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Photo Exhibitions

All About Photo has selected the best photo exhibitions on show right now, special events and must-see photography exhibits. To focus your search, you can make your own selection of events by states, cities and venues.
 WOMEN A Century of Change
Washington, DC
From October 22, 2019 to April 01, 2020
As we approach the 100th anniversary of the U.S. constitutional amendment confirming women's right to vote, a powerful new exhibition and book from National Geographic showcases iconic women around the world. WOMEN: A CENTURY OF CHANGE illuminates, celebrates and reflects on where the world's women have been, where they are now and where they are going. The exhibition's stunning photographs, drawn from National Geographic's unparalleled image collection, span nine decades and feature a myriad of countries. Each image creates a portrait of some aspect of women's existence and shows exhibition visitors how the depiction of women has evolved since National Geographic's founding in 1888. Featuring additional behind-the-scenes stories from famed female National Geographic photographers, including Lynsey Addario, Jodi Cobb and Ami Vitale, about some of their most arresting images of women, this provocative exhibition examines women's lifestyles across world cultures, from historic images to the haunting green-eyed "Afghan girl." Complementing the exhibition is an additional section: Portraits of Power. These are 24 intimate portraits and biographies of an iconic group of activists, luminaries, politicians and celebrities who were interviewed for the book by National Geographic magazine's first female editor-in-chief, Susan Goldberg. Among those featured are Oprah Winfrey, Dr. Jane Goodall, gun control activist Emma González, House Speaker Nancy Pelosi, and New Zealand Prime Minister Jacinda Ardern. WOMEN is a compelling, timely and richly diverse exhibition. It honors groundbreaking women everywhere who've made it possible to say, definitively, that the future is female.
This Changing Planet
Fort Collins, CO
From December 06, 2019 to April 04, 2020
As the earth's climate is changing, so do the conditions of people around the globe. The oceans, forests, ice caps, and climate refugees are an ever-changing unknown. Share your images of people, places, and creatures affected by our changing planet.
Tseng Kwong Chi: East Meets West
New York, NY
From February 13, 2020 to April 04, 2020
Yancey Richardson is pleased to present East Meets West, a selection of photographic self-portraits made between 1979 and 1987 by Tseng Kwong Chi (1950 - 1990). Combining performance and photography, political satire and personal identity, Tseng's pioneering series exemplifies the art of the eighties while anticipating the social, political and philosophical themes of the present day. Born in Hong Kong and raised in Vancouver by exiled Chinese nationalists, Tseng studied photography and art in Paris. In 1978, Tseng moved to Manhattan, becoming a fixture of New York's downtown art scene and a close friend of Keith Haring whose work and activities he documented. Soon after arriving, Tseng began the series East Meets West, photographing himself at iconic tourist locales throughout America, wearing a “Mao suit”, dark sunglasses and an enigmatic expression. Pictured at the Grand Canyon, the Statue of Liberty, and other monumental sites, Tseng's persona suggests that of an austere, visiting dignitary, paying homage to sites signifying American greatness. The series was partly inspired by Richard Nixon's diplomatic trip to the People's Republic of China in 1972, where the visit consisted largely of a series of carefully staged appearances meant to generate the greatest possible visual impact, including the infamous Nixon-Mao handshake. In spite of the immutability of his Mao ensemble, Tseng responds distinctly to each locale, gazing contemplatively at the Grand Canyon, leaping raucously into the air at the Brooklyn Bridge or assuming a stiff, patriotic stance next to a rocket at Cape Canaveral. Describing himself as both an “ambiguous ambassador” and an “inquisitive traveler”, Tseng mischievously and subtly investigated core issues of outsider and identity politics. Deceased at age thirty-nine from aids-related illness, Tseng's work has been widely exhibited and published. His work is in numerous public collections, including the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum, New York; the Tate Modern, London; the Walker Art Center, Minneapolis and many others. In 2015, a retrospective Tseng Kwong Chi: Performing For the Camera was held at the Chrysler Museum of Art, Norfolk, and the Grey Art Gallery at New York University.
Guanyu Xu: Temporarily Censored Home
New York, NY
From February 13, 2020 to April 04, 2020
Yancey Richardson is pleased to present Temporarily Censored Home, Guanyu Xu's debut exhibition with the gallery. Since 2018, Beijing-born, Chicago-based artist Guanyu Xu has secretly created photographic installations throughout his childhood home in Beijing in order to queer his parents' domestic space, transforming it into a scene of revelation, protest and reclamation. Using collected images from Western film and fashion magazines, photographs from family albums, as well as portraits of himself with other gay men, Xu enacts a deeply intimate and political performance. Xu was raised in a conservative home in a military-housing complex in Beijing, where expressions of overt non-heteronormative behavior were discouraged. With very limited exposure to the LGBTQ community in China, he understood his sexuality through Western culture, particularly film, television and fashion, which were dominated by representations of white, masculine men, under the overarching notion of the American Dream. Now living in the United States, Xu traveled back to Beijing to activate these installations in secret while his parents were away. And through the recontextualization of images and the revisiting of his own personal history, Xu provides a poignant cross-cultural examination into oppressive systems of power. Layered and visually complex, the photographs skew the architecture of the apartment, reconstructing each space into a dense mosaic of revealing and self-referential imagery. There are photographs taped to the ceiling, draped across furniture, covering windows and doorways, curled, layered and protruding at odd angles. Prints of nude men burst from luggage or are seen secreted in a drawer; cartoon decorations celebrating the Year of the Dog mix with images of the American flag and a Pacific sunset. For Xu, the project examines this intersectional experience as a foreign, Asian, gay man in the United States, while redefining his home as a queer space that finally acknowledges him. Guanyu Xu (b. 1993, Beijing) lives and works in Chicago. He earned his MFA from the Art Institute of Chicago in 2019 and is the winner of the Foam Talent, LensCulture Emerging Talent and Kodak Film Photo Awards. In 2020, examples from Temporarily Censored Home will be featured in the Museum of Fine Arts, Houston and the New Orleans Museum of Art; as well as solo exhibitions at the Philadelphia Photo Arts Center and The College of East Asian Studies Gallery at Wesleyan University. His work has also been featured in a number of publications including The New Yorker and W Magazine.
