Photo Exhibitions

Chemistry and Light brings together the work of Chuck Kelton and Joseph Minek-two artists who practice versions of camera-free photography. They each elect instead to work directly with the raw materials of darkroom practice-paper, chemicals, lightbulbs-generating unique monoprints. Their energetic works carry resonance with abstract painting and natural phenomena. Taken together, each to the other, Kelton and Minek represent in their common philosophies and divergent differences some contours for a genre. In one sense traditionalists-aka being actual darkroom photographers -nevertheless they eschew the fundamental conventions of both camera and film in pursuit of a deconstruction of the medium that is both more pure and more complex. There is a rich legacy in the historical avant-garde, of artists with a soul of scientific inquiry who take this kind of almost anatomical approach to centering the building blocks of their practice. But as each Kelton and Minek take it up, this center vectors off according to the aesthetics and axioms of each one's vision.

When we think of rooms most of us draw on mental pictures of predictable spaces that are very familiar and give us a sense of security. We tend to see, and live in a fixed and predictable diurnal environment. But for many photographers rooms or interior spaces have often presented themselves as challenges and invitations to see creatively and not be hemmed in by social conventions. A room, as a subject, can resonate with potential possibilities. It can metaphorically be akin to an artist's palette waiting to be brought to life through a new creation. The photographs of Karen Knorr, Massimo Listri, Sandy Skoglund, Michael Eastman, John Dugdale and Bernard Faucon present new approaches and unique visions to picturing space. When we encourage a child to open up their world and expand their horizons we often tell them to "use their imaginations." This act of conjuring possibilities and freeing themselves from the logical constructs and repetitive norms can be liberating. One attribution often ascribed to a great photographer (or for that matter any creative person) is that they have an active and engaging imagination and can mentally construct vivid images. When we think of rooms most of us draw on mental pictures of predictable spaces that are very familiar and give us a sense of security. We tend to see, and live in a fixed and predictable diurnal environment. But for many photographers rooms or interior spaces have often presented themselves as challenges and invitations to see creatively and not be hemmed in by social conventions. A room, as a subject, can resonate with potential possibilities. It can metaphorically be akin to an artist's palette waiting to be brought to life through a new creation. The photographs of Karen Knorr, Massimo Listri, Sandy Skoglund, Michael Eastman, John Dugdale and Bernard Faucon present new approaches and unique visions to picturing space. Each photographer reaches beyond the mere physical appearance of a room. They are interested in finding an equivalent for the experience of being in a room, and how it makes us feel. A room can be a reservoir for real or imagined memories. Rooms take on less of a descriptive and more of an emotive and subjective function. The shared and individual experiences that each of us experiences, give the photographers and ourselves the basic resources to evaluate these unique spaces. The temporal dimension of picture making is complex. Photographs are created by their makers in the present - but are always presented to the viewer in the past. Something has already been photographed and we are looking at the result of the way a room looked, or the evidence of what occurred in the past. However, the act of looking is always in the present - yet what we remember belongs to the past. This critical distinction often shapes our response to what we are seeing. This temporal exchange can give a nostalgic feel - or can touch on something in our minds and emotions that connect us to the pictures and spaces they represent. We can admire the qualities within, be awed or humbled by their structures, or feel pathos for an unknown, but imagined, life that has disappeared. Our deepest connections are always complex and involve several senses - they are seldom limited to the visual. Spaces contain histories - we know some of the histories, but some, created by artists, are potential vessels of imagined or recreated experiences. Photographers such as Massimo Listri and Michael Eastman - photograph a room as they see it. Their selection and criteria for what is worthy of being photographed is based on a location that they find special - or memorable. For Listri, it will have formal elements of architecture like repeating patterns of column, arches, tiles, or objects such as books and a color palette that he finds appealing. His photographs often evoke a cultural entity and depict wealth based on privilege and learning. He is drawn to spaces that have grandeur as well as spaces that have been eroded due to the ravishes of time and use. For Michael Eastman, rooms or spaces need to have a patina produced by time and use. Spaces must be 'lived in" and convey a feeling that someone has just left of is about to enter a room. He is always interested in the human dimension of a room - without an actual person being present. The economic splendor that is projected within a space holds little interest for Eastman - it is the breadth of human experience that is key. He is careful to leave spaces exactly as he sees them and his fascination is with the textures, colors and degradation of a building that happens over time. John Dugdale is a 20th century photographer smitten with the 19th century. He finds comfort in imagined ancestral connections. His is a world seemingly inhabited by spirits. The photographs are hand made and rely on older techniques, such as albumen, cyanotype and platinum printing. These are organic processes that give each print a unique quality. His pictures have a cool reserve and often include friends or family members. There is little in them to suggest a postmodern world or concern - and Dugdale is drawn to basic, essential values and organic objects. His photographs, whether portraits, landscapes or still lives are designed to be authentic experiences and most have been created in one of his two antique homes. Sandy Skoglund, Karen Knorr, and Bernard Faucon create rooms and spaces that suggest narratives, and give a visual substance to ideas they have, memories they wish to share, and objects, animals and people they desire to bring together. They create fictions that are based on ideas the artists' choose to explore. Bernard Faucon creates rooms as equivalent visual poems. A room can be lined in gold, bathed in milk, or covered in snow or sawdust. His subject is often the fleeting memories and joys of childhood - and the inescapable passage of time. His pictures were all made in the South of France with their special interest in nature, light, landscape and the memories specific to his youth. In his photographs, Faucon recreates imagined narratives for the viewer in which we are suspended in a very unique time and space. Karen Knorr builds a world of impossibilities. She explores grand spaces that are full of architectural richness, verdant light, and are steeped in history. Within these spaces she introduces animals that resist domestication. They are shot separately by her in game parks or are taxidermies. The animals inhabitants these spaces - but become entrapped by them. The rooms cannot logically house and nurture the wildness in these beautiful specimens. Just as beautiful cultural structures are steeped in regulated codified social behavior - our individual freedoms are often sacrificed when we inhabit them. The animals become anthropomorphic. For Knorr a room is a metaphor for a kind of socialized control that gives us the comfort of being part of a specific group or culture but also takes away our independence and individuality. Sandy Skoglund painstakingly constructs rooms to contain objects and people that investigate the signifiers of how we live, think, and what we value. She often populates rooms with inanimate objects such as popcorn, Cheetos, tables, chairs, leaves, turf, and sculpts models of foxes, snakes, goldfish, dogs, cats, as well as humans. The pictures are built as life size dioramas that question, on a psychological level, our fears and fascination to things. Her pictures are full of visual non-sequiturs in which there seem to be an infinite repetition of objects, or animals that fill a space. It is always a mystery as to why they are in these spaces in the first place. Added to the repetition of forms and shapes, Skoglund often unifies the color of many of the elements to the larger environment giving a surreal aspect to this puzzling interaction between people and the objects that populate the rooms. Rooms, in the largest sense, become visual constructs where these photographers have realized their dreams, desires, fears and observations. If as Shakespeare quotes, "All the world is a stage," and "All the men and women merely players" the rooms become the theater in which the dramas unfold. They hold the mysteries and beauty that we see first with our eyes and then, over time, they create deeper connections into our larger psyches.

Marlborough New York is pleased to present Bill Brandt: Perspective of Nudes, an exhibition of groundbreaking nude photographs spanning the career of German-born British photographer Bill Brandt (1904-1983). Composed of thirty-five photographs, the exhibition explores Brandt's longitudinal study of the nude feminine form between 1945-79. The exhibition will remain on view through Saturday, May 8, 2021, on the second floor of 545 West 25th Street, New York. The accompanying gallery publication will feature an essay by Martina Droth, deputy director and chief curator at the Yale Center for British Art, and Paul Messier, head of the Lens Media Lab at the Institute for the Preservation of Cultural Heritage at Yale University, New Haven, Connecticut.

Opening Friday, December 18, New York Responds: The First Six Months looks at the still-unfolding events of 2020 through the eyes of over 100 New Yorkers. This crowd-sourced exhibition presents objects, photographs, videos, and other artworks that document and interpret the COVID pandemic, the racial justice uprisings, and the responses of New Yorkers as they fought to cope, survive, and forge a better future. A jury of a dozen New Yorkers representing many walks of life helped to make the selection from among tens of thousands of submissions received from individual artists and from partner institutions. On July 23, the Museum unveiled the first phase of this exhibition, an outdoor installation featuring 14 images that had been submitted as part of our ongoing collecting efforts. Together, these powerful artifacts and artworks speak to the dramatic effects of these unprecedented months on the city, its residents, and the dynamics of urban life itself.

The Center of Photographic Arts maintains a special place within my heart, as it was the first organization to exhibit my work in a juried group show many years ago. Thank you to Ann Jastrab and The CPA for allowing my journey to come full circle by inviting me to jury the 2021 Members Exhibition. It was a great honor and privilege. As an educator, I start my initial classes by asking students how they define what makes a great photograph. The beauty to that question is that there is no definitive answer. Yet there is one attribute I consider a constant, which is that a great photograph is a search for meaning. It starts by asking a question and then proceeds to ask more and more. Regardless of genre, a successful image communicates an authenticity that allows viewers to experience, consider and connect with personally. Consequently, that was the narrow measure used when selecting final images. The selected images for the 2021 Members Exhibition represent a diverse snapshot of current approaches to image making: from the earliest of historical processes to the latest in digital technology. But what they unanimously realize is the ability to connect, surprise, contemplate and at times provide a much-needed laugh. Selecting from approximately 2000 images is an immense responsibility that I do not take lightly since it was just fifteen years ago that I was one of the lucky few selected to exhibit at the CPA. With space for only 45 artists in the physical exhibition and 50 artists in the online exhibit, I deliberated over each and every image for days. In the end, I was deeply torn by not being able to include countless submissions I admired. I applaud every photographer who submitted and I thank each of you for your courage to share your vision. I congratulate the selected exhibitors and I thank each one of you for sharing your unique and inspired vision. - Susan Burnstine

Klompching Gallery is delighted to present a viewing room and virtual exhibition, of new work by Richard Tuschman. Four years in the making, My Childhood Reassembled explores the artist's childhood in the American suburban Midwest of the early 1960s. Following on from his previous successful projects, Hopper Meditations and Once Upon A Time Kazimierz, Tuschman continues to develop a strong visual oeuvre-working with a combination of miniature dioramas and digital collaging of live models-in the staging of complex narratives. Here, the artist has invoked, what he describes as the "stubbornly esthetically mute" interiors of the family home of his formative years; a nondescript red-brick two-family home built in 1955. This is contrasted with the expert use of highly expressive lighting, and performative expressions and body language of the 'family stand-ins', to convey the range of moods embedded in the artist's memories of times past.

Jackson Fine Artis excited to celebrate the welcome approach of spring with Eat Flowers and Persephone, exhibitions of new work from Cig Harvey and Angela West. Both series are lush explorations of the changing seasons and celebrations of emotional rebirth from two of the most innovative female photographers working today. This is the gallery's first exhibition of Cig Harvey's work, and our fifth exhibition of Angela West, the first since 2010's Trigger. > On Saturday, March 13th, we'll be accepting special opening weekend appointments from 11am –4pm, with Angela West in attendance from12-2pm. Appointments may be made by visiting our website. On Saturday, May 8th, Cig Harvey will give a closing artist talk, followed by questions and a book signing in celebration of Harvey's forthcoming monograph, Blue Violet. Cig's previous books You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra, You a Bomb have all sold out and have won numerous awards. Eat Flowers, an exhibition of recent work by Cig Harvey, is a multi-sensory installation of photography and text that celebrates the artists' unique and contemplative approach to finding beauty in even the most mundane. Combining letterpress text, straight photography, and sculpture, Harvey provides an experience mirroring her celebrated photobooks, in which she offers viewers a glimpse into her artistic process through drawings, writings, and references. In Persephone, an exhibition of new large-scale mixed media pieces from Angela West, the artist draws from her extensive archives, reimagining works from my 33rd Spring, a body of work she first presented 17 years ago following her MFA program at Yale. As the world stood still in 2020, West returned to these photographs, layering paint on top of her original landscapes to create a series of unique paintings that celebrate rebirth and the reemergence of West as a force in the photographic community.

