked reflects the past few years of Elizaveta’s life and work. Her imagery is surreal, dreamy and intimate, on occasion frightening, haunting and delicate. Tears and water are recurring themes in her images and she draws inspiration from her childhood in Russia, art, history, film and religion. Combining the intimate and the uncanny, Elizaveta pursues her subject matter with startling precision, achieving an intensity and freshness. Born in Moscow in 1987, Elizaveta Porodina grew up in post-Soviet Russia but has been based in Munich, Germany since the age of 12. Coming from a theoretical background in clinical psychology, Porodina speaks with a distinctive photographic language—mastering color, movement, and emotion. Sought after for her personal style and creative visual language, major fashion houses are competing to hire her for some of their most coveted global campaigns. She works natively with new techniques and social platforms and has constantly acquired new ways of expressing her ideas photographically. Collaborating closely with her models—or muses, as she calls them—she describes the moment the picture is taken as an exchange, almost like a magic ritual. Image: (Un)Masked, Munich, 2020 © Elizaveta Porodina

Organized by renowned writer and curator Helen Molesworth, the exhibition presents portraits of luminaries in the arts by three of the most prominent portraitists of our time. Face to Face will be accompanied by a fully illustrated catalogue published by ICP and MACK, London, with essays by Molesworth and writer and curator Jarrett Earnest. Creating an atmosphere of conversations held just beyond the frame of the images, Face to Face features more than 50 photographs by Brigitte Lacombe and Catherine Opie, and two films by Tacita Dean, with bracing, intimate, and resonant portraits of compelling cultural figures including Maya Angelou, Richard Avedon, Louise Bourgeois, Joan Didion, David Hockney, Miranda July, Rick Owens, Martin Scorsese, Patti Smith, Mickalene Thomas, Kara Walker, and John Waters, among others. The exhibition presents some of the often-overlapping subjects immortalized by Dean, Lacombe, and Opie and investigates the charged genre of portraiture, one that often carries a sense of intimacy and exposure simultaneously. “These pictures and films offer us formality and intimacy, patience and curiosity, and the thrill of an unguarded moment,” said curator Helen Molesworth. “I see all three artists involved in making pictures that are not only in dialogue with their given subjects, but also with the history of the genre of portraiture and the medium of photography. Art is many things, but for artists it is a way of talking to each other through pictures. It’s a transhistorical game of stealing and borrowing techniques, paying homage to one another’s triumphs—a constant call and response.” "ICP is pleased to collaborate with esteemed guest curator Helen Molesworth to bring this fascinating look at contemporary portraiture to New York audiences," said David E. Little, executive director of ICP. "Face to Face is the first focused portraiture exhibition at ICP's new downtown location at 79 Essex Street. The exhibition offers a unique opportunity to see three of the most accomplished imagemakers of our time approach the subject of portraiture from their distinctly different vantage points, broadening our understanding of contemporary lens-based work. Collaborating with Tacita Dean, Brigitte Lacombe, and Catherine Opie reflects ICP's commitment to exhibiting imagemakers at the fore of visual culture today, and we are honored that Brigitte Lacombe's first major presentation in a New York institution is here at ICP." Image: Brigitte Lacombe, Patti Smith, New York, NY, 2014. © Brigitte Lacombe

This dynamic installation of the photography collection unearths new narratives of influence, innovation, and belonging from the medium’s invention to the present day. Rather than following a linear chronology, Sightlines explores a series of stories and perspectives, spotlighting recent additions to the collection throughout. Some galleries focus on an individual artist or series, like Louis Carlos Bernal’s vibrant color photographs of Chicanx families in the Southwest, or Dorothea Lange and Pirkle Jones’ poignant documentation of the demise of a small town in Napa County. Others consider the evolution of a single theme across the history of the medium, such as studio portraiture or the relationship between the body and landscape. The exhibition culminates with a generous selection of works made without a camera, probing the question of what constitutes a photograph.

With this exhortation, delivered many times, Richard Benson (1943–2017) encouraged his students to explore one of photography’s core functions: recording things and events in the world. He wanted them to step out of their own mindsets and grapple with the many challenges—material, physical, and conceptual—encountered when making anything. It is precisely how Benson approached his own art. This exhibition surveys nearly fifty years of Benson’s photography, a wide-ranging body of work that reflects his humility and boundless curiosity about the world and his tireless exploration of how to make photographs. In addition, the exhibition includes a selection of artworks by ten artists who studied and worked with Benson at Yale University, where he was a professor and later Dean of the Art School. These works illustrate Benson’s impact on generations of photographers by examining points of overlap and difference between his works and those of diverse artists he influenced. Richard Benson: The World Is Smarter Than You Are was organized by the Philadelphia Museum of Art. The exhibition was made possible thanks to the promised gift to the Philadelphia Museum of Art from William M. and Elizabeth Kahane of a collection of 180 works by Richard Benson. Support for the accompanying publication was provided by Lynne and Harold Honickman, Phillip and Edith Leonian Foundation, Barbara M. Benson, Randi and Bob Fisher, Furthermore: a program of the J. M. Kaplan Fund, William M. and Elizabeth Kahane, and an anonymous donor. The exhibition was curated by Peter Barberie, Brodsky Curator of Photographs, Alfred Stieglitz Center, Philadelphia Museum Art.