Elisabeth Ajtay: Dialogue
San Francisco, CA
From March 01, 2020 to April 04, 2020
Dialog/Dialogue is a body of work that is a continuation of Elisabeth Ajtay's exploration of the moon alphabet in the context of emotional states. It's also a reflection on migration and the notion of otherness through an examination of the challenges that language poses, expressed through visually abstracted linguistic shapes within the image. With the Moon Alphabet, a work that she drew with the light of the moon in 2013-14, she created photograms using negative and positive imagery of the moon alphabet. The hard edge of each negative contrasts with the movement of the letters on the photographic surface. While the organic shapes suggest motion, the hard-edged geometry juxtaposes the compositions in a series of references to the systemic structure of language that grants us access to our immediate living environment and to culture. The torn, reassembled, sculptural photograms she creates are based on sketches of migrational patterns of humans' movement. The abstracted images examine limiting/inhibiting, as well as connecting/unifying aspects of language within inter-personal/national exchange. Elisabeth Ajtay received her MFA from the San Francisco Art Institute and an MS from the FH-Dortmund, Germany. Originally from Romania, she long resided in Germany, and is now based in New York City. Her works have been shown extensively in Europe and the US. This is her second solo exhibition with DSCA.
For a Love of His People: The Photography of Horace Poolaw
Indianapolis, IN
From May 18, 2019 to April 05, 2020
A traveling exhibit that features 75 never seen before black-and-white photos taken by Kiowa photographer Horace Poolaw. Poolaw's main subjects were mostly friends and family. He sought to capture the lives of mid-century Native Americans of the Southern Plains through weddings, parades, various gatherings and military recruits in their uniform. Included in the unique and inspiring events he photographed were the first Native American-operated inter-tribal events, the American Indian Exposition (or Indian Fair) held annually in Anadarko, Oklahoma, and the Craterville Indian Fair. Poolaw included the landscape and surroundings in his photos; and it is a realistic and natural depiction of the people and their environment from the 1920s through the 1970s. Unlike the documentation of Native peoples by non-Native photographers, there are no nostalgic attempts to memorialize a forgotten past of the "American Indian."
Empty Vessel: Amir Zaki
Riverside, CA
From January 18, 2020 to April 05, 2020
Empty Vessel - Amir Zaki presents two new bodies of photographs by Amir Zaki featuring either vacant landscapes of California skateparks or still lifes of shards from broken, ceramic containers. The shards are clearly from earthenware pots, but both subjects are "vessels" in that the skateparks are sunken into the clay of the earth. Hung in proximity to one another, sometimes juxtaposed, the images generate a complex conversation around the notion of "emptiness," which includes removing presuppositions from one's mind about what one is about to experience, is experiencing, or has experienced. By disentangling the mind of one's own stories and worries, one can be open to other possibilities presented by perception itself. Thus Zaki's Empty Vessel, as an exhibition, provides a platform for contemplating duality and the more ambiguous third space that exists between linked elements which cannot exist without each other: form and emptiness; function and aesthetics; holding and letting go; containing and emptying.
LOST AND FOUND by Bruce Gilden
New York, NY
From February 07, 2020 to April 05, 2020
In collaboration with Magnum Photos, 10 Corso Como New York presents LOST AND FOUND, an exhibition of Bruce Gilden's early New York street photographs from the mid 70s through 80s as well as his more recent fashion images. The exhibition will be on view in the 10 Corso Como Gallery in Lower Manhattan's Seaport District, February 7- April 5, 2020. LOST AND FOUND is the result of a happy accident: the rediscovery of some 2000-odd rolls of 35mm film from Bruce Gilden's early days photographing New York City, spanning from 1978 to 1984. The film had been relegated to filing cabinets at the time, yet in the summer of 2017, after a house move, Gilden found it again. These pictures are almost all made without the use of flash, which would become his trademark. As Gilden himself explains, "It's Bruce Gilden before he really became the known Bruce Gilden." In many ways, these rediscovered images share much of what defined his early black and white books, like Coney Island and Facing New York: raw, close-up pictures of a long-gone iteration of New York street life, of the ‘characters' that would become central to much of Gilden's work. Gilden believes his recurring subject matters stem from his youth and upbringing: "Being a native New Yorker and having a gangster-type father - you know: big hats, thick grey hair, gold rings - that had a big effect on what I photographed. I never had to think about what I wanted to photograph." These images - all vintage prints - are shown at the 10 Corso Como Gallery for the very first time. The exhibition also includes Gilden's fashion work, shot from 2000 on. Though all produced on assignment for publications including Vogue, Wallpaper and The New York Times, these portraits share the same gusto as his street photography: an intensity that is immediately recognizable, a wit and an immediacy that punch you in the gut.