Jackson Fine Artis excited to celebrate the welcome approach of spring with Eat Flowers and Persephone, exhibitions of new work from Cig Harvey and Angela West. Both series are lush explorations of the changing seasons and celebrations of emotional rebirth from two of the most innovative female photographers working today. This is the gallery's first exhibition of Cig Harvey's work, and our fifth exhibition of Angela West, the first since 2010's Trigger. > On Saturday, March 13th, we'll be accepting special opening weekend appointments from 11am –4pm, with Angela West in attendance from12-2pm. Appointments may be made by visiting our website. On Saturday, May 8th, Cig Harvey will give a closing artist talk, followed by questions and a book signing in celebration of Harvey's forthcoming monograph, Blue Violet. Cig's previous books You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra, You a Bomb have all sold out and have won numerous awards. Eat Flowers, an exhibition of recent work by Cig Harvey, is a multi-sensory installation of photography and text that celebrates the artists' unique and contemplative approach to finding beauty in even the most mundane. Combining letterpress text, straight photography, and sculpture, Harvey provides an experience mirroring her celebrated photobooks, in which she offers viewers a glimpse into her artistic process through drawings, writings, and references. In Persephone, an exhibition of new large-scale mixed media pieces from Angela West, the artist draws from her extensive archives, reimagining works from my 33rd Spring, a body of work she first presented 17 years ago following her MFA program at Yale. As the world stood still in 2020, West returned to these photographs, layering paint on top of her original landscapes to create a series of unique paintings that celebrate rebirth and the reemergence of West as a force in the photographic community.

Jason Francisco, Guest Curator A Life with Others is the first comprehensive survey of the work of Laurence Salzmann (American, born 1944), one of Philadelphia's most renowned living photographers. The exhibition explores the major themes of the artist's remarkable and ongoing fifty-year career, the geographic scope of his practice in photography and film, and the intensity of his concerns. Salzmann is a lifelong resident of Philadelphia; he remains today a member of the same synagogue in which he celebrated his bar mitzvah in 1957. But his work has taken him to communities in more than a dozen countries around the globe, his subjects ranging from rural Mexico to urban Turkey, the mountains of Transylvania to the highlands of Peru, New York City to Jerusalem, Cairo to Havana. Trained in visual anthropology, Salzmann is distinct in his conception of art as research, and research as a point of artistic departure. His photographs and films push us to measure our ethical consciousness and to meet his subjects on their own terms, with critical awareness and compassion. They push us to defend those who are vulnerable to ignorance and stereotype, and to transcend cultural and psychological barriers in the protection of human dignity. The exhibition will include over seventy-five works of art, including vintage photographs from all eras of Salzmann's career, as well as films and books. Materials will be lent by the artist himself, and by the University of Pennsylvania, which in 2018 acquired Salzmann's vast archive.

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

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

We are thrilled to share an exhibition of vintage photographs by Ernest Knee, a well-known photographer and cultural figure who lived in Santa Fe in the 1930's and 1940's. Knee is best known for his images of northern New Mexico and other southwestern cultural landscapes, Native American dances, and many other profound Southwest locations which reveal a remarkable visual record of the Southwest between 1930-40, comprised into two books: Santa Fe, N.M. (1942, Hastings House) and Ernest Knee in New Mexico (2005, Museum of New Mexico Press). Also included in the exhibition will be a selection of photographs from Mexico of which were published in his book, Mexico - Laredo to Guadalajara (1951, Hastings House). Ernest Knee was born in 1907 in Montreal, Canada. Ernest descended from a long line of boat builders, fishermen, and sea captains and wound up serving in the Canadian marines at 19, also the same time he got his first Eastman folding camera. Ernie had contracted rheumatic fever at age 11 and while he did recover, he felt the long-term effects of the disease throughout his life. A few years later he contracted tuberculosis and after this time he and his mother moved to Tucson so he could recover and gain back strength. Once healed, his mother moved back to Canada and it was at this time, around 1930, that Ernie met his first love and eventual wife, Virginia Shnaufer, who was an artist and nurtured his photography. That following year they moved to Santa Fe, New Mexico, a place in which held a vision for him of something unaffected and pure, where one could live a simpler life. In 1916, Taos became a central hub for artists, where Mabel Dodge Luhan and her husband from Taos Pueblo, Tony Luhan had created an incredible residency of sorts for artists from all disciplines all over the country to visit and create. They hosted writers, artists and musicians such as Mary Austin, Willa Cather, DH Lawrence, George O'Keeffe, Leopold Stokowsky, and photographers including Edward Weston, Paul Strand, and Ansel Adams. Oftentimes Ernie was aided in his quest for pictures by Tony Luhan, who had friends everywhere and often drove Mabel's guests to one pueblo or another as guide and interpreter and he photographed the traditional dances, costumes, and people of the Indian Pueblos. His photos of the Devil Dancers at Zia Pueblo were the first record of their dance and were published in Life magazine in 1937. Good-humored and hospitable, the Knees had many visitors stay with them in their house on Camino Del Monte Sol, among them Edward Weston whom Ernie first met in 1932 through Willard Nash. Weston became a great friend and would use Ernie's darkroom when he was in town. "Ford gave him a car when he worked for them," Ernie said. "We would drive all over the countryside, stop, get out of the car at the same time, and always stand back to back, shooting in opposite directions." Perhaps intrigued and encouraged by Paul Strand and Edward Weston who had gone to Mexico before him, Ernie decided to set off and see some of that great country for himself in 1941. He focused on a route that led from Laredo to Guadalajara, taking in the sights and old settlements of Monterrey and Villagran, then veered southwest through the mountains to the Valley of Mexico, and finally went west through Morelia and Chapala. He noted with pleasure the relaxed pace of life enjoyed by the Mexicans and their attunement with nature, the pyramids of Teotihuacan, and the helpfulness of the people he met, but he frequently had to convince them that he "was not one of those Americanos [who] must get to and from places in a dreadful hurry." These images, nearly 100, were published in the book, Mexico: Laredo to Guadalajara, (Hastings, New York, 1951). Like many of his Anglo contemporaries, Knee was smitten with Santa Fe's distinctive architecture, crafts traditions, and landscape. Knee was part of the Santa Fe artist community that included Gustave Baumann, and Will Shuster and he was friends with many of the artists who visited the area regularly (John Sloan, Edward Weston, Ansel Adams, etc.). Ernie was a great afficionado ofthe Santa Fe fiestas throughout the 1930's, watching Shuster build Zozobra and photographing the process several times. He enjoyed taking pictures and films of the parades, musicians, friends and visitors alike, dressed up in their fiesta finery. Within a few years, his documentary films were also shown by Pathe News in movie theaters and included his photographs made on the Navajo reservationfor the documentary film called Navajoland. His three short documentaries are called; Indian Rhythm (Taos Pueblo dances), Navajo Fair at Shiprock, and Santa Fe Area Celebrations, all of which he donated to the State of New Mexico Photographic Archives. His photographic output was prodigious, with photos in local shows; a touring United States WPA exhibition; many printed in books and magazines, and a couple of his images winning awards in advertising circles. A few exhibitions were financed by the State Department and traveled around South America during 1944-45. In subsequent years, his freelance status with Pathe News kept Ernie going when other financial sources were in short supply. With literally hundreds of photos taken in and around Santa Fe in the previous decade, he gathered the many faces of his adopted hometown, brooding landscapes, area churches, and small town streets, and set them in a small pictorial book entitled Santa Fe, published in 1942. When the war came on, Ernie moved to California and worked for Howard Hughes, creating his photography department, remarrying, and creating a family. It was in 1949 when he moved back to Santa Fe after traveling to Venezuela that he realized the market for photography had come to a standstill. He wound up investing in his wood-working skills and the next twenty years created a wooden door company, Spanish Pueblo Doors, in downtown Santa Fe from 1950-1970 until he sold the business and returned to his passion for photography. By this time, he was almost unknown in the art world. Undeterred, he set up a darkroom and began printing and exhibiting the photographs of his earlier years. Soon he was having shows all over the country with major photographers, including Laura Gilpin (Masters of New Mexico) at the Colorado Photographic Arts Center. His first love had always been photography, and in interviews during this period he was fond of saying his life had never been better. When Ernie died at age 75, twenty-two major museums had exhibited and/or acquired collections of his work including the George Eastman House, Rochester, NY; Museum of Modern Art, NY; Center for Creative Photography, Tucson, AZ; Santa Barbara Museum of Art, CA; Los Angeles County Museum of Art, CA; Princeton University of Art, Princeton, NJ; New Orleans Museum of Art, LA; University of New Mexico, NM; New Mexico Museum of Art, Santa Fe, NM; Chicago Art Institute: among others.

Reproductive: Health, Fertility, Agency explores the psychological, physical, and emotional realities people encounter in the years leading up to, during, and after fertility. The exhibition features eight artists who consider a range of topics including birth, miscarriage, pleasure, the lack of access to abortion, trauma, and the loss of fertility. The term 'reproductive' is twofold. It implies the characteristics of a photograph, bringing attention to a notable lack of visual representation of the experiences of the female body. Additionally, the term is a reference to a common patriarchal, capitalist view of women's bodies as vehicles for reproduction. This exhibition aims to add visual presence and a deeper understanding of the precarious nature of female rights and freedoms in a time where the future of these rights is uncertain.

Initially an identity project, Balancing Cultures gives voice to a story suffered in silence by my immigrant grandparents and American-born parents. My mother's passing left my brother and me with boxes of photographs. Among them were photos of family members taken in camp that we had never seen. In my family, when anyone spoke of camp, they weren't referring to a pine-scented summer retreat-they were referring to the WWII American concentration camps sanctioned in 1942 by President Roosevelt's Executive Order 9066. Piecing together a historical puzzle of photographs, memories, and artifacts, I began an exploration into my family's undisclosed past. For the first time, the hardships my family endured in the camps were illuminated to me. EO 9066 caused 110,000 Japanese Americans economic loss, the pain of prejudice and imprisonment, and the repercussions of re-integration into post-war America. Although racism is deeply woven into our institutional and social fabric, there is no scientific basis for race. Race and racism are social constructs. This project is a testimony to the shame and indignation my family kept hidden due to their cultural stoicism and fear of retribution. Left untold, their experience would remain buried, a casualty of the country they loved and fought for. Balancing Cultures is especially relevant as long as America continues to incarcerate people-not for crimes they've committed, but simply because of whom they are. Bio Jerry Takigawa is an independent photographer, designer, and writer. He studied photography with Don Worth and is the recipient of many honors and awards including: the Imogen Cunningham Award (1982), the Clarence J. Laughlin Award, New Orleans, LA (2017), Photolucida's Critical Mass Top 50 (2017, 2020), CENTER Awards, Curator's Choice First Place, Santa Fe, NM (2018), and the Rhonda Wilson Award, Brooklyn, NY (2020). His work is in the collections of San Francisco Museum of Modern Art, Brooklyn Museum, Crocker Art Museum, Santa Barbara Museum of Art, Monterey Museum of Art, and the Library of Congress. Takigawa lives and works in Carmel Valley, California.

The 2020 jurors for the Chervinsky Scholarship awardee have chosen Tavon Taylor to receive the Chervinsky scholarship. The jurors would like to acknowledge their shortlist as well. "We propose the opportunity to have a longer short-list so that we have a larger group of emerging artists who receive the encouragement of being short-listed for the award. As we discovered a larger pool of individuals who deserve to be finalists and have equally impressive work. We thought this would be a wonderful opportunity for more emerging artists to add this accolade to their CV's and receive the acknowledgement that their work deserves." Logan Bellew, Becky Behar, Maria Contreras-Coll, Dylan Everett, Alayna N. Pernell, Kendall Pestana, Daniel Seiffert

ClampArt is pleased to present Michal Chelbin's exhibition "How to Dance the Waltz," her first solo show at the gallery, and her fifth in New York City. The exhibition coincides with the release of Chelbin's monograph of the same title from Damiani (Hardcover, 108 pages, 11 x 12 inches, $60). In his preface to the book, Joseph Akel writes: "That pervading sense of contradiction, that eruptive moment when budding youth clashes with burgeoning adulthood, lies at the heart of Chelbin's images, evinced through her juxtaposition of teenage subjects captured in garments, costumes, and uniforms symbolic of long-standing institutions and their traditions." The artist has long been fascinated by costumes and uniforms, commenting on how youth is so startlingly apparent - especially when dressed up in the clothes of adulthood. This fascination led Chelbin over the course of five years to photograph young matadors training at schools in Seville, Spain; cadets at a military academy in Ukraine; and high school students on the eve of prom in Kiev (the capital of Ukraine). The artist looks at puberty and gender as a performance that involves keen attention to costumery. The photographs address the ways in which societal expectations of gender, especially in regard to clothing and uniform, inform a young person's development and identity. With the subjects gazing directly into the artist's lens, Chelbin's remarkable portraits simultaneously represent the sitters' vulnerability and self-possession. But again, as observed by Akel, Chelbin's young subjects are "bound by the traditions and institutions which frame their lives." These are not the rebellious teens photographed by the likes of Larry Clark, Nan Goldin, and Ryan McGinley. Referring to Ukraine and Spain and their appeal to her, Chelbin observes, "It's the Old World. . . [M]en are still taught to be men, to be warriors, and the women are taught to know how to dance a waltz."