How well do we know iconic American artist, Georgia O’Keeffe? Scholars have examined her paintings, home, library, letters, and even her clothes. Yet, despite O’Keeffe’s long and complex association with the American photographic avant garde, no previous exhibition has explored her work as a photographer. Georgia O’Keeffe, Photographer presents nearly 100 photographs by the artist, together with a complementary selection of paintings and drawings. These works illuminate O’Keeffe’s use of the camera to further her modernist vision, showing how she embraced photography as a unique artistic practice and took ownership of her relationship with the medium. Discover, for the first time, O’Keeffe’s eloquent and perceptive photographic vision. In the first major investigation of O'Keeffe's photography, Georgia O’Keeffe, Photographer traces the artist's thirty-year exploration of the medium, including a complete catalog of her photographic work. New scholarship by Lisa Volpe and essay contributions by Ariel Plotek address O'Keeffe's photographic approach and situate photography within the artist's practice. This richly illustrated volume significantly broadens our understanding of one of the most innovative artists of the twentieth century. Lisa Volpe is Curator, Photography at the Museum of Fine Arts, Houston. Ariel Plotek is Curator of Fine Art at the Georgia O’Keeffe Museum. Published by the Museum of Fine Arts, Houston in association with Yale University Press, 288 pages, fully illustrated. Available soon for purchase through the Museum Shop. Image: Georgia O’Keeffe, Jimsonweed (Datura stramonium), 1964–68, black-and-white Polaroid, Georgia O’Keeffe Museum, Santa Fe. © Georgia O’Keeffe Museum

Legend has it that the culture of hip-hop kicked off in a Bronx basement party on August 11, 1973, giving hip-hop an official birthday. Fifty years later, Hip-Hop: Conscious, Unconscious explores the people, places, and things that hip-hop has delivered unto us.  Together with Mass Appeal, Fotografiska has created the definitive destination to celebrate hip-hop’s global impact on visual expression – an immersive experience bringing together a community of artists that have documented this cultural phenomenon. Co-curated by Sally Berman and Sacha Jenkins, Chief Creative Officer of Mass Appeal, Hip-Hop: Conscious, Unconscious presents images ranging from iconic staples of visual culture to rare and intimate portraits of hip-hop’s biggest stars from legendary pioneers including Nas, Tupac, Notorious B.I.G, and Mary J. Blige to modern icons such as Nicki Minaj, Megan Thee Stallion, and Cardi B. The works on view traverse intersecting themes such as the role of women in hip-hop; hip-hop’s regional and stylistic diversification and rivalries; a humanistic lens into the1970s-Bronx street gangs whose members contributed to the birth of hip-hop; and the mainstream breakthrough that saw a grassroots movement become a global phenomenon. Tracing the cultural genre’s collective trajectory over five decades, the exhibition spans photography by hip-hop’s earliest documentarians of the 1970s to younger hip-hop photographers who are furthering the proliferation of the genre’s aesthetic. In partnership with Hip Hop 50, $1 of each ticket sale goes to support the Universal Hip Hop Museum. Image: Tyler, The Creator posing for WSJ Magazine (2022) © Campbell Addy

In a world entrenched in societal division and ecological turmoil, it can be refreshing to step back and enjoy the quiet beauty of the natural world. Dallas photographer David H. Gibson has been exploring the beauty of the Southwestern landscape for more than 50 years, building a reputation as an astute interpreter of effervescent moisture and changing light. Morning Light: The Photographs of David H. Gibson takes us to two of his favorite sites, Cypress Creek in Wimberely, Texas, and Eagle Nest Lake nestled in the mountains east of Taos, New Mexico. The 20 works in the exhibition draw attention to the artist’s repeated return to each site and his fascination with dawn’s break into day. In those mystical moments, he finds the essence of each spot. Through his photographs, Gibson coaxes us into getting up before dawn, stepping outside, and noticing the quick tempo of early morning’s changing light. Image: Morning Along Cypress Creek, Wimberly, Texas, January 30 2010, 7:49 AM © David H. Gibson

In Uncommon Denominator, Nina Katchadourian (American, born 1968) stages a conversation among works from throughout her career, artifacts of her family’s history, and objects drawn from every corner of the Morgan’s vaults. To enlist the taste, imagination, and expertise of others, Katchadourian asked Morgan staff members to explain favorite objects to her. She incorporated many of these into a sequence of clusters in which images and objects echo, contradict, or comment upon one another. The sequence encircles a newly commissioned set of photographs from Katchadourian’s ongoing “Sorted Books” project: stacks of books—selected from the Morgan’s Carter Burden Collection of American Literature—whose titles combine into statements, poems, one-liners, or brief narratives. The exhibition is accompanied by a catalog featuring an independent image sequence and an interview with the artist. Image: Giant Redwood, 2012 (Seat Assignment project, 2010-ongoing). Digital chromogenic print. The Morgan Library & Museum, purchased on the Photography Collectors Committee fund; 2019.140. © Nina Katchadourian