Winter Blues, Contemporary Cyanotypes
Carmel, CA
From February 29, 2020 to April 05, 2020
Winter Blues will display the work of 10 diverse and innovative contemporary cyanotype artists, featuring: Diana Bloomfield, J.M. Golding, Brenton Hamilton, Barbara Hazen, Max Kellenberger, Heidi Kirkpatrick, Meghann Riepenhoff, Paula Riff, Leah Sobsey, Brian Taylor
 Francesca Woodman: Portrait of a Reputation
Denver, CO
From September 20, 2020 to April 05, 2020
This exhibition presents an early episode in the artistic life of American artist Francesca Woodman (1958-81). Featuring over 40 unique, vintage prints, as well as notes, letters, postcards, and other ephemera related to the artist's burgeoning career, this exhibition details Woodman's creative coming-of-age primarily during the years 1975-79. Introducing this material for the first time, the exhibition is drawn from the personal collection of George Lange, a long-time friend and classmate of Woodman's at Rhode Island School of Design. Francesca Woodman: Portrait of a Reputation details how the artist came into her creative voice and her singular approach to photography at a notably young age. This exhibition demonstrates Woodman's virtuosity in formation-the creative impulses that yielded a distinctive voice, and also a more nuanced understanding of the context in which she worked and which is featured so prominently in her photographs from this time. Ranging from portraits in her studio/apartment in college to self-portraits in the bucolic Colorado landscape in which she was raised, these works capture Woodman's hallmark approach to art-making: enigmatic, rigorous, and poignant, all at once. The exhibition will also include select photographs of Woodman made by George Lange during this period. Taken together, Francesca Woodman: Portrait of a Reputation will offer a nuanced and in-depth study of this formative period in the development of this most adept artist.
Gail Albert Halaban:  Italian Views
Atlanta, GA
From January 31, 2020 to April 11, 2020
Gail Albert Halaban is a fine art photographer born in 1970 in Washington, DC. She attended the Rhode Island School of Design, Brown University, and Yale University, from which she received a Master of Fine Arts in Photography. Gail Albert Halaban's photography is characterized by large-scale pieces of women and landscapes of inner cities. Her photography has been published in The Huffington Post, The New York Times Magazine, and Le Monde. Gail Albert Halaban's photography has been exhibited extensively in solo and group shows including an upcoming solo 2018 exhibit at the George Eastman Museum in Rochester, New York. She has published two monographs with a third one due out in 2018. Gail Albert Halaban lives in New York City.
Michael Wolf: Life in Cities
San Francisco, CA
From February 06, 2020 to April 11, 2020
The Robert Koch Gallery is proud to present Michael Wolf: Life in Cities, a survey celebrating Michael Wolf's life and work. For over four decades Wolf examined the layered urban landscape, addressing juxtapositions of public and private space, and anonymity and individuality in relation to history and modern development. Michael Wolf’s work on life in cities was always driven by a profound concern for the people living in these environments and for the consequences of massive urbanization on contemporary civilization. This commitment and engagement remained central throughout his career. The Robert Koch Gallery was the first gallery to represent Michael Wolf, and did so exclusively for many years, presenting Wolf's first exhibition of his breakthrough project Architecture of Density in 2005 and later the first gallery exhibition of Transparent City in 2008. Our gallery is honored to have mounted numerous ground-breaking exhibitions of Michael Wolf's work prior to his untimely passing in 2019. Born in Munich, Germany in 1954, Michael Wolf grew up in the United State and Canada. He studied at UC Berkeley before earning a degree from the University of Essen in Germany as a student of Otto Steinert. His photographs are in the permanent collections at the Metropolitan Museum of Art, New York; The Brooklyn Museum; the Cleveland Museum of Art; the Nelson-Atkins Art Museum, Kansas City; Rijksmuseum, Amsterdam; The Hague Museum of Photography; Museum Folkwang, Essen, Germany; and the Museum of Contemporary Photography, Chicago, among others. His work was included in the Hong Kong Pavilion at the 2010 Venice Biennale for Architecture and has been exhibited at the Victoria and Albert Museum, London; Museum of Contemporary Photography, Chicago; Massachusetts Museum of Contemporary Art; Deutsches Architektur Museum, Frankfurt, Germany; Museum der Arbeit, Hamburg, Germany; Bauhaus Museum, Dessau, Germany; Palazzo Reale, Milan, Italy; and the Royal Museums of Fine Arts of Belgium, Brussels, among others. In 2010 Wolf was shortlisted for the prestigious Prix Pictet award for his Architecture of Density series, and again in 2016 for his Tokyo Compression series. Michael Wolf's first major retrospective Michael Wolf - Life in Cities premiered in 2017 at the prestigious Rencontres de la Photographie festival in Arles, then travelled to The Hague Museum of Photography, the Fondazione Stelline in Milan, and the Deichtorhallen Hamburg. The Josef Albers Museum in Bottrop, Germany, opened an exhibition of Wolf's early work from the Bottrop-Ebel 76 series in February of 2019 prior to the artist passing. There are numerous monographs published of Michael Wolf's work.
30 Years of Women
Atlanta, GA
From February 07, 2020 to April 11, 2020
30 Years of Women, curated by gallery founder Jane Jackson and current owner Anna Walker Skillman, draws from Jackson Fine Art's thirty-year history of showing the most distinguished voices in 20th and 21st century photography. Jackson and Skillman have selected works illustrative of the gallery's evolving vision and the strong relationships that have defined Jackson Fine Art through the years. In the viewing room, Skillman looks forward with a selection of photographs from some of the most important artists of our contemporary moment.