There is a moment in most people's lives when they become awarethat their body appears different than what they might have imagined. Themoment usually coincides with middle school, adolescence and a great deal ofself-consciousness. It's a time when even adults gifted with beingconventionally attractive describe themselves as feeling different and outsideof the group. As age sets in, with some luck, people form their own familiesand communities, and the self-consciousness of defining oneself recedes intothe background of day-to-day existence. With this comfort of age, it can beeasy to forget how lonely it was growing up with the urgent desire to have aplace where one felt comfortable enough to be at home. This desire to find a place to belong can be greatly complicatedby being a Trans or Queer person. As a photographer, J Houston has harnessedthe large-format camera's ability to take the raw material of the world andcreate a place all their own. In the pictures, being Trans and Queer is thedefault, where there is no struggle for acceptance, just the ease with whichthe subjects welcome the camera into their intimate spaces, creating room forthe artist and by extension the viewer. The people in Houston's pictures exist in settings that could be anywhere, witheveryday objects like yoga balls, seat cushions and carpeting that seem tingedwith magic and heightened importance. Houston's pictures come alive in themundaneness of the portrait subjects' everyday emotions, romance, solitude,dignity, sadness, vulnerability, pleasure. It is the drama of a sharedhumanity, the little building blocks of experience, that create a community inthe pictures. Images, which in their making involved meeting, getting to knowand becoming part of subjects' lives form a small Trans-Queer utopia thatmanifest from the art into the world.

510 Warren Street Gallery is proud to present the photography of John Lipkowitz in a show titled "Wild Places, Wild Things" beginning Friday, May 7th and ending on Sunday, May 30th 2021. All are welcome to view the show with Covid 19 protocol in place. John Lipkowitz, a retired NYC attorney, came to photography through exotic traveling he and his wife began in 1998. Thereafter, travel and photography became intertwined and he became drawn to wildlife in Africa, the Arctic and Antarctica as well as the ice and spectacular light in those polar regions. Many trips over the ensuing 22 years were directed to these places interspersed, when his wife Nina had her way, with more culturally oriented sojourns to other parts of the globe such as Asia and Southeast Asia which they visited many times. Travel plans, together with much of life itself, came to a screeching halt in March of 2020. For Lipkowitz, little in the way of new work was available. As a result of substantial isolation during this past year, time was available to revisit tens of thousands of his old images, very quickly at first, but with a more careful and curious eye as a new editorial process evolved. Many of the images in his current show have been exhibited in different forms before, but many others are presented here for the first time. His passions are here presented in images of wildlife experienced in Polar regions, (no Polar Bears and Penguins do not live in the same place), a Japanese winter and several trips to Africa with special emphasis on its two largest and charismatic cats, now offered as a gateway into the photographer's heart and soul. Future travel plans are booked but for Lipkowitz, fingers remain crossed for a new ‘normalcy' that permits such excursions in a safe way for us all.

Photographs can support the journey through our diverse experiences of processing, loss, and healing; we all react and respond to images differently, based on our own life perspectives. In this exhibition the Center shares a range of photographs to encourage investigation, reflection, and restoration as we explore ideas central to this historical moment. The exhibition (both online and in the Center’s Main and Heritage galleries) will share images within five conceptual pairs that seem particularly resonant at this time: connection/isolation; wellness/illness; solace/discomfort; presence/absence; and communal/domestic. We will create opportunities to share thoughts and responses to the photographs, building a collective and multivocal conversation about how we are experiencing and coping during this time.

In partnership with Iris PhotoCollective, HistoryMiami Museum will present Urban Tranquility: Photographs by C.W. Griffin. The exhibition, featuring the work of C.W. Griffin and curated by Carl Juste, is the exploration of a one-block area of downtown Miami surrounding Government Center, an area that provides both graphic and visual movement and a sense of serenity in the busy urban core. "Miami is unique as a metropolitan city. Even more unique is its tranquil essence felt at its busy urban core. When you go to cities like New York you feel the hustle and bustle. But you don't feel that in Miami," Iris PhotoCollective photographer C.W. Griffin said. "There is a sense of calm in our streets. In our downtown you can be relaxed." Griffin started capturing the serenity of downtown two years ago and now a curated selection of images from his photo essay will be displayed on the HistoryMiami plaza, which is also a subject of some of his photographs. "The HistoryMiami plaza is one of the very few spaces of the people. It is quiet and vast and has a calm to it. You feel safe," curator Carl Juste said. "For me, that place is the town square. Everyone can claim that space." HistoryMiami Museum will host a press preview and virtual opening with special guests, C.W. Griffin and Carl Juste on Wednesday, December 2 at 6 p.m. The public can view the exhibition starting on December 3. "We are looking forward to sharing this work with the community. We are honored to work with both C.W. Griffin and Carl Juste," HistoryMiami Museum Executive Director Jorge Zamanillo said. "Griffin captures the tranquility of downtown through his lens, while Juste curates the exhibition so that everyone sees themselves in it. You will leave the exhibition inspired to capture your own photos of the area." C.W. Griffin is a photographer working in Miami. He has taught at the University of Miami for many years and was a staff photographer at the Miami Herald for 31 years. Griffin is the recipient of numerous awards, and while serving in the military was the first African American photographer to be named Military Photographer of the Year for all branches worldwide. His work has appeared in numerous books and magazines such as National Geographic, Smithsonian, and Time. Griffin was represented in the book and exhibit Contemporary Black Photographers, and his work has appeared in numerous volumes of the coveted ‘Day in The Life' series. His work has also been a part of many major photography exhibits in galleries such as the Brooklyn Museum of Art, The Corcoran Gallery of Art, and HistoryMiami Museum. Under the threat of persecution, Haitian-born Carl-Philippe Juste and his politically active family were forced to flee their homeland in 1965, eventually settling in Miami's Haitian community. Since 1991, he has worked as a photojournalist for The Miami Herald. Juste has covered national and international stories for the Herald, including assignments in Haiti, Cuba, Pakistan, Afghanistan, and Iraq. As part of his ongoing independent work, in 1998, Juste co-founded Iris PhotoCollective. In 2016, Juste won a prestigious Knight Arts Challenge grant to complete Havana, Haiti: Two Cultures, One Community, a book and exhibit of photographs and essays about Cubans' and Haitians' lives and shared humanity. Havana, Haiti opened IPC Art Space in 2019 to further engage the public with the arts, and won the Oolite Arts' "The Ellies" in 2019. Urban Tranquility is sponsored by OPG Media | PhatAutoWraps and presented with the Museum's Center for Photography, which is supported in part by the Funding Arts Network, the Knight Foundation and Susannah and John Shubin.

All About Photo is pleased to present The Black Stories Project by Madison Casagranda Brooke Shaden, is the curator for this month's show. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of May 2021 and includes twenty photographs from the The Black Stories Project. THE BLACK STORIES PROJECT The wet plate collodion tintype process was first invented in the 1850s and became a primary photographic practice in the 1860s and 1870s, documenting much of the Civil War. The tintypes of the Black Stories Project embody the history of photography and the history of racial inequity in the United States and more specifically in the state of Utah. They draw a connection between the history of racism and the dialogue about race today. In a state where the black population is less than two percent and a dominant religious culture presents a unique and complicated narrative of the past and present, we can only address the current issues of systemic inequality while acknowledging and grappling with the history behind them. This project is a study about how the weight of our state's history and the lens through which it is told, affects how black individuals experience life here today. The Black Stories Project is made up of the portraits and voices of members of the black community here in Utah, and stands as an effort towards opening the conversation, understanding the past and changing the future narrative of our history. In this moment of great uncertainty and turmoil, these online Solo Exhibitions aim to continue to connect audiences and artists, building on our beliefs that access to art and culture is a right and not a privilege and that artists' voices should be heard. It is a platform to help photographers pursue their visions, their dreams and their projects. With our new online showroom space, we've placed All About Photo's role as a supporter and amplifier of creative ideas.

Louise Lawler presents two exhibitions-one on top of the other. Distorted for the Times is a selection of Lawler's works that have been digitally altered to render a sense of unease, as what is to be seen is abstracted into something illegible. Lawler has taken photographs of artworks in various locations and recontextualized them throughout her career. In 2011, she began making works that are "adjusted to fit"- meaning the photograph's original aspect ratio has been adjusted to match the dimensions of the wall on which it is installed, allowing the scale, location, and environment to directly transform the artwork. In 2017, she began applying digital filters to distort selected images. Three of these distorted and/or adjusted vinyl works are on view here, along with a selection of mounted photographs including Hair and Fur (both 2005/2019), closely cropped images of a Maurizio Cattelan artwork using taxidermied animals and an Andy Warhol fright wig self-portrait. A Given (Red, Yellow, Blue) presents the artist's Traced and Painted works together as a group for the first time. In these works, Lawler has painted small sections of print versions of her Traced works-black-and-white images created from tracings of her photographs made by artist and illustrator Jon Buller. The selected application of gouache in the primary colors red, yellow, and blue, its own art historical 'given,' abstracts the images even further than do the tracings. The areas the artist chose to paint complicate the hierarchy of what is given prominence. The two shows are presented simultaneously—one on top of the other.

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

The BIG Picture: Giant Photographs and Powerful Portfolios is a two-part exhibition that highlights recent photography acquisitions at the Fitchburg Art Museum. The Giant Photographs section features large-scale prints (some measuring over 6 x 8 feet) by twenty individual artists, while the Powerful Portfolios section features groups of multiple, related photographs by André Kertész, Steve Locke, Kenji Nakahashi, Ruben Natal-San Miguel, and Barbara Norfleet. Giant Photographs examines a tendency among contemporary photographers to exploit new digital technologies to create extremely large, high quality prints. Because of their size, these images engage not just with the history of photography, but also with the history of painting, advertising, and cinema. This exhibition also explores how giant photographs change our physical relationship to images, as they tower over and envelop us, instead of being trapped in our phone screens or flying by on the highway. On the Giant Photographs section of The BIG Picture, Terrana Assistant Curator Marjorie Rawle notes: "It's an immersive experience that centers the viewer as an active participant in the culture of images, making us more aware of their role in our daily lives." The show includes the work of photographers from across the globe: Gil Blank, Angela Strassheim, Laura McPhee, Amie Dicke, Eve Sussman, Miao Xiaochun, Ambra Polidori, James Casebere, Sarah Pickering, Pierre Gonnord, Noriko Furunishi, Karin Bubaš, Greg Girard, Héctor Mediavilla, Matt Siber, Paolo Ventura, Tang Yi, Alejandro Chaskielberg, Brian Ulrich, and Hong Lei. Powerful Portfolios considers the potential of sets of multiple images to create narrative, deliver meaning, and stir emotion. There are haunting and nostalgic black-and-white images by 20th-century giant André Kertész and by photographer, professor, and social scientist Barbara Norfleet, as well as quirky and colorful works by street photographer Ruben Natal-San Miguel and conceptual photographer Kenji Nakahashi. A 2016 series entitled Family Pictures by Steve Locke, a 2020 Guggenheim Fellow, inserts images of historical trauma and violence against Black bodies into quiet, home interiors in order to "reconcile a violent history with the contemporary spectacle of state violence within a domestic sphere," according to the artist. The BIG Picture offers the opportunity to celebrate the Fitchburg Art Museum's continuously growing collection of photography, which has more than doubled over the last five years. FAM now holds over 2,000 photographs from the 19th, 20th, and 21st centuries. This has been made possible by strategic purchases, and also by gifts to FAM from important collectors of photography, most notably Harley Fastman, Linda Fisher, Martin Goldman and Dorothy Klepper, Arlette and Gus Kayafas, James Pallotta, Richard and Jeanne Press, and Anthony Terrana. Dr. Terrana's ongoing gift of 500+ photographs has not only significantly increased the size of the FAM collection, but also adds recent, color, large-scale digital photography to our art historical holdings.

There is a growing sense that opposing movements-one toward ideals of freedom, the other toward increasing restrictions一are approaching an inflection point. Social and economic classes are polarizing, public rhetoric doesn't reflect lived reality, and rapid technological change eases as much as it restrains. The collective feeling is that things have turned inside out. In this exhibition, works from the Push/Pull collective explore where ideals of nature and community persist against the realities of decay and enclosure. Traditional landscapes and interiors give way to tensions between nature and built environments, in whose margins communities adapt and survive. Featuring work by Tara Champion, Michael Clements, Andrej Gregov, Elisa Huerta-Enochian, Chris Letcher, Jon MacLaren, Susan MacLaren, Helen Miller, Anna Ream, Jenny Riffle, and Seth Thompson.