For Ming Smith, photography is where the senses and the spirit collide through the prism of light, a process she has compared to “getting that precise moment…getting the feeling…like the blues.” Projects: Ming Smith offers a critical reintroduction to a photographer who has been living and working in New York since the 1970s. She has inspired a generation of artists engaging the politics and poetics of the photographic image in relation to experiences of Blackness. Through her use of long exposures, Smith dissolves the boundaries between her subjects and their surroundings, creating dreamlike, abstract images led by intuition and honed through repetition. The result of the curators’ deep dive into Smith’s archive, Projects: Ming Smith bridges the distance between the present and the past, opening a photographic portal through which to encounter her images anew. The exhibition highlights how Smith’s images collapse the senses, encouraging us to attend to the hue of sound, the rhythm of form, and the texture of vision. As critic A. D. Coleman has written, Smith “sees and thinks in the minor key.” Organized by Thelma Golden, Director and Chief Curator, The Studio Museum in Harlem, and Oluremi C. Onabanjo, Associate Curator, Department of Photography, The Museum of Modern Art. Image: Circular Breathing, Hart Leroy Bibbs, Paris. 1980. Courtesy of the artist. © Ming Smith

The sixties were a long time coming. The sixties keep coming back. For many parts of Africa, to refer to the 1960s is to gesture broadly toward a time of great transformation: the postcolonial turn. That decade’s beginning marks a wave of national independence movements coming to fruition in all parts of the continent with far-reaching consequences around the globe. However, that era of sweeping change is bound up in a chain of events long preceding that watershed decade, with ramifications that reach potently into our present. And any discussions merely offering a colonial/postcolonial dichotomy or framed exclusively through the nation-state betray the far more complex collective and individual experiences of that time and the visual representations taking place within it. This exhibition addresses photography in the context of Africa’s long 1960s—amid resistance, revolution, new nationalist and transnational movements, and the stuff of daily life therein. Focusing on Ghana, Mali, and South Africa, this exhibition features photographic prints, reprints, books, magazines, posters, and other material means through which photography’s relationships to real people and events were articulated, produced, and circulated. And it looks to contemporary works that engage and reflect on those material histories and might prompt us to ask: did the sixties ever end? Bridging the division often made between studio photography and reportage—even as many photographers worked across such categories in their practices—not all realisms brings studio and street together. This project explores documentary visions cultivated through international circulation of print media and transnational dialogues, and examines the multiple lives of single images made by photographers including Ernest Cole, Malick Sidibé, James Barnor, Peter Magubane, Paul Strand, Henri Cartier-Bresson, and more. Image: Malick Sidibé, Happy Club (Christmas Eve) (Nuit de Noël [Happy Club]), 1963, Gelatin silver print. Smart Museum of Art, The University of Chicago, Gift of the Estate of Lester and Betty Guttman, 2014.720. Courtesy of Jack Shainman Gallery, New York

Oakland-based artist Sadie Barnette uncovers and reanimates stories of resistance, resilience, and love through an ongoing retelling of her family’s history. SPACE/TIME, a site-specific commission developed in dialogue with Afterimages: Echoes of the 1960s from the Fisher and SFMOMA Collections, celebrates life against the backdrop of political turmoil and everyday moments from the 1960s to today, highlighting intergenerational legacies and collective possibilities. Just as personal and political events collide and coexist in life, Barnette’s mural juxtaposes cellphone snapshots of birthday parties and weddings with large-scale images of her father in his army uniform in 1966, before he left for Vietnam, and in 1968, as a Black Panther after he returned. Barnette also revisits her own visual language, reusing images that recur in her work, such as pictures of a Martin Luther King Jr. Drive street sign, her aunt’s living room, and sparkly musical equipment. These references appear alongside self-portraits, items from her studio—including a jewel-encrusted calculator and a Hello Kitty Fizzy Pop—and her frequently used adornments: spray paint, glitter, and rhinestones. Drawings with the phrases “Right Here,” “Right Now,” “Everything,” and “Forever” consider the elasticity of time, while the tinted window featuring the words “Space” and “Time” envelops the surrounding architecture with Barnette’s signature pink. By bringing together cosmic imagery and a picture of her father in a swirling pink void, Barnette collapses the expansive arc of time that connects generations and dimensions.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

American photographer Gillian Laub (b. New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness. In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated. Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation's history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable. Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter Movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South. Southern Rites is a specific story about twenty-first century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future? Southern Rites is curated by Maya Benton and organized by the International Center of Photography.