Elger Esser: Inherent Time
New York, NY
From February 27, 2020 to April 11, 2020
Bruce Silverstein is very proud to announce its first solo exhibition with Elger Esser titled Inherent Time. The exhibition will run from February 27 - April 11, 2020. Esser is most widely recognized for his distinct approach to the genre of landscape photography. in his production of eternal images imbued with the sensitive vision of a Romantic. Rendered both in large-format and more intimately-scaled compositions, his serene, verdant photographs depict moments rooted historically, yet also in the present. Esser's work builds upon a rich tradition of 19th century photography characterized by the grand Realist landscapes of French masters Gustave Le Gray and Édouard Baldus, as well as the great chronicler of the American west, Carleton Watkins. Whereas the approach of these forbearers realized still photographs entwined to their respective eras, Esser's timeless images are detached from such specificity, evoking the everlasting. The pastoral glow cast from the artist's diffuse lighting is a hallmark of Esser's bucolic photographs. His pictures capture the essence of a dream-state, a space which only poetry or prose can accurately describe. In many ways, Esser's photographs share an emphasis on the atmospheric language found in the Pictorialist masterworks of Peter Henry Emerson. Like Emerson, Esser's work involves a manipulation of what could otherwise be a straightforward photograph as a means of creating a picture rather than strictly recording nature. This characteristic is especially underscored in Esser's most recent body of work, in which an elaborate hand-coating process is employed. The artist carefully applies layers of silver onto sensitized copper plates crystallizing the photographic image, which is then further enhanced by brushstrokes of shellac creating a distinctive surface sheen. The resulting objets d'art are luminous and precious, holding the viewer's gaze and leading them into a time and place both distant yet familiar. Esser's formal education has been the study of landscape photography. As a student of Bernd Becher at the Düsseldorf School of Photography in the 1990s, his concerted practice does encompass aspects of the documentary method promoted by his instructor; however, Esser's work departs from Becher as well as that of his fellow students in his fruitful endeavors to encapsulate the tenor and fundamental mood of a landscape. His resulting efforts feel less starkly categorical, and undoubtedly share more in common with the sensibility of 17 th century Dutch landscape painters and English Romanticist JMW Turner. Inspired also by the prosaic literary descriptions of nature expressed between Flaubert and Maupassant, Esser's photographs are almost exclusively devoid of human presence. Fascinated with postcards since childhood, Esser's work is often imbued with the experience of travel and exploration. He seeks forgotten stretches of the European countryside, capturing pungent views along the Seine and in the fertile Loire valley, creating illuminated souvenirs which embody his enchantment with the landscape and unique romantic vision. Born in Stuttgart, Germany in 1967, Esser spent the majority of his childhood in Rome, Italy. He moved to Düsseldorf in 1986 and attended the Kunstakademie Düsseldorf under Bernd Becher from 1991 to 1997. The artist continues to live and work in Düsseldorf. Esser has had countless solo exhibitions worldwide and participated in numerous biennials and group exhibitions, namely ILEANA SONNABEND, AN ITALIAN PORTRAIT at the Peggy Guggenheim Collection in Venice in 2011. His works are represented widely in notable private collections and within international institutions including the Solomon R. Guggenheim Museum, New York, The Metropolitan Museum of Art, New York, Stedelijk Museum, Amsterdam, Stiftung Museum Kunstpalast, Düsseldorf, and Centre Georges Pompidou, Paris.
PROOF: Photography in the Era of the Contact Sheet
Cleveland, OH
From February 07, 2020 to April 12, 2020
For much of the 20th century, contact sheets (also called proof sheets) were vital to the practice of photography. The rising popularity of roll film encouraged more and more exposures; the best frame would be chosen later. The photographer first saw positive images on the contact sheet, which was marked up for printing and served as a lasting reference. Digital technology has put an end to that era: the photographer now sees the image instantly, and systems of storage, retrieval, and editing have become increasingly sophisticated. As photography proliferated in galleries and museums in the 1970s, photographers occasionally printed all the images from one roll of film together and presented the result as a finished work of art. Typically, however, the contact sheet remained within the working process, out of public view. That is why it is remarkable that the late Cleveland collector Mark Schwartz was able to build a comprehensive collection of contact sheets. The collection opens a fascinating window on the aims and methods of a broad range of photographers at work during the second half of the 20th century. PROOF features 150 works from the collection, notably by Diane Arbus, Richard Avedon, Harry Benson, Harry Callahan, Robert Frank, Philippe Halsman, and Irving Penn, as well as by Schwartz's friends Arnold Newman, Larry Fink, and Emmet Gowin. CONTACT SHEET: After a roll of film was developed, the negatives were cut into strips and printed by contact. The 36 exposures of a roll of 35 mm film or the 12 exposures of 2¼-inch film fit comfortably on an 8-x-10-inch sheet of paper. With an 8-x-10-inch enlarger, the same array of negatives could produce a so-called enlarged contact, often measuring 16 x 20 or 20 x 24 inches.
Helene Schmitz: Thinking Like a Mountain
New York, NY
From December 14, 2019 to April 12, 2020
Schmitz's latest photographic investigations explore humanity's impact on the environment. Her exhibition at Fotografiska New York will feature a selection of work from her series Thinking Like a Mountain (2018) and Kudzu Project (2013). Earlier projects have focused on the aggressive and sometimes fragile relationship between nature and human beings, one that is spiraling out of control. Kudzu Project shows the ongoing destruction that began after a climbing vine (Pueraria lobata) was brought overseas from its native home in Japan. Once planted in the United States, the eponymous plant became an invasive species with dire consequences for industrial and ecological infrastructures in the American South. Thinking Like a Mountain sheds light on the relationship between the ownership and exploitation of natural resources in Sweden and Iceland.
The Painted Villages of Ecuador: Jeffrey Becom
Carmel, CA
From February 15, 2020 to April 12, 2020
The Weston Gallery is pleased to announce "The Painted Villages of Ecuador," and exhibition of Jeffrey Becom's works from Ecuador will be up until April 12, 2020. A book signing and visit with the artist is scheduled for Saturday, March 14th from 5-7pm. The artist's color photographs have been represented by the Weston Gallery for thirty years. For the past four years, Becom took a hiatus from traveling and photographing around the globe to concentrate on his other career in architectural design. Becom's return to photography in 2020 is unveiled through photographs taken in 2016 but not printed and released until now. His training in architecture has always been an underlying influence on his imagery.