Marian Goodman Gallery is delighted to announce Memory Lost, our first exhibition in New York with Nan Goldin, who joined the gallery in September 2018. This major exhibition will be the first solo presentation by the artist in New York in five years and will present an important range of historical works together with two new video pieces and the debut of two new series of photographs. Memory Lost (2019), an important, new digital slideshow, recounts a life lived through a lens of drug addiction. This captivating, beautiful and haunting journey unfolds through an assemblage of intimate and personal imagery to offer a poignant reflection on memory and the darkness of addiction. It is one of the most moving, personal and arresting works of Goldin's career to date. It is accompanied by an emotionally charged new score commissioned from composer and instrumentalist Mica Levi, with additional music by CJ Calderwood and Soundwalk Collective. Documenting a life at once familiar and reframed, newly discovered archival images are edited to portray memory as lived and witnessed experience, altered and lost through drug addiction. A group of stills from Memory Lost, presented here as dye sublimation prints on aluminium for the first time in Goldin's career, gathers work from a period when the outcome of a photograph was unpredictable. Technical mistakes allowed for magic; random psychological subtexts that could not have been created intentionally could make the subconscious visible. In conjunction with Memory Lost, another new video work, Sirens (2019-2020), will be presented in the North Gallery. This is the first work by Goldin made entirely from found footage-scenes from thirty of her favorite films-and is accompanied by a new score by Mica Levi. Echoing the enchanting call of the Sirens from Greek mythology, who lured sailors to their untimely deaths on rocky shores, this hypnotic work entrances the viewer into the sensuality and ecstasy of being high. In an adjacent space, a new series of pictures taken entirely from her home during quarantine (2020-2021) mark a return to Goldin's best-known work. The subject of these portraits, writer Thora Siemsen, inspired Goldin to pick up her camera and document her personal life again. During the paradigm shift between what we've known and a new reality still unknown, Goldin has made a timeless portrait of her friend and of her home. Amidst the terrors and limitations of the global pandemic, Goldin arrives at a place where time is crystallized by presence, stillness, and intimacy. In the South Gallery, Goldin presents a series of large skies and landscapes taken over the last thirty years during her travels through the world. The rich tonality and subtlety of these large images convey an ethereal, abstract quality that sits in counterpoint to the rest of the exhibition. Goldin's skies float, unframed, evoking the enormity of the sky and her desire to photograph emptiness. A newly edited version of the slideshow, The Other Side (1993-2021), will be presented in the Third Floor Gallery as an analog piece for the first time in fourteen years. The Other Side was produced as an homage to the artist's transgender friends whom she lived with and photographed from 1972 to 2010. The work celebrates the "gender euphoria" of her friends, in their possibilities for transcendence. In the introduction to the first edition of the book, The Other Side, published in 1992, Goldin wrote: "The people in these pictures are truly revolutionary; they are the real winners of the battle of the sexes because they have stepped out of the ring." In the updated version of The Other Side, published by Steidl in 2019, Goldin reaffirms it as "a record of the courage of the people who transformed that landscape to allow trans people the freedom of now. My dream since I was a kid was of a world with completely fluid gender and sexuality, which has come true as manifested by all those living publicly as gender non-conforming. The invisible has become visible." While acknowledging the gaps in her own understanding of the current language around gender identity, Goldin adds that, although "she can't freely navigate the terrain without stumbling," she recognizes the importance of bringing these images into the public consciousness again. "It's important for them to know they're not alone, and to know how they got here." She dedicates both the slideshow and the book to all the trans sisters lost to violence. Nan Goldin was born in Washington, D.C. and lives and works in New York and Berlin. Upcoming solo shows include a major touring retrospective organized by The National Portrait Gallery, London, which will open at the Moderna Museet, Stockholm, in the fall of 2022, and travel to The National Portrait Gallery, London, in summer 2023, and selected venues thereafter. Her work has been the subject of two major touring retrospectives: one organized in 1996 by the Whitney Museum of American Art, New York, and another in 2001, by the Centre Pompidou, Paris, and the Museo Nacional Centro de Arte Reina Sofía, Madrid, which subsequently traveled to London, Porto, Turin, and Warsaw. In 2019, Goldin was commissioned to create new work for the Palace of Versailles exhibition, Versailles - Visible/Invisible. Recent solo exhibitions include Sirens, Marian Goodman Gallery, London, 2019; The Ballad of Sexual Dependency, Tate Modern, London, 2019; Weekend Plans, Irish Museum of Modern Art, Dublin, 2017; Nan Goldin, Portland Museum of Art, Portland, 2017; The Ballad of Sexual Dependency, Museum of Modern Art, New York, 2016. Nan Goldin has been the recipient of numerous awards including the Hasselblad Award in 2007 and was named a Commandeur of the Ordre des Arts et des Lettres in France in 2006. In 2012, Goldin was awarded the prestigious Edward MacDowell Medal, for her outstanding contribution to American culture and the arts. In 2017, Goldin started her activist group P.A.I.N. (Prescription Addiction Intervention Now), addressing the overdose crisis. Through direct action, they have called out museums bearing the Sackler name and fought against the family who profited from Oxycontin. In 2020 they started a group called OxyJustice who continue the fight against the Sackler family and Big Pharma, whilst P.A.I.N has expanded its focus to the fight for progressive drug policy and harm-reduction-based healthcare.

Featuring photographs by: Jaime Aelavanthara, Keliy Anderson-Staley, Patrick Scott Bell , Diana Bloomfield, Jillian Marie Browning, Kimberly Chiaris, Karen Hymer, Rachel Wolf. Picturing the Avant-Garde aims to broaden the interpretation of photographic imagery beyond traditional printing. The works included in this exhibition explore the conceptual potentiality of various alternative and experimental photographic processes such as gum prints, tin types, chemigrams, cyanotypes, gold orotypes, and lumen prints among others. Jillian Marie Browning , Relative #2 , 2021, Cyanotype on cotton fabric, Courtesy of the artist. Jillian Marie Browning, Relative #2, 2021, Cyanotype on cotton fabric, Courtesy of the artist. Selections from the museum's permanent collection from artists such as Jerry Burchfield and R.H. LeSesne complement the wide range of contemporary artists working in various media throughout North America. Each of the eight artists in this exhibition use interdisciplinary techniques to reframe the discussion around conventional image making. This exhibition seeks to examine what makes an image a “photograph” and question the ambiguous borders that exist between photography, printmaking, bookmaking, and other media. Whether rendered on paper, metal, or fabric, the works on display showcase the unique characteristics - rich surface textures and tonalities, process variations, hand embellishments - embodied by these various historical photographic printing techniques. Each artist's approach to their subject provides a sense of the immense variety of photographic possibilities at their fingertips. These artists are not confined by the conventional principles of photography, but rather redefine those principles through their individual approach. For some, this means eschewing the use of camera and lens altogether. For others, this is accomplished by transforming images into three-dimensional sculptural objects. By engaging with the physical space through nontraditional installation methods, viewers are urged to consider photography beyond the flat two-dimensional framed image. In addition to exploring the way photographic imagery is translated through process - the specific act of creation - the viewer is made acutely aware of the artist's concept, and the conscious choices made in pairing visual and material means. The artists' feelings and thoughts are of foremost concern; moving through the exhibition, the viewer is confronted by matters related to the circle of life, death, and decay; familial connections; identity and heritage; and the impermanence of memory. understanding of the possibilities of photography as an ever evolving artistic field. Featuring photographs by: Jaime Aelavanthara, Keliy Anderson-Staley, Patrick Scott Bell , Diana Bloomfield, Jillian Marie Browning, Kimberly Chiaris, Karen Hymer, Rachel Wolf

The Sky exhibition of images by two Tucson artists, Kate Breakey and Brett Starr, who recently discovered they had a mutual interest in the heavens. Each of them having looked upward, and felt compelled to make images of the sky, for years. For this exhibition they have gathered together their daytime and nighttime images-of clouds, rainbows, the sun and the moon, comets and cosmic events. Most recently they collaborated to make deep sky images using an online telescope on the other side of the world. 'It was exciting and conceptually poetic to instruct a telescope that is 9,000 miles away to point at an object - a galaxy, or nebulae- on the other side of the universe, and make an image for us to contemplate and print. The incomprehension and wonder you feel is transforming - it puts time and life on earth into perspective, and that is always a good thing'

Please join us for this special memorial exhibition for acclaimed photographer, Ingeborg Gerdes (1938-2020). This retrospective exhibition, Out West, will include images from several of Gerdes’ series spanning a 50-year period including photographs from San Francisco in the 70s, Out West Across the Basin, Out West in Color, Eastern Washington, The Mission District, and Autobiography. This exhibition will travel to Blue Sky Gallery in Portland and is one of several shows to honor this great artist’s legacy on the anniversary of her passing. Born and raised in Germany, Ingeborg Gerdes came to the United States in the mid-1960’s. She was living in Philadelphia when she saw a catalog from the San Francisco Art Institute, offering photography classes. She moved to the city and in 1970 received her graduate degree in photography from the San Francisco Art Institute, starting her new life as a photographer. From the beginning, her approach to photographing corresponded to her long-standing passion for traveling. She went back to Europe frequently as well as journeyed through countries in Asia and to Mexico. In 1982, on a road trip to Nevada she discovered the high desert and began to photograph in rural regions of the Western states. This work became a long-term project. She also continued to make work in the Bay Area where she lives while regularly returning to Germany, where she photographed in her home town and in Berlin. Ingeborg has exhibited her prints in numerous one-person and group exhibitions in galleries and institutions nationally and abroad. She has been awarded four National Endowment for the Arts fellowships and taught photography at the University of California, Santa Cruz. Her photographs are in the collection of the Smithsonian American Art Museum, San Francisco Museum of Modern Art, the Portland Art Museum, the Stanford Museum of Art and the Berkeley Art Museum, amongst others. Ingeborg Gerdes passed away peacefully at her home in Emeryville, CA on June 20th, 2020. She will be remembered as a remarkably talented photographer, influential educator, and as a dear sister, aunt, colleague, and friend.

Karen Navarro's The Constructed Self is the Houston-based photographer and multimedia artist's first solo exhibition at Foto Relevance. A vivid and even more tactile expansion of the artist's earlier portfolio El Pertenecer en Tiempos Modernos (Belonging in Modern Times), Navarro's The Constructed Self realizes meditations on self-representation and identity through dynamic photosculpture configurations. Disrupting photography's traditional two-dimensional presentation, these colorful new works come assembled in a multitude of ways-some stacked and spinning, others paneled and puzzled together. These geometric complexities illustrate the abilities we all have to reorder and rearrange the many facets of our public-facing identities.

Robert Mann Gallery is pleased to announce Cig Harvey: Blue Violet, the artist's third solo exhibition at the gallery. Harvey's work is rich with the emotion and awe she is able to elicit through her depictions of the natural world and the magic within it. Her photographs, abundant with color, implied texture, and even scent, explore the five senses, bringing the viewer to the brink of saturation. This collection of photographs is both emotional and celebratory, filled with intense color, light and shadows. The series, infused with flowers, speaks to the procession of seasons and transitional times. In the image, Scout & The Disco Ball, Harvey plays with dramatic, yet somehow gentle, atmospheric light. The lights from the disco ball appear to dance against the rustic wood walls. Poppies (floating) plays with the delicate line between life and decay. The viewer witnesses the vibrancy of the red and white poppies floating in the river, but is extremely aware of their fragility. This exhibition opens in conjunction with the release of Harvey's highly anticipated new monograph, Blue Violet. Blue Violet is part art book, part botanical guide, part historical encyclopedia, and part poetry collection all coming together in one rich volume. The artist will be present to sign books on May 6th, please contact the gallery to schedule your visit. Cig Harvey's work is included in permanent collections of major institutions including, the Museum of Fine Arts, Houston, Texas; the International Museum of Photography and Film at the George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and the Farnsworth Art Museum, Rockland, Maine. Harvey was named one of the 2021 recipients of the Farnsworth's Maine in America Award and was named the 2018 Prix Virginia Laureate, an international photography award based out of Paris, among many other honors. Harvey has published three previous sold out monographs (Schilt Publishing) the first of which: You Look At Me Like An Emergency (Schilt Publishing, 2012), was accompanied by a solo museum show at the Stenersen Museum in Oslo, Norway in Spring 2012. The artist lives and works in rural Maine.

The Noyes Art Museum - Stockton University will be exhibiting the photography series "Easton Nights" by Peter Ydeen, April 6th through June 27th 2021 at the Noyes Arts Garage in Atlantic City New Jersey "Easton Nights" is a photographic story of one Americas most forgotten industrial towns as can only be told at night. The empty urban landscapes cascade into endless stages revealing a magical and surreal vision of this American town. Photo: Crapped Out Again (title borrowed from a Keb' Mo' song) © Peter Ydeen

The process of creating photographs is a contemplative one. It is an exploration of my feelings as much as it is an exploration of what I am seeing. The best images always happen when what I am feeling becomes one with what I am seeing. Chip Hooper

A tale of two Americas, told through iconic photographs from the 1930s, will be the subject of dual exhibitions at Howard Greenberg Gallery from March 19 through May 9, 2020. One Third of a Nation: The Photographs of the Farm Security Administration depicts the challenges impoverished families were enduring with photographs by Dorothea Lange, Walker Evans, and Gordon Parks, among others, while Lewis Hine: The WPA National Research Project Photographs, 1936-37 portrays the workers and the innovations that spurred the nation's economic growth. Together the exhibitions demonstrate the extraordinary power of photography to define an era and inspire social change. As the consequences of the Great Depression, unemployment, poverty and the effects of the Dust Bowl ravaged the country in the 1930s, government programs such as the Farm Security Administration (FSA) were established. American photographers were employed to document the dire conditions. At the same time, Lewis Hine was hired by the Works Progress Administration's (WPA) National Research Project (NRP) to show the modernizing accomplishments of the nation's factories, in the years prior to WWII. His efforts focused on the country's reorganized workplace that fueled industrial growth and drove out the Depression. The powerful work of these photographers under President Franklin Delano Roosevelt's New Deal programs ushered in an unprecedented new era for the medium: across the entire nation photography was communicating what words could not. Imbued in the nation's social consciousness, the images that illustrate the history of the Great Depression originated in presidential action. In his second inaugural address, Roosevelt poignantly stated, "I see one-third of a nation ill-housed, ill-clad, ill-nourished. The test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little." In establishing the Resettlement Administration in 1935 - later renamed the Farm Security Administration in 1937 - Roosevelt created a robust response to help America's poor farmers, sharecroppers, and migrant workers. Roy Stryker, an economist, was hired to document the situation and quickly developed an extraordinary roster of young photographers. One Third of a Nation: The Photographs of the Farm Security Administration presents more than 50 photographs by Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Gordon Parks, David Robbins, Arthur Rothstein, Peter Sekaer, Ben Shahn, and Marion Post Wolcott. From 1935 to 1943, the photographers of the FSA shot nearly 80,000 photographs traveling the country on assignments that could last for months at a time. Their touching portraits of children, concerned parents, struggling workers, and difficult living situations are regarded as some of the finest examples of modern documentary photography. The images proved in no uncertain terms that the nation needed to act. While the FSA photographers were working across the country, so too was Lewis Hine for a dynamic "think tank," which included several passionate young people, who would oversee assessing the economy's future. Established in 1935, the goal of the National Research Project was to investigate new industrial technologies and their effects on employment. As a pre-eminent pioneer of American photography, Hine was known for chronicling the unfair social conditions of his day, which led to the passage of the National Child Labor Law. Eager to depict these new facets of technology, Hine set off to photograph factory workers in textiles, furniture, cabinet making, radio manufacturing, construction, and mining, among others, in New Hampshire, Massachusetts, New York, New Jersey, Pennsylvania, North Carolina, and West Virginia. Fueled by his belief that labor was the soul of America, Hines's portraits depict the dignity and industriousness of the worker, offering an evocative record of America's innovative response to the groundbreaking technologies of the time. Lewis Hine: The WPA National Research Project Photographs, 1936-37 presents more than 70 images. It is the most comprehensive exhibition ever mounted of Hine's NRP photographs. The exhibition was inspired by the research of photographic historian Judith Mara Gutman. She writes in her 2017 book Lewis Hine: When Innovation Was King (Steidl/Howard Greenberg Library) that "Hine produced a cross-section of American working life….[and] imbued his photographs with a singular importance that elevated them beyond the generally accepted role of photographs as illustration to text." More than 80 years later, the photographs from the New Deal programs of the FSA and NRP share a remarkable ability to capture the human spirit whether in spite of intolerable conditions, or in depicting ingenuity and dignity in the workaday world. Together these two exhibitions show how the medium of photography changed the trajectory of both social documentation and photographic history.

For more than four decades, Dr. H. Russell Albright (1934-2017) had a profound impact on the New Orleans Museum of Art, as a donor and trustee. During the 1980s and 1990s, Dr. Albright built a substantial art collection with the intention that it would one day become a permanent part of the museum's collection. Dr. Albright collected African art, decorative arts, and modern art, but his greatest enthusiasm was for photography. His collection began with acquisitions of important early twentieth-century photographs, but soon shifted toward contemporary works, resulting in a collection with great range from beautiful prints by photographers such as Brassaï and Doris Ulmann to large-scale works by Cindy Sherman, Lorna Simpson, and Yasamusa Morimura, among many others. While he gifted many works to the museum in his lifetime, Dr. Albright bequeathed his entire collection of almost four hundred works (three hundred fifty of which are photographs) to NOMA. This transformational gift now forms the core of the museum's modern and contemporary photography collection. Dr. Albright shaped the collection with a discerning aesthetic eye for both the image and object, selecting works that, as he put it, "I feel are important, that should be available to people in this community, and that should be preserved." NOMA is pleased to exhibit a selection of photographs from the bequest of Dr. Albright in both the first-floor Great Hall and the second-floor A. Charlotte Mann and Joshua Mann Pailet Gallery. These installations represent the varied range of photography that Dr. Albright collected—in scale, subject, and perspective. Along with his collection, Dr. Albright also bequeathed a fund to support the activities of the photography department. Both the collection and the fund will significantly support NOMA's presentation and interpretation of the history of photography in perpetuity.

Terry Evans: Stories of the American Prairies features thirty-three photographs by acclaimed Chicago-based photographer, Terry Evans. The exhibition is a love letter to America's Heartland documenting the ecological transformations of the mid-west from Texas to Canada. Evans's micro-to-macro perspectives examine the land from the ground and from the air (the latter not by drone). Her art comes out of a knowledge of the history of landscape photography, art history, the history of her region, and America's industrial development. And her vision is distinctly humanist, at once grassroots and universal. Evans's art and message (equal parts fable, history, and autobiography) are relevant to Gainesville, also a prairie land with rapid development. Her photographs speak to our collective health and well-being, fitting for our time.

The scope of the work reflects the intricate nature of indigenous identity. Ten artists have created images that reveal expressions of pain, resiliency, resistance, healing, tradition, history and celebration. The exhibition includes NatGeo photographer, Kiliii Yuyan's sweeping landscapes, internationally acclaimed artist Meryl McMaster's dream-like self-portraits, Projects 2020 award recipient Donna Garcia's historical recreations, and Sundance Film Festival invitee Shelley Niro's work focused on women and indigenous sovereignty. Canadian documentarian Pat Kane, Fine Art photographer Will Wilson and newcomers, Jeremy Dennis, the collaboration of Kali Spitzer & Bubzee and photojournalist Toni Cervantes round out the show. Spirit: Focus on Indigenous Art, Artists and Issues is an initiative designed to educate the public, through lens-based art, regarding the true history of indigenous people and recruit advocates for indigenous issues everywhere, but with a specific focus on the US and Canada, where native lands and people аre still coming under attack everyday.

Photographs have often been described as either windows to the world or mirrors of the world. In either case, most of our worlds have been somehow smaller and more contained throughout the last year. It has been a year governed by caution and care for our immediate world and ourselves. Now that Spring has arrived and we are all venturing out more, we have curated the exhibition, "Exhale" to visually reengage with the spontaneous joys of life. We encourage everyone to take time to appreciate the beauty that surrounds us as well as to engage with a more diverse group of people. Photographers such as Edward and Brett Weston, Andre Lichtenberg, Horst P Horst, Stephen Wilkes and Herb Ritts have created bodies of work that center around the visual pleasure of capturing the world's natural beauty as well as the experiencing the joy of the human form. From the nature sanctuaries of the Falkland Islands to the Serengeti, or the beauty of the sunrises and sunsets of the English Chanel, nature gives us an almost infinite variety of forms, textures and colors to amaze and refresh our senses. We have always had a fascination with the human form and photographers have almost endlessly looked for ways to find an adequate expression of its lyricism. Photographers like Frank Horvat, Bruce Weber and Arthur Elgort preferred shooting outdoors with natural light and freeing their work from the confines of the studio. Just as we are slowly resuming our appreciation of style and the rewards offered by cultural experiences, their work presents a fresh vitality that allows us to both exhale and look forward to a fuller engagement with the world. Their photography has always had an energy, lightness and purposeful informality that gives it a sense of spontaneity and excitement. People are social creatures and as we are able to enlarge the scope of our lives and enjoy the company of friends we can look at the the photographs of Jim Lee, Lawrence Schiller and Harry Benson and their photographs reignite our interests that center around travel and entertainment, cultural history and bridge a connection to a larger world. These photographers have made pictures that center around aspects of life independent from our work and personal responsibilities. When photographers engage with nature and broaden the scope of their vision to be more comprehensive, it is an act of liberating themselves from their predictable and well-worn studio. They venture out into the world to give us a way to expand our world from our daily predicable surroundings and reassure us that it's ok to dream about beauty, freedom and far away places. "Exhale" is an exhibition that encourages us to let go of our worries and preoccupations and breathe in a renewed appreciation of all the beauty, excitement and vitality that photography can capture

An icon of modern photography, Mary Ellen Mark (1940–2015) created compassionate and candid portraits of subjects living outside of mainstream society. From street children in Seattle to circus performers in India, Mark captured the lives and stories of individuals with empathy, humor, and candor. Through the lens of her camera, she cut through social and societal barriers to champion overlooked communities in the United States, India, Mexico, the former Soviet Union, and other countries. Mary Ellen Mark: Girlhood examines Mark's depictions of girls and young women living in a variety of circumstances around the globe. While Mark photographed people from all walks of life, she was particularly interested in children. "I don't like to photograph children as children," Mark said. "I like to see them as adults, as who they really are. I'm always looking for the side of who they might become." Made possible by a recent donation from the Photography Buyers Syndicate of more than 160 Mary Ellen Mark works, this presentation includes approximately 30 photographs that span the artist's 50-year career-from her earliest work in Turkey in the 1960s to images taken on Polaroid film in the early 2000s. Mary Ellen Mark: Girlhood highlights some of the artist's best-known series, including "Prom," "Streetwise," and "Twins," offering viewers an intriguing glimpse into the artist's wondrous and uncanny vision of girlhood.

An exhibition of works by Bruce Davidson from the permanent collection that explores historic context and viewer response as key factors in the evolution of meaning in photographs. Photographer Bruce Davidson (b. 1933 Oak Park, Illinois) is known for his intimate and humanist approach to documentary photography. Through remembering the historical context in which he worked and the opposing views his work provoked, this exhibition explores how understanding and "reading" documentary photography has evolved over the past half century. Davidson never claimed to be driven by ideology or agenda; his art was born from his roving curiosity, a deep desire for human connection, and the willingness to be patient. But despite the artist's best intentions to simply immerse and observe, ideologies and agendas can manifest far beyond the frame when it comes to documenting the world, and it is within this resulting conversation that we can find meaning in images. The exhibition features photographs from some of Davidson's best-known projects, including Brooklyn Gang, Time of Change, East 100th Street, and Subway.

Paris to Hollywood: The Fashion and Influence of Véronique and Gregory Peck presents 100 ensembles-by 17 different couturiers and designers from around the world-from the wardrobe of Parisian writer, philanthropist, and fashion influencer Véronique Peck. A selection of haute couture, fashion sketches, photographs, film clips, family snapshots, and documents will be exhibited publicly for the first time, providing a unique look into the style of one of Hollywood's most beloved couples. Through more than four decades of material from the 1950s to the 1990s, the presentation provides an overview of how fashion changed as the roles of women in society evolved in the 20th century. In conjunction with the exhibition, Véronique and Gregory's daughter, Cecilia Peck Voll, has gifted the Denver Art Museum 20 of her mother's iconic looks for the museum's collection. Paris to Hollywood is organized by the Denver Art Museum and curated by Florence Müller, the DAM's Avenir Foundation Curator of Textile Art and Fashion, and designed by architect Brian Dale and designer Meredith Dale, both co-founders of Sort Studio. Divided into nine sections organized thematically and chronologically, the exhibition displays iconic milestones in the history of fashion such as the mini dress and pantsuits of André Courrèges, whose futurist style was celebrated by the fashion magazines in 1965 as the "Courrèges bomb." Véronique is praised for introducing Courrèges to the U.S. in the 1960s. A selection of dresses, demonstrating the meticulous artistic creativity that went into the creation of these garments, will reveal Véronique's talent for choosing the best designer pieces, emblematic of each season and occasion. Her wardrobe-which includes many unique samples from the fashion shows of Yves Saint Laurent and Givenchy-is a testament to the fact that leading designers viewed her as a fashion ambassador and influencer of her time. The first presentation of its kind, Paris to Hollywood also will include one of Gregory Peck's tuxedos, in addition to film clips and never-before-seen family photographs.