Tom Chambers: 15 Years
Ketchum, ID
From March 01, 2020 to April 15, 2020
Tom Chambers is a photographer best known for creating photomontages that move beyond documentation of the present and seek to merge reality and dreams. Chambers considers his photographs to be not so much about taking photos as making them. Each series begins with a sketch of a concept and storyline. He then photographs each element of the piece using a medium format camera, making sure the light intensity and direction are the same in each shot. By photographing separate elements and assembling them into montages enhanced with patina and warmth, Chambers creates scenes that evoke surreal fairytales. His images are imbued with magical realism, legends, mysticism, dreams and symbolism. While Chambers employs contemporary technology to achieve his photomontages, his images have a luminous quality and dramatic compositions reminiscent of Renaissance paintings and Andrew Wyeth landscapes.
Roe Ethridge: Old Fruit
New York, NY
From February 26, 2020 to April 18, 2020
Gagosian is pleased to present Old Fruit, an exhibition of photographs by Roe Ethridge spanning the past twenty years. This is his first solo exhibition with the gallery in New York, following exhibitions in Beverly Hills, Hong Kong, and San Francisco. Since the turn of the century, Ethridge has exercised a significant influence over young artists in particular, yet opportunities to see groupings of his early work have been rare. Old Fruit, which focuses primarily on his output from the early 2000s, offers a valuable chance to revisit many highly regarded and widely reproduced images that embody new ways of understanding the medium of photography in the context of emergent technological and social currents. Expanding on the visual and critical syntaxes of photographers from Paul Outerbridge to Andreas Gursky, Ethridge strategically crisscrosses the zones of artistic, commercial, and vernacular imagery, encouraging the staged and the spontaneous to occupy the same space. Using outtakes from his own commercial and editorial shoots alongside other images, he subverts the residual authority of the portrait, landscape, and still life genres to match his own consciously ambiguous ends. While applying high production values and acknowledging the conventions of picture making, he introduces subtle conceptual twists and formal glitches that destabilize our ingrained faith in the function and authority of these elements. Courting a certain aesthetic discomfort, his interest is in producing images that are, as he puts it, "'right' in their wrongness."
Asymmetric Warfare: Justyna Badach
Denver, CO
From February 21, 2020 to April 18, 2020
Asymmetric Warfare presents the photography of Justyna Badach, a Philadelphia-based artist who creates large-scale prints using gunpowder to explore how modern-day military propaganda shapes our perceptions of war and conflict. The exhibition includes two bodies of work: Land of Epic Battles and Proxy War. In both projects, Badach uses her computer as a camera to capture screen shots from ISIS recruitment films and the devastation resulting from the "War on Terror" waged by American and Russian military forces. Justyna Badach arrived in the US as a refugee in 1980. She received her MFA from the Cranbrook Academy of Art and currently resides in Philadelphia, where she is an artist, educator, and museum professional. Her work has been exhibited extensively throughout the United States and abroad, and is held in many permanent collections. Solo exhibitions include: Light Work Syracuse, White Columns New York, Gallery 339 Philadelphia, Blue Sky Gallery in Portland and Contemporary Art Center in Las Vegas. Badach's images have been included in over 30 group exhibitions, most notably at the Michener Museum, Rick Wester Gallery, Catherine Edelman Gallery and the Australian Center for Photography. She has been awarded an artist residency from Light Work, and grants from the Pennsylvania Council on the Arts, Leeway Foundation and The Independence Foundation.
Paolo Ventura: An invented World
Los Angeles, CA
From January 18, 2020 to April 18, 2020
Galerie XII Los Angeles is pleased to celebrate its first anniversary with the solo exhibition of world-renowned, Milan-based artist Paolo Ventura. The exhibition of Ventura's magical photographic works, “An Invented World”, spans six series made over the last decade and will provide the most comprehensive overview of the renowned Italian artist's oeuvre on the West Coast to date, including the debut of new works. Paolo Ventura (b. 1968) has been referred to as one of the art scene's most interesting storytellers with his timeless and charmingly enigmatic works. Widely known for his elaborate narrative series acted out by the artist and his family, the whimsical allegories touch upon many facets of the human condition within life-size diorama cityscapes, reminiscent of war-time Italy, which are constructed entirely by the artist. By creating fictional worlds as stage design, the artist is able to physically inhabit the stories of his imagination. The exhibition begins with Ventura's third body of work Behind the Walls (2011), and notably the first in which he began inserting himself into his images. With access to a larger studio in Anghiari, his hometown in Italy, Ventura was able to now construct larger, life-size sets and backgrounds having moved from a Brooklyn apartment where his first two series were made using puppets and small dioramas. The works on view then progress through a selection of his caricatured self-portraits in Short Stories (2012-2015) working with his wife and son in playful serial pieces to more recent large-scale pieces from Collages (2017-2019), which make up a predominant portion of the exhibition. These new works are constructed of multi-panel collages featuring an anonymous cityscape where the character(s) seem to perpetually recede in significance relative to the scene or sometimes are not present at all (La Citta che scende, 2019). Where for most of the decade Ventura had utilized himself to enliven the characters of his imagined history portrayed in straight photographs, the influence of painting and the ambiguous stories of the cities themselves take on more significance in later works on view. The small diorama series Morte e Resurrezione II, 2018 and a unique three-dimensional work from his Paper Sculptures (2014-2016) will have their exhibition debuts as well, giving a further overview of Ventura's expansive and unique practice that has garnered him international critical acclaim.