Sometimes indefinable, but always alluring, modern art in the United States spans a number of decades and includes several distinct styles. The first half of the twentieth century witnessed a dramatic shift in art-making in America. Industrial growth and social awareness, coupled with an economic downturn, helped shape a new and definitive American art during this time. Abstraction and the American Scene includes the work of Social Realists such as Jacob Lawrence, John Sloan and Reginald Marsh who highlighted, and at times parodied, the disconcerting realities of city life, even as others celebrated the promise and potential of this new, modern world. This exhibition features the vastness of the American landscape as captured in the photographs of Ansel Adams, in contrast to prints by Grant Wood and Thomas Hart Benton that celebrate the pastoral beauties of the Mid-West. Also highlighted are the work of artists influenced by Cubism and Fauvism, such as Alexander Archipenko and Marguerite Zorach. By reacting against and simultaneously embracing European movements, these artists celebrated uniquely American viewpoints, landscapes, and experiences. Not only are individual studies, drawings, prints, and photographs featured, but also works from publications and government projects. These latter works—which were widely publicized—increasingly shaped public opinion in the twentieth century. Dorothea Lange's iconic images emphasize the personal loss and injustices of the Great Depression and World War II while Alfred Stieglitz's quarterly publication Camera Work, produced between 1903-1917, underscores photography's role in the fine arts. The exhibition also includes limited edition prints published and sold by Associated American Artists, which helped to make art ownership more accessible. Celebrating rarely seen and light-sensitive works from the MFA's collection, this second iteration of our Explore the Vaults series examines imagery produced predominately between 1900 and 1950—a period that witnessed radical changes that shaped not only art, but the very understanding of what it was to be American.

In Light Work's early days, during the 1970s and 80s, many artists arrived for their month-long residency with no specific plans for using their time. With only a camera and a vague idea of exploring, they walked the streets of Syracuse, open to the synchronicity of what might happen. Incredible photographs ensued and the artists often called them gifts. Grateful to land in the right place at the right time, they discovered images on their contact sheets that startled and delighted them. But they also saw photography as more than random luck. It was both a collaboration and a conversation. They saw themselves as witnesses. Over the same decades, Meryl Meisler was photographing her life in and around New York City with the same sense of exploration and possibility as those pioneering Light Work AIRs. Retiring from decades as a public-school art teacher, Meisler began to unearth and rethink her own archive. Part-time capsule of the 70s and 80s and part memoir, The Best of Time, Worst of Times is an invitation to join her for a wild ride—disco nights, punk bars, strip clubs, Fire Island, family, friends and neighbors, and suburban Long Island. Her exuberant celebration of human connection is particularly poignant now, when we can take none of these gatherings for granted. Meisler clearly celebrates with her subjects. These are her people: she is not an outsider but a participant. She depicts our own shared humanity, humor, and joy.

As a freespirited and daring young man in the early 1930s, Theodore Fonville Winans drove the backroads and navigated the bayous of south Louisiana in a secondhand boat he christened the Pintail. During his travels, Winans documented many fascinating aspects of Louisiana culture. including the Acadian fishing community of Grand Isle, the Crowley rice festival, an annual fox hunt in Feliciana Parish, the interior of the Avery Island salt mine, prisoners at Angola State Penitentiary, and Governor Huey P. Long, who was also known to visit remote areas of the state. Winans remarked about this time in his life, "I didn't take the pictures deliberately. I just took them for fun. None was on assignment. I wasn't a freelancer. I just took my camera and got pictures when I saw something interesting." A gifted, amiable, and inquisitive photographer, Winans had an intuitive eye for composition and an innate ability to connect with his subjects, revealing both their personality and a sense of place. Upon getting married in 1936, Winans and his bride, Helen Collins, settled in Baton Rouge and raised three children. Initially, he worked as a state photographer specializing in portraits of elected officials during the tenure of Governor Earl K. Long. In 1940, he opened his own studio on Laurel Street and became a wedding and portrait photographer. Winans became known for the friendly thoroughness of his approach. He would follow the bride throughout the day, capturing her preparations and emotions as well as the ceremony itself. Winans' studio remained open as generations of Baton Rouge brides selected Winans to document their special day. Winans achieved an engaging blend of intimacy and revelation not just in his wedding photographs, but in most of his work. And although color photography became more available and popular during the course of his career, he stuck with the familiarity of black and white. An alert and sensitive chronicler of his times, Fonville Winans created a magnificent monochromatic record of a colorful and complex culture.

Adams's Manzanar photographs, created in 1943, are a departure from his signature style of landscape photography and serve as documentation of the Japanese relocation camp in California. The series was originally shown in the exhibition BORN FREE AND EQUAL: An Exhibition of Ansel Adams Photographs, organized by the Fresno Metropolitan Museum of Art, History and Science in 1984. The photographs document a dark period for America and serve as a reminder "about an unfortunate moment in our country's history that must be better understood. It also should serve as a warning as to what can occur when emotion and fear overwhelm clarity and courage." Also included in the exhibition are more than twenty-five various photographs, documents, and works of art that further record this era. The exhibition is presented in memory of Shizuo Tsujihara and is on loan from Photographic Traveling Exhibits.

This UNF Gallery exhibition features the work of Priya Kambli. Born in India, Kambli moved to the United States in 1993 at the age of eighteen, a few years after the death of her parents, to pursue her education. Carefully stowed within her single, small suitcase was a cache of family photographs which became the basis of Kambli's creative work-a growing body of images exploring migration, transience, and cultural identity. Her lyrical photographic compositions are not only a rich synthesis of light, pattern, and texture, but also a moving testament to the tangible, archival nature of photography.

For nearly all of photography's one hundred eighty-year history, women have shaped the development of the art form and experimented with every aspect of the medium. Conceived in conjunction with the centennial of the passage of the Nineteenth Amendment, which granted suffrage for some women, this exhibition showcases more than one hundred photographs from the High's collection, many of them never before on view, and charts the medium's history from the dawn of the modern period to the present through the work of women photographers. Organized roughly chronologically, each section emphasizes a distinct arena in which women contributed and often led the way. Among the artists featured are pioneers of the medium such as Anna Atkins as well as more recent innovators and avid experimenters, including Betty Hahn, Barbara Kasten, and Meghann Riepenhoff. The exhibition also celebrates the achievements of numerous professional photographers, including Berenice Abbott, Margaret Bourke-White, and Marion Post Wolcott, who worked in photojournalism, advertising, and documentary modes and promoted photography as a discipline. The exhibition also highlights photographers who photograph other women, children, and families, among them Sally Mann, Nan Goldin, and Diane Arbus, and those who interrogate ideals of femininity through self-portraiture. Also on view will be works by contemporary photographers who challenge social constructions of gender, sexuality, and identity, including Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems.

This exhibition surveys the life's work of Lewis Wickes Hine (1874-1940), the father of American documentary photography. Consisting entirely of 65 rare vintage prints, it covers the three overarching themes of Hine's three-decade career-the immigrant experience, child labor, and the American worker-and culminates in his magnificent studies of the construction of the Empire State Building. Our Strength Is Our People coincides with the complementary exhibition, Old World/New Soil: Foreign-Born American Artists from the Asheville Art Museum Collection. Our Strength Is Our People is organized by art2art Circulating Exhibitions, LLC. All works are from the private collection of Michael Mattis and Judith Hochberg.

John Edmonds: A Sidelong Glance is presented as part of the inaugural UOVO Prize for an emerging Brooklyn artist. John Edmonds is best known for his use of photography and video to create sensitive portraits and still lifes that center Black queer experiences and reimagine art historical precedents. This is the artist's first solo museum exhibition and features new and recent photographic portraits and still lifes of Central and West African sculptures alongside friends and acquaintances from Edmonds's creative community in New York. These works explore the intersections of representation, modernity, and identity in the African diaspora. For this exhibition, Edmonds was invited to engage directly with our Arts of Africa collection, photographing select objects donated to the Museum in 2015 by the estate of the late African American novelist Ralph Ellison. The presentation of the collection objects, along with Edmonds's excerpts from scholarly texts on Baule art, considers the distinct role that individuals and institutions-from collectors to art historians to art museums-play in the bestowal of meaning, authenticity, and value. While Edmonds's work recognizes the persistence of power imbalances, it offers new aesthetic and conceptual possibilities. John Edmonds: A Sidelong Glance draws its title from an essay by scholar Krista Thompson that looks at perspectives on Black diaspora art history, and how they have shifted from examining relationships with Africa to questioning forms of representation in Western cultures. Edmonds is the inaugural recipient of the UOVO Prize for an emerging Brooklyn artist. As the awardee, he receives a solo exhibition at the Brooklyn Museum, a commission for a 50x50-foot art installation on the façade of the new UOVO: BROOKLYN art storage and services facility, and a $25,000 unrestricted cash grant. The mural is on view through spring 2021. John Edmonds: A Sidelong Glance is curated by Drew Sawyer, Philip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum, and Ashley James, former Assistant Curator, Contemporary Art, Brooklyn Museum (currently Associate Curator, Contemporary Art, Solomon R. Guggenheim Museum).

Through photographs, the prism of time is illuminated and breaks to clarity. We see the components and how they fit together. They take us on unexpected paths, they bring us to other lives we could know if life were to turn another way; they foster empathy. They allow us to recognize that life is not a story that flows to a neat finale; it warps and branches, spirals and twists, appearing and disappearing from our awareness. This exhibition presents photography attuned to this consciousness, photography from the world, from life as it is-in all its complicated wonder-in the twenty-first-century United States: from Vanessa Winship's peripatetic vision in she dances on Jackson through Curran Hatleberg's gatherings of humankind in Lost Coast; Richard Choi's meditation on the differences between the flow of life and our memory of it in What Remains; RaMell Ross's images of quotidian life from South County; Gregory Halpern's luminous Californian journey in ZZYZX; Piergiorgio Casotti and Emanuele Brutti's Index G work on the delicate balance between economic theory and lived fact; Kristine Potter's re-examination of the Western myth of manifest destiny in Manifest; or Stanley Wolukau-Wanambwa's braiding the power of images with the forces of history in All My Gone Life. This photography is postdocumentary. No editorializing or reductive narrative is imposed. That there is no story is the story. For these artists, all is in play and everything matters-here is a freedom, hard won, sometimes confusing, but nonetheless genuine: a consciousness of life and its song. The world's infinite consanguinity lies here: each of us and all of this exist in the fulsome now.

Birds all fly in the same direction while bears and bobcats gaze at us from their home in the woods. Tom Uttech is known for combining real and imagined elements inspired by nature in his captivating artwork. Tom Uttech: Origin will feature Kisibakwad, the beloved painting from the Figge collection, alongside a selection of large-scale photographs by the artist from the collection of the Museum of Wisconsin Art. The exhibition explores the origin of Uttech's work -his relationship with the natural world and specifically with the North Woods, a place he has been fascinated with for decades and describes as "a land of glacial lakes, boreal plants and animals..."

'This is the day the Lord has made; let us rejoice and be glad.' - Psalm 118:24 NIV Throughout American history, the Black church has been a pillar of the community, a place for worship and organizing, a provider of spiritual and political leadership, and a target for terrorism and bombings. Above all, the Black church has endured, remaining resilient through both victories and losses. This Is the Day brings together 24 artistic representations of Black faith and spirituality, including the work of Bruce Davidson, Faith Ringgold, and Arkansas-based photographer Aaron Turner, that illuminate the resilience of the Black church and the community it has served for more than 300 years. From depictions of joy to quiet moments of prayer to images of departure through funerals and terrorism, this focus exhibition displays the church's significant role in Black history and culture that still endures today.

Guest Curated by Larry Wheeler, Carlos Garcia-Velez, and Allen Thomas The photographer is an artist who applies a lens to the world and the contemporary social order. TRANSFORMATION is a gathering of powerful and intriguing images that open stories of our times and portray a world undergoing transformation. The exhibition will also explore the transformation of the photographic process. Photography as an artistic medium has been the beneficiary of changing technologies and new materials in the last quarter century. The artist now has dramatic latitude in terms of scale and visual media. Photography is no longer just a pretty picture or a document. It can be many things at once, integrating many materials and media. Photo Abdullahi Mohammed with Mainasara, Ogre-Remo, Nigeria, 2007 © Pieter Hugo, Courtesy Yossi Milo Gallery, New York

Peggy Levison Nolan (b.1944) raised her seven children as a single mother in the Miami area, mostly in Naranja and Hollywood, Florida. With ardent dedication and unflinching adaptability, Nolan raised her family in a working-class neighborhood, alongside other families who became a source of support and occasionally served as her muses. Her work embodies intimacy; this body of photography Blueprint for a Good Life depicts fleeting moments in time. Nolan's photographs are personal, and yet they tap into our collective nostalgia of family, young love, and boundless joy while recording a family's resiliency amidst economic and social challenges. Nolan found photography later in life, but she has been inseparable from her cameras ever since. She recalls, "When my youngest was about three, my dad gave me an old Nikon [camera] and said, 'Make pictures of the grandchildren.' And I got hooked. I got so hooked I can't even describe it to you. One roll of film got me." While Nolan's more recent work encompasses color photography, for this earlier body of work from the 1980s and 1990s, she worked exclusively with black and white film. Inspired by the domestic space, Nolan photographed her seven children and aspects of their life as a large, boisterous family. Nolan recounts that over time, her children eventually forgot she was documenting their every move, nap, and relationship. Nolan, steeped in the history of photography, draws on street photography with her candid and organic approach. This exhibition marks the artist's first solo exhibition at a museum. Nolan attended Syracuse University during the 1960s and completed her BFA at Florida International University in 1990 and her MFA in 2001. She received the adjunct faculty award of the year in 2019 from FIU. She lives in Hollywood, Florida.

Birds will be the first North American exhibition of legendary fashion photographer Paolo Roversi. Presented at Dallas Contemporary, the exhibition will feature over 40 of Roversi's photographic works and will focus on his longstanding collaboration with the fashion brand Comme des Garçons and its founder Rei Kawakubo. Titled Birds to highlight Roversi's use of movement in photography, the exhibition will examine how the Italian photographer has created a unique visual style in which models pose in abstract, mobile ways, often evoking birds landing or taking off. At Dallas Contemporary, visitors will encounter colored walls with groupings of photographs in varying sizes when entering the Museum's galleries and will be able to explore Roversi's work through one unifying theme in the exhibition- mobility- to foster new connections and interpretations around his oeuvre. "My collaboration with Rei Kawakubo goes back a long time and each time working with her is a new inspiring adventure," says Roversi in regard to the upcoming exhibition. "As Dallas Contemporary is bringing all arts- including fashion- closer, it seemed a good opportunity to show my work together with hers." Birds will showcase known photographs by Roversi, as well as works that have never been seen before. On display will be photographs spanning the four-decade creative relationship Roversi and Kawakubo have developed and exploring how these two fashion trailblazers have exchanged ideas and creative philosophies throughout their impressive careers.

Adrienne Raquel's ONYX ventures beyond the societal stigma often associated with exotic dancing, and depicts a captivating narrative of femininity, sisterhood, self-transformation, and strength among the performers. Through portraiture and environmental vignettes, the dancers are photographed in their most vulnerable yet powerful moments - both on and beyond the performance stage. ONYX is a completely new photography series created by NYC-based photographer and art director Adrienne Raquel and commissioned by Fotografiska New York. In this alluring and provocative photographic exploration of the famed Club Onyx in Houston, TX, Raquel pushes past the polish and controlled sets of her commercial work, and captures exotic dancers in a more candid and intimate environment. With her signature attention to detail, portrayal of glamour and ability to capture radiant beauty in her subjects, Raquel highlights the nuances of Southern strip club culture while focusing on the relationship dynamics amongst the dancers.

In the world that Martine Gutierrez photographs, she exists as the cynosure of global desire. The artist's self-produced (and wholly independent) art publication, Indigenous Woman (2018), places variations of her image and body at the center of countless mise-en-scène, as she disrupts, subverts, and reappropriates the rarified space of cisgendered identity and whiteness—no longer unquestioned ideals for principal bodies in popular culture and iconography. Through fashion spreads, product advertisements, and original text, Indigenous Woman deploys fluidity to reveal how deeply racism, colorism, sexism, transphobia and other biases are embedded and ubiquitous. Selections from the full 124-page Indigenous Woman body of work have been exhibited all over the world, including the 58th Venice Biennale. "Mine is a practice of full autonomy. All photography, modeling, styling, makeup, hair, lighting, graphic design, and product design, I have created myself." - Martine Gutierrez, text from Indigenous Woman This exhibition of Gutierrez's photographs, presented in the Print Study Room of the MoCP galleries, represents selections from the Indigenous Woman larger body of work. Later this summer, Martine Gutierrez at the Museum of Contemporary Photography will coincide with the artist's Public Art Fund exhibition of a new series of photographs on 350 JCDecaux bus shelters across Chicago and New York City, opening in August 2021. "We are conditioned to assume that physical appearance is, in fact, identity, which is often not the case. As mixed transwomen, we're often seen as male when we feel female, or have been assumed to be from another culture because our ethnicities are ambiguous. None of us fit neatly into one category." - Martine Gutierrez Martine Gutierrez at the Museum of Contemporary Photography Chicago is organized by Asha Iman Veal, Curatorial Fellow at the MoCP.

Much Unseen is Also Here, an initiative of Toward Common Cause, brings together the works of two major artists who both consider the theater of the landscape, monumentality, cultural history, and representation. Probing monuments and identity, An-My Lê and Shahzia Sikander explore history's embeddedness in our present. Lê's Silent General (2015 - ongoing) presents large-scale views of places and people in the contemporary American landscape, while Sikander's uses sculpture, drawings, and animation to examine representations of intersectional femininity that is prompted by questions of who monuments historically depict. Much Unseen is Also Here is a collaboration between the Smart Museum of Art at the University of Chicago and the Museum of Contemporary Photography at Columbia College Chicago. The exhibition is part of Toward Common Cause: Art, Social Change, and The MacArthur Fellows Program at 40 initiative, organized by the Smart Museum of Art in collaboration with exhibition, programmatic, and research partners across Chicago. The MoCP is supported by Columbia College Chicago, the MoCP Advisory Board, the Museum Council, individuals, and private and corporate foundations. The 2020-2021 exhibition season is sponsored by the Illinois Arts Council Agency, the City of Chicago's Department of Cultural Affairs and Special Events (DCASE), the Efroymson Family Fund, and the Philip and Edith Leonian Foundation.

Muhammad Ali versus Joe Frazier was billed as the "Fight of the Century" and, in preparation for the March 8, 1971 bout, Ali spent time in Miami Beach training at the famed 5th Street Gym. One-of-a-kind photos chronicling his preparations is now be on display at HistoryMiami Museum in a new exhibition titled Muhammad Ali in Miami: Training for the "Fight of the Century." The images will be displayed through August 29 within a new photography gallery dedicated to exhibiting selections from the museum's extensive image collection. With the support of the Knight Foundation, HistoryMiami Museum recently acquired the "ALI/MIA" portfolio of 20 silver gelatin photographs selected and handmade by photographer and Miami resident Andrew Kaufman. Seventeen of the images document Ali's time training for the fight. Three additional images taken in 1981 capture Ali's final fight, "Drama in Bahama," against Trevor Berbick. The photographs were taken by Pulitzer Prize-winning photographer Larry Spitzer and Jebb Harris of the Louisville's Courier-Journal, who covered the Kentucky native for more than a decade. Kaufman's portfolio is a portion of the work featured in the book Picture: Muhammad Ali, published by PSG. "These photos captured a historic moment for Ali. He was just returning to boxing after his conviction for refusing to register for the draft in 1967 had been overturned," HistoryMiami Museum Executive Director Jorge Zamanillo said. "These photos show him preparing to return to the biggest stage in sports at that time, and we hope everyone will visit the museum to view an incredible and rarely seen collection of images." "ALI/MIA" will launch a new gallery space dedicated to exhibiting highlights from the museum's collection of more than two million historical images. Selections will be displayed on a rotating basis. The institution's image collection documents South Florida history from the late 1800s to the present. Notable strengths include photojournalism, aerial photography, street scenes, architectural photography, and images of everyday life. "We want to make sure the incredible photography that lives in our collection is widely accessible, so we created a special space to help us share it with the community," said Michael Knoll, the museum's director of curatorial affairs/chief curator. "We're proud to open this new gallery by featuring ‘ALI/MIA,' and we look forward to presenting more highlights from our collection within this space in the years to come."

Public Domain: Photography and the Preservation of Public Lands presents works drawn from the Asheville Art Museum's Collection by artists looking both regionally and nationally at lands that are either state or federally managed or have become so. This exhibition will be on view in the Asheville Art Museum's Van Winkle Law Firm Gallery May 19 through August 30, 2021. "The Asheville Art Museum's growing collection of photography features a variety of artworks that consider humankind's impact on our environment and world," said Hilary Schroeder, assistant curator. "The imagery featured in Public Domain reminds us of the critical role that artists play in environmental activism and preservation, affecting change at a range of levels". Through images capturing the beauty, changes, and even devastation to the American landscape, photographers have played a vital role in advocating for the preservation of nature via the establishment and maintenance of state parks, national parks and monuments, and other federally protected lands. From George Masa and Timothy McCoy's photographs of Great Smoky Mountains National Park to a selection of works from Robert Glenn Ketchum's Overlooked in America: The Success and Failure of Federal Land Management series, these artworks provoke contemplation of both nature's beauty and a calling to protect it. This year marks the 75th anniversary of the Bureau of Land Management whose mission is to sustain the health, diversity, and productivity of the public lands for the use and enjoyment of present and future generations. Photographers include Robert Glenn Ketchum, George Masa, Timothy McCoy, Benjamin Porter, Sally Gall, and more. This exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder, assistant curator. Learn more at ashevilleart.org.

Intersections gives a very small taste of the wonderful photographs that are part of a recent gift from Henry V. Heuser, Jr. Work by Michael Burns, Keith Carter, Mark Klett, and David Plowden examine nature and the landscape mediated by the impact of human existence. Imagery ranges from the contours of cultivated fields, to the engineering marvels of bridges spanning rivers, children interacting with the natural world, and serene landscapes of the American West, marked by contemporary life.

Near and Far celebrates the wonder and scope of recent donations of photography to the Museum, some bringing us in contact with a wider world, some with connections close to home, many offering joy. Work ranges from a portrait of anti-apartheid leader Nelson Mandela on his first day of freedom after twenty-seven years in jail, to lovers in Paris, to demonstrators at the Women's March in Washington, D.C. in January 2017. Photographs by Kristin Capp, Larry Fink, Cal Kowal, and Peter Turnley are featured.

Roland L. Freeman's photographic career began when he borrowed a friend's camera to capture the events surrounding the August 28, 1963, March on Washington D.C. In 1968, he documented the civil unrest in Washington D.C. following the assassination of Dr. Martin Luther King Jr. A month later, Freeman was photographing the Southern Christian Leadership Conference's Poor People's Campaign "Mule Train" March on Washington. Freeman documented the entire Mule Train caravan on its month-long journey from Marks, Mississippi to Washington D.C. Since then, Freeman has spent over four decades documenting ethnic communities, folk traditions and rituals throughout the South. Freeman's photographs have been exhibited in museums and galleries throughout the world and his many books of photography include: "A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories" (1996), "The Arabbers of Baltimore" (1989), and "The Mule Train: A Journey of Hope Remembered" (1998). Freeman draws inspiration from a life growing up in both rural Maryland and urban Baltimore. At an early age, he met author and folklorist Zora Neale Hurston, whose writings would later inform Freeman's narrative style of visual storytelling. His passion for photographing the human condition was inspired by studying the photographs of Gordon Parks and other Depression-era Farm Security Administration photographers. A major influence on Freeman's many long-term documentary projects was Roy DeCarava, who documented New York's Harlem Renaissance of the late 1940s-1950s. In 1997, The Center for the Study of Southern Culture at The University of Mississippi in conjunction with Diogenes Editions published - Roland L. Freeman - Portfolio. The portfolio highlights more than thirty years of Freeman's photographic documentation of Black communities throughout the American South. In the words of the former Director of The Center for the Study of the American South, William Ferris: "What makes Freeman's work so important to collectors and scholars alike is that it crosses three disciples: documentary photography, visual folklore, and visual anthropology." Roland Freeman is one of the 20th century's most important documentarians of Black American culture. The twelve photographs contained within the Roland L. Freeman - Portfolio were culled from hundreds of published and unpublished photographs made by the photographer from 1969-1985. These photographs speak to the cultural diversity and regional traditions of Black American life, from the rural countryside to the urban city centers of the South. Forty-five editions of the Roland L. Freeman - Portfolio were produced. The Roland L. Freeman - Portfolio includes introductory text from William Ferris, Director of the Center for the Study of Southern Culture, as well as essays by Tom Rankin, Associate Professor of Art and Southern Studies, University of Mississippi, and D. Gorton of Diogenes Editions.