On the Prowl with David Yarrow
Palm Beach, FL
From March 14, 2020 to April 18, 2020
David Yarrow has cemented his position as one of the most sought-after fine art photographers in the world, accumulating an impressive and growing following by prominent art collectors and celebrities like Tom Brady, Leonardo DiCaprio, Cindy Crawford, Gordon Ramsey, and Cara Delevigne. Yarrow's popularity is not only a result of his fearless approach in capturing wildlife photography but also for his stewardship in helping preserve the magnificence and challenging realities of the planet's global ecosystems. In the pursuit of making his famous shots, through some of the most challenging photographic sessions and throughout the most inaccessible areas on the planet, Yarrow's photographs present the vitality and dignity of the planet's most majestic creatures. As a photographer and a conservationist, Yarrow has been awarded ambassador roles, able to present images showing a dynamic and mesmerizing world. On the flip side, his different body of work shows a creative staging of cinematic influences and often humorous interactions of wild animals with "wild" rugged individuals in bars, cars, open roads, and Western-inspired settings. David Yarrow started his photographic career precociously with an extraordinary moment; in 1986, he captured football legend Diego Maradona raising the FIFA World Cup in a stadium of more than 100,000 spectators. The image was published extensively and made him an accredited and often requested sports photographer who had begun to capture humanity's exciting moments. Yarrow had a highly successful career in the London financial market, and later on, rededicated himself to his first love - photography. Yarrow then shifted to landscape and wildlife photography, maturating as an artist. His desire for fresh, new images in a world flooded with an almost endless image-making drew him to remote locations around the world. The stimulation and prospect of unspoiled places, far from the familiarity of the city, offers new challenges for the photographer. David Yarrow's work ethic is relentless; His pictures are clear and sharp because he gets close. How does Yarrow get so close? Before a shoot, the photographer does extensive research and preparation. When it was not possible to get physically near enough to the animal, he developed a technique with remote-controlled cameras and unorthodox angles to allow a more intimate portraying of his subjects. Yarrow's authenticity requires a complete immersion in the process of the shoot, whether that means encountering bears head-on in Alaska, having his camera carried away by lions, or surviving a plane crash in the Sahara. Yarrow’s work requires access to remote locations. For example, he was permitted by the Chinese government to take pictures of Tigers in Siberia, through his philanthropic relationship with HRH the Duke of Cambridge, who had previously gifted the president of China one of his images on a State visit. For his shooting of a wolf in a bar, he coordinated the photograph after "long conversations with the Montana government…and "access, preparation, homework." His work has taken him around the globe and gaining access, no matter what the difficulties, has been a prerequisite for his success. Most recently, David Yarrow traveled to Australia to document the bush fires that are devastating to the region, stating on his site: >A brutal week of stark realities has inspired him to create a campaign called The #KoalaComeback campaign to try and raise $2 million for WildArk and Global Wildlife Conservation to support the recovery in the field. David Yarrow continues to create work that elevates the genre of wildlife fine art photography, making philanthropy and conservation a central beneficiary of his artistic ideology.
Tim Roda: Wild Clay
Richmond, VA
From March 06, 2020 to April 18, 2020
wILD cLAY is an exhibition of artworks by Tim Roda, exploring clay and photography as artistic mediums connected by uncharacteristic utility. The works in this exhibition embrace the functional history of clay as a vessel, making photography and material a means of exploratory documentation. The vessels in wILD cLAY function as clay cameras, while also existing as fragile, earthen material and crudely created domestic ecosystems. The resulting pinhole cameras and large scale photographs present questions about freedom and responsibility, raised by curiosity and ingenuity, with regard to our constructed and natural environments. Tim Roda is a New York- based artist and art instructor at Molloy College who has exhibited extensively both nationally and internationally. He is known for his black and white photographs that document the family. Roda holds a MFA (ceramics) from the University of Washington, Seattle and a BFA (ceramics) from The Pennsylvania State University. He has received several awards, most notably a Fulbright Award to Italy. Roda is the 2012 recipient of the Kennedy Family Fellowship at the University of South Florida, Tampa. He completed residencies at the Archie Bray Foundation, Marie Walsh Sharpe, and the Centro Cultural Andratx. His work is in included in the following collections: Everson Museum of Art; Bard College Museum, Hessel Foundation; The Rose Museum, Brandeis University; Seattle Art Museum and the Henry Art Museum; Museum of Fine Arts; Portland Art Museum; Elton John Collection; Museum of Contemporary Photography; Essl Museum; Gaia Collection; and the Centro Cultural Andratx. Reviews of Roda’s work have been included in the New Yorker Magazine, ARTFORUM, Modern Painters Magazine, Beautiful/Decay, Art in America, and Slate.
Body, Object, Image
Richmond, VA
From March 06, 2020 to April 18, 2020
Body, Object, Image brings together six artists, each with a history working with clay objects, photographic images, and the human body, to elevate their authentic, unvarnished female perspectives. The exhibition features works by Jennifer Ling Datchuk, Teri Frame, Julie Malen, Margaret Meehan, Claire Sherwood, and Xia Zhang. Each artist has approached using the body in their works from a distinct historical, personal, or cultural point in time; incorporating the body as a form in performative fashion, through two-dimensional and three-dimensional self-portraiture, as inspiration for figure modeling, and as a means to recast and recontextualize objects. The spirit of the conversations embedded in these works tie together the artists' themes as they navigate and ameliorate both history and contemporary life; themes addressing ideas of power, equality, identity, comfort, femininity, and the metaphysical. The artists represented in this exhibition have each staked their claim in the legacy of female artists challenging the paradigmatic status quo, pioneering new paths for future generations.
The Garden: An Installation and Book by Bretta Walker
Santa Fe, NM
From March 02, 2020 to April 18, 2020
The Garden is an installation of alternative process photographs which dually operate as an ongoing exploration of the phantasmagoric & as documentation of Walker's personal healing journey. This first installment seeks reparations with Nature on both interior & exterior landscapes while also investigating the noöspheric trauma passed down through menstrual blood - a journey through 5 garden landscapes: Ecstasis, Hekat, The Sepulcher, Restoration, & Zôion Alchemy.
A History of Photography
Rochester, NY
From October 26, 2019 to April 19, 2020
For centuries, people have immigrated to the United States and recorded their perspectives on the unfamiliar country. This rotation is a brief chronological presentation of selected photographs created by immigrants to this country, many of whom became naturalized citizens. Photographers such as Napoleon Sarony (American, b. Canada, 1821–1896) and José Maria Mora (American, b. Cuba, 1849–1926) dedicated their careers to creating portraits of notable Americans, including Presidents Abraham Lincoln and Grover Cleveland. Others documented the American landscape at key moments. Arnold Genthe (American, b. Germany, 1869-1942) recorded the chaotic aftermath of the 1906 San Francisco earthquake, and Andreas Feininger (American, b. France, 1906-1999) photographed the bright lights and hectic environment of Times Square in the 1940s. In the 21st century, photographers such as Vietnam-born Binh Danh (b. 1977) turned their lenses on the regions of the world from which they emigrated, while others, like Marco Breuer (German, b. 1966), have maintained their native citizenship while living and working in the United States. Curated by Meghan L. Jordan, curatorial assistant, with Jamie M. Allen, Stephen B. and Janice G. Ashley Associate Curator, this installation highlights the fresh vision and pictorial insight brought to America by newcomers.
Liz Johnson Artur: Dusha
St Louis, MO
From January 17, 2020 to April 19, 2020
For more than 30 years, the Russian Ghanaian artist Liz Johnson Artur has been creating photographic representations of people of African descent around the world. She began her Black Balloon Archive project, whose name derives from a song by the American soul singer Syl Johnson, after visiting Brooklyn, in 1986, where she stayed with a Russian family in a predominantly black neighborhood. Having grown up in Bulgaria, Germany, and Russia, where she had little contact with black communities, the artist was inspired by the experience to use photography as a way to connect with other people across the African diaspora. "Dusha" is the Russian word for soul, and Johnson Artur's intimate pictures capture the everyday beauty and distinctiveness of individuals that she has encountered on streets, in restaurants and clubs, or at public gatherings during her travels to Africa, the Caribbean, Europe, and North America. Liz Johnson Artur: Dusha, the London-based artist's first solo museum exhibition, premiered at the Brooklyn Museum and features photographs, videos, and sketchbooks selected from the ongoing Black Balloon Archive. Liz Johnson Artur: Dusha is organized by the Brooklyn Museum and curated by Drew Sawyer, Phillip Leonian and Edith Rosenbaum Leonian Curator of Photography. The Contemporary Art Museum St. Louis exhibition is organized by Wassan Al-Khudhairi, Chief Curator.
Griff Davis and Langston Hughes, Letters and Photographs 1947-1967: A Global Friendship
Tampa, FL
From January 17, 2020 to April 19, 2020
The Florida Museum of Photographic Arts will exhibit Griff Davis and Langston Hughes, Letters and Photographs 1947 - 1967: A Global Friendship, from January 17 - April 19, 2020. This exhibition, produced by Dorothy Davis of Griffith J. Davis Photographs and Archives and curated by FMoPA, brings to the public a selection from the archives of 62 never-before-seen photographs and material reflecting the decades-long friendship between the photographer, journalist and Senior Foreign Service Officer Griffith J. Davis and the renowned poet Langston Hughes. The extraordinary photographs are complemented by an exchange of letters reflecting decades of personal correspondence between Mr. Hughes and Mr. Davis.
Los Angeles, CA
From March 20, 2020 to April 19, 2020
We are pleased to announce the Los Angeles Center of Photography's (LACP) Annual Faculty/Alumni exhibition! The exhibition will run from March 20 - April 19, 2020 with an opening night reception scheduled for Saturday, March 21, 7-10 pm, 2020. The exhibition will feature photographs taken by LACP instructors, past/current students of LACP's One-Year Professional Program, and past/current students from LACP's alumni committee. This exhibition will coincide with LACP's First Annual Project Series exhibition - Project 2020. Selected Exhibiting Artists: Aline Smithson, Allie Learn, Amy Tierney, Ann Elliot Cutting, Bootsy Holler, Brandy Trigueros, Brent Winebrenner, Cathy Immordino, Craig Brandau, Cuc Du, David Ingraham, Douglas Stockdale, Eric Joseph, Erican Martin, Erin Davis, F. Scott Schafer, Gina Valona, Hilary White, Ian Spanier, Jamie Johnson, Jane Szabo, Jennifer Emery, Joaquin Palting, Johanna Siegmann, John D. Russell, Jonas Yip, Judy Wang, Juliet Hass, Kat Bawden, Lisa McCord, Lori Pond, Mandy Pacheco, Manuello Paganelli, Mara Tasker, Marjorie Salvaterra, Mark Edward Harris, Matthew Finley, Michael e. Stern, Michael Pliskin, Peter Bennett, Richard Chow, Rollence Patugan, Safi Alia Shabaik, Sally Ann Field, Sandra Klein, Sarah Rooney, Sean Blocklin, Stephen Schafer, Susan Burnstein, Todd Felderstein and Tye Edwards (subject to change).
Los Angeles, CA
From March 20, 2020 to April 19, 2020
We are pleased to announce the Los Angeles Center of Photography’s First Annual Project Exhibition - Project 2020! The exhibition will run from March 20 – April 19, 2020 with a closing night reception scheduled for Saturday, April 18, 7-10 pm, 2020. 12 photographers will be exhibiting a series from a body of work. The top prize winner will be announced during the opening> Douglas Marshall will be present during the opening reception to say a few remarks and determine the top prize winner. Selected Exhibiting Artists: Harvey Castro, Tracy Chandler, Lisa Cutler, Elisa Ferrari, Matthew Finley, Mimi Fuenzalida, Donna Garcia, Rohina Hoffman, George Katzenberger, Ann Mitchell, Jenna Mulhall-Brereton, and David Wolf
Caitlyn Soldan - Desertscapes : Altered Views of New Mexico
Santa Fe, NM
From March 06, 2020 to April 25, 2020
Desertscapes : Altered Views of New Mexico is a solo exhibition with Santa Fe photo-based artist Caitlyn Soldan which explores various approaches to iconic views in New Mexico landscapes. Included in the exhibit are variations of Pedernal Mesa, Shiprock, and the Taos Gorge. Just as Pedernal Mesa was a great inspiration to Georgia O'Keeffe's paintings and served as a major muse for her at Ghost Ranch where she had her studio, Caitlyn too is moved by the unique New Mexico desert land. Soldan creates landscape studies in various photographic processes that yield unique one-of-a-kind prints which each represent the different emotional qualities in nature. By virtue of repetition with the subject matter, the artist seeks to honor the subject which inspires and motivates her. Caitlyn says of the work: "This project involves taking iconic scenes in the landscape and deconstructing them using experimental darkroom techniques. I have been photographing geological formations and mountain ranges near my home in New Mexico and using alternative gelatin silver processes such as mordançage, chromoskedasic sabattier, lumen printing, chemigram/chemical painting and solarization on these images. I am interested in exploring what happens to memories when a familiar scene is altered."