Revelations II: Recent Photography Acquisitions presents a sweeping survey of documentary and fine-art photographic traditions practiced in the American South from the early 20th century to the present. Acquired by the Ogden Museum of Southern Art over the past decade, these photographs represent diverse perspectives and experiments within the medium, and reflect the depth and complexity of the region. Revelations II highlights an array of photographic processes and techniques made by twenty-five photographers working within the traditional art genres of landscape, portraiture and still-life. In recent years, emerging and underrepresented photographers have been a focus of the Museum's photography exhibitions, programming and acquisitions. These emerging voices join established masters within the Ogden's collection to illustrate the rich tradition of photography in the South. Since Roger Ogden's original donation of over 600 works of art in 2003, the Museum's permanent collection of paintings, drawings, prints, sculpture and photographs has grown to more than 4,000 works - all acquired through the generosity of artists, patrons and collectors. Today, Ogden Museum's permanent collection of more than 1,500 photographs represents one of the most important and comprehensive collections of photography made in the American South.

The Tampa Museum of Art's holdings in photography represents the largest collecting areas of the permanent collection. The collection now comprises more than 950 photographs and illustrates a range of processing techniques and approaches to the medium. Her World in Focus: Women Photographers from the Permanent Collection highlights important women photographers in the Museum's collection. From the candid street photography of Dianora Niccolini to Jan Groover's influential still life photographs, and Cindy Sherman's iconic portraiture, the exhibition highlights key genres of post-war photography. Personal identity and reflections on place appear in the works by artists such as Maria Martinez-Cañas. The exhibition will also include the work of Berenice Abbott, Barbara Ess, Maria Friberg, Penelope Umbrico, and others.

Pixy Liao is exemplary of a new generation of photographic artists experimenting with the possibilities of portraiture in depicting modern partnership. Her works emerge from personal experiences and her own intimate spaces, challenging conventional socio-cultural ideas of gender constructions and questions of nationality in a globalized world. Your Gaze Belongs to Me is part of an ongoing, long-term project called Experimental Relationship. The project began when Liao, a Shanghai native, met a Japanese musician in 2006 while studying at university in Tennessee. This first museum solo exhibition of Pixy Liao's work is arranged thematically, and includes more than 50 works from two series, Experimental Relationship, and the outgrowth series For Your Eyes Only, as well as individual video and sculptural works that Liao is showing together for the first time.

In the last five years, the San José Museum of Art has experienced tremendous growth and its permanent collection has evolved into one of increasingly greater inclusivity and relevancy. Propelled by the generosity of artists, gallerists, collectors, Museum patrons, and members of the Museum's Acquisitions Committee and Council of 100, SJMA now boasts many artworks by the most innovative artists working today. As the only collecting art institution and the only museum in the City dedicated exclusively to acquiring the art of our times, its permanent collection of more than 2,600 artworks serve as a valuable resource and public legacy for the community. South East North West celebrates SJMA's 50th anniversary with a dynamic presentation of paintings, sculptures, photographs, works on paper, and new media recently acquired by the Museum. Reflecting the rich cultural diversity and innovative spirit that define San José and Silicon Valley, the exhibition showcases the work of internationally acclaimed artists, including those working in California and the Bay Area, and emerging artists garnering critical recognition. A number of artists in the exhibition-including Diana Al-Hadid, Rina Banerjee, Victor Cartagena, Dinh Q. Lê, Louise Nevelson, and The Propeller Group (Matt Lucero, Tuan Andrew Nguyen, and Phunam)-will be familiar to SJMA's audiences, as they have recently been featured in solo exhibitions at the Museum. Many artists in the exhibition offer provocative and poetic responses to often-polarizing cultural, political, and social issues. Mona Hatoum evokes the agony of exile in her work Drowning Sorrows (2001-02), which is composed of severed clear glass bottles arranged in a circular formation on the floor. Andrea Bowers, Chitra Ganesh, and Lara Schnitger address ongoing struggles for gender equality and women's rights to imagine a more just world. In his painting Trauma Eve with Virus Bombs (2001), David Huffman reimagines African American stereotypes in order to reclaim them from prevailing narratives of the black experience. In our twenty-first century digital age, artists such as Petra Cortright, Hayal Pozanti, and Margo Wolowiec push the boundaries of representation and contemporary image making using new media technologies. In contrast, artists such as Tacita Dean and Tony Feher show us that the simplest elements-whether images of clouds for Dean or blue painter's tape for Feher-can prove to be profoundly pleasurable to the senses. Other artists featured in the exhibition include Firelei Báez, Tony Berlant, Alexander Calder, Tiffany Chung, Russell Crotty, Jay DeFeo, Genevieve Gaignard, Kojo Griffin, Robert Hudson, Yojiro Imasaka, Jitish Kallat, Hung Liu, Frank Lobdell, Vanessa Marsh, Annu Palakunnathu Matthew, Robert Minervini, Richard Misrach, Ruben Ochoa, Nathan Oliveira, Josephine Taylor, William T. Wiley, and Imin Yeh. Adopting the title of a monumental, two-panel mixed-media work by Diana Al-Hadid to symbolize the breadth and depth of the collection, South East North West testifies to SJMA's adventurousness and ambition of becoming a borderless museum for the future.

Denali has long captivated photographers, including explorer Bradford Washburn (1911-2007), who pioneered aerial photography while surveying the mountain in the 1930s, and renowned landscape photographer Ansel Adams (1902-1984), who snapped one of the most iconic images of the mountain in 1948. Contemporary Alaska photographer Charles Mason captures present-day Denali National Park through images made with a 19th-century photographic technique called the collodion process. Using his Westfalia van as a traveling darkroom, Mason prepares and develops images in the field on glass plates (also known as wet plate photography). He values the technique for its unpredictability - how anomalies in exposure and development often create unexpected dramatic and compelling visual images. The large-scale images he produced for this exhibition offer a new way to see this iconic landscape. This exhibition is presented as part of the Patricia B. Wolf Solo Exhibition Series with support from the Alaska State Council on the Arts and the National Endowment for the Arts.

This exhibition will feature masterworks from the photography collection that were made by artists whose careers and personal lives were sidelined, ignored, or impacted by their gender, race, sexuality, or nationality. From Margins to Mainstays will illustrate how the canon of photography has changed since the medium first began being shown in museums in the 1940s, with particular emphasis on rectifying the small percentage of women and artists of color historically acquired by and displayed in public collections. The exhibition will include works by Berenice Abbott, Lotte Jacobi, Carrie Mae Weems, Lee Miller, Cornelius Marion Battey, James Van Der Zee, and Manuel Álvarez Bravo.

Jeff Whetstone's photographs and videos explore the micro- and macro-economies and ecologies along the Mississippi River's batture near New Orleans, Louisiana. "Batture" is the French-creole term for the thin strip of weeds, trees, and mud between the water's edge of the Mississippi River and the tall, hardened levees that contain its floods.

Bremner Benedict's project is an artistic investigation, part art, part research, into the springs of the Sonoran, Chihuahaun, Mojave, Great Basin deserts and the Colorado Plateau. The critical importance of these waters and their ecologies in the face of climate change and population pressures is under-recognized making their survival precarious. By visually interpreting the science her intent is to raise public awareness to the potential of water scarcity.

The Asheville Art Museum is organizing a group of three exhibitions drawn from the Musem's Collection in conjunction with the 2021 Summer Olympics in Tokyo. They will be on view in the Explore Asheville Exhibition Hall from July 9 through October 4, 2021. "With these three exhibitions, the Asheville Art Museum is looking froward to bringing the Olympics to Asheville," says Whitney Richardson, associate curator. "Athletes, sports fanatics, and those who enjoy art that captures the human athletic form will, I hope, all find something valuable in visiting these exhibitions. Some of the artworks are by renowned artists and some depict world-famous athletes, but it all speaks to the importance of the Olympics-and sports in general-in our lives and how we honor our athletes." Golden Hour: Olympians Photographed by Walter Iooss Jr. highlights dozens of photographer Walter Iooss Jr.'s images from the Museum's Collection. Over his 60-year career, Iooss (Temple, TX 1943-Present NY) has captured portraits of hundreds of celebrated American athletes in action, and a select few as they prepared for the 1984 Summer Olympics in Los Angeles. He began his career shooting for Sports Illustrated and has contributed to the magazine for more than 50 years. Artistic Tribute: Representation of the Athlete pays homage to the historic Olympic tradition of including the arts as a competition. Until 1948, the modern Olympics included artistic representations of the athletes in painting and sculpture, among other media, as the ancient Olympics had done. This exhibition features artworks from the Museum's Collection that follow this custom by artists including Robert Rauschenberg (Port Arthur, TX 1925-2008 Captiva, FL), Dox Thrash (Griffin, GA 1893-1965 Philadelphia, PA), Gerald van de Wiele (Detroit, MI 1932-Present New York, NY), Ward H. Nichols (Welch, WV 1930-Present NC), Marvin Lipofsky (Elgin, IL 1938-2016 Berkeley, CA), David Levinthal (San Francisco, CA 1949-Present New York, NY), and more. Precious Medals: Gold, Silver & Bronze highlights works from the Museum's Collection including glass, ceramic, fashion, and sculpture that use the same metals that are given to the top three placing athletes in an Olympic competition. The precious nature of these three metals is examined in relation to the artworks shown. Artists featured in this exhibition include Virginia Scotchie (Portsmouth, VA 1955-Present Columbia, SC), Mark Stanitz (1949-Present Northern California), William Waldo Dodge Jr. (Washington, D.C. 1895-1971 Asheville, NC), Richard Ritter (Detroit, MI 1940-Present Bakersville, NC), Jan Williams (Bucks County, PA-Present Bakersville, NC), and more. These three exhibitions are organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator.

En Foco's fellowship recipients continue the work of the twelve Puerto Rican photographers of the 1973 Dos Mundos exhibition by offering fresh visions of existing discriminatory mainstream cultural perspectives and policies. Evolving to contemporary circumstances and inequities exacerbated by the pandemic, they maintain their commitments to their communities and individual photographic processes. Many of them are also leaders, nurturing other artists of color across the diaspora, in the South, the Bronx, classrooms, and beyond. Dos Mundos: (Re)Constructing Narratives features artists that center stories at the fringe of public attention: hidden sanctuaries, subcultures, painful identities, far-away homes, spirituality, transcendence, broken promises, and all too easily ignored social ecologies.Cinthya Santos Briones, Danny Peralta, Damarys Alvarez, Aaron Turner, Antonio Pulgarin, Tau Battice, Laylah Amatullah Barrayn, Erika Morillo, Daesha Harris, Roger Richardson, Yu-Chen Chiu, Anthony Hamboussi

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

The New Woman of the 1920s was a powerful expression of modernity, a global phenomenon that embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, this groundbreaking exhibition explores the work of the diverse "new" women who embraced photography as a mode of professional and artistic expression from the 1920s through the 1950s. During this tumultuous period shaped by two world wars, women stood at the forefront of experimentation with the camera, and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era. The exhibition is the first to take an international approach to the subject, highlighting female photographers' innovative work in studio portraiture, fashion and advertising, artistic experimentation, street photography, ethnography, and photojournalism. Among the photographers featured are Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Florestine Perrault Collins, Imogen Cunningham, Madame d'Ora, Florence Henri, Elizaveta Ignatovich, Consuelo Kanaga, Germaine Krull, Dorothea Lange, Dora Maar, Tina Modotti, Niu Weiyu, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla. Inspired by the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.

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

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

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

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

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

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

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

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

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

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

Structure of Nature | Nature of Structure is a retrospective of the work of Jacksonville artist Doug Eng, which will take place July 9, 2021- January 30, 2022. Through his art and advocacy, Eng highlights the need to preserve our endangered wetlands and forests in Northeast Florida, drawing parallels with our search for a common identity as human beings. Bringing together important projects from throughout his career, this retrospective includes bodies of work such as Streaming South, My Real Florida, Decoding the Infinite Forest, and The Forest Reframed, as well as Eng's most recent project, The Drowned Forest of Ocklawaha

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

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

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

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

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

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

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

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