Joseph Desler Costa: Dream Date
New York, NY
From March 05, 2020 to April 25, 2020
ClampArt is pleased to present Joseph Desler Costa's Dream Date, the artist's first solo show at the gallery, and his third in New York City. Dream Date is as much about dreams as it is about dates. Costa's highly constructed photographs picture his anxieties and desires as he reconciles a longing for symbols from his youth with the more pervasive images that now occupy his field of view. The resulting works-part autobiographical, part fiction-are a materialization of memories and fantasies warped not only by the passage of time but also by a steady consumption of media imagery. Costa's interest in the visual language of desire is rooted in his early memories growing up in the suburbs of Pittsburgh in the late 1980s and 1990s. His first influences were shiny pop culture images from television, fashion magazines, and advertisements. For the generation who grew up straddling the digital divide, before the ubiquity of the internet, this was a shared experience. Mainstream material culture, as well as album art, MTV, and graphic novels, seemed to offer a path to transcendence. Not equipped to unpack the messages we were receiving, these images informed our sense of self and understanding of the world. Since then, technology has advanced, weakening and dulling our imaginations, which are now saturated with on-demand images on the multitude of screens that surround us. Costa's work is indebted to fellow Pittsburgh native Andy Warhol, who challenged the concept of a unique work of art and explored the idea that making art was a form of consumer production. Costa's own exhaustive studio practice includes staging and photographing scenes, making prints, and re-photographing these prints until forms begin to overlap, collapse, and degrade. His final works are printed on stacked aluminum panels, forming three-dimensionally layered pictorial constructions. The background images-colored gradients resembling a sunset-are visible through graphic symbols and shapes laser-cut in the foreground images. The resulting hyper-stylized and machine-made aesthetic of the work questions the illusions of autonomy offered by consumerism while embracing its trappings. By mixing multiple-exposures with seductive images of beauty and luxury, Costa is reclaiming his memories even as he tailors them to the commercialized world around him. Dream Date is a visual exploration of how the forces of technology and commerce shape our desires, perceptions, and ultimately, our imaginations. Joseph Desler Costa currently lives and works in Brooklyn, New York. He holds an advanced degree from ICP-Bard College (MFA) and attended the Escuela Internacional de Cine y Televisión (EICTV) in Cuba. His works have been exhibited nationally and internationally. Costa's photographic works are included in the permanent collections of the Leonard Lauder Collection, the Cleveland Clinic Art Collection, BNY Mellon Collection, the Bidwell Collection, and the collection of the International Center of Photography. Costa has curated and organized a number of exhibitions, books, and zines, and in 2014 Costa founded the imprint Silent Face Projects. Costa is a faculty member at the School of Visual Arts and the International Center of Photography, both in New York City.
Fabio Torre: Camera Work
New York, NY
From March 05, 2020 to April 25, 2020
ClampArt is pleased to announce "Fabio Torre: Camera Work"-the artist's second solo show in the United States and his second solo show at the gallery. The exhibition coincides with a corresponding show at Galleria Studio G7 is Bologna, Italy, and is accompanied by a catalogue with essays by Marco Antonio Bazzocchi and Fabio Casadei Turroni. "Camera Work" is comprised of the artist's highly detailed, black-and-white, oil painting "portraits" of classic, analogue cameras. The show's centerpiece is a triptych on canvas depicting three views of a twin lens Rolleiflex camera. Then, four oil paintings on paper depict the same (but possibly different?) Mamiya RB67 camera bodies in profile. Lastly, Torre has painted twelve head-on views of a single Hasselblad medium format camera with background shades of bright to very dark ambient light. Scholar Bazzocchi writes of these paintings: "What can the Hasselblad, the Mamiya, or the Rollei tell? To the ears of those who know them, those of an expert in the history of photography, they could talk about their history, the history that made them famous in the hands of celebrated photographers. Each of these cameras is a tutelary deity in the history of photography." Nonetheless, he concludes that Torre's depictions of these mechanical instruments enmesh the human viewer in a "network of gazes"-we regard the camera eyes as they simultaneously regard us. "But who observes whom? Can we really establish whether there is a subject of observation offset by an object or should we be thinking that the lines of the gaze form networks in which we are always both caught, subjects and objects together?" Torre's choice of subject matter highlights his interest in the complicated, contested relationship between painting and photography; but also of his high regard for the objects in and of themselves and their modern design; in addition to the cultural significance of the camera and its revolutionary reconstruction of contemporary visual representation. "After all, the power of these machines is huge: they can fix every aspect of the world and make it eternal. They can make our present a past." Fabio Torre was born in 1955 in Bologna, Italy, and now lives and works in Bagnarola di Budrio (Bologna). He has been exhibiting his paintings and photographs in Europe for twenty years. The catalogue Camera Work (Editrice Quinlan, 2020) is the fourth publication on the artist and his work.
40 Chances: Finding Hope in a Hungry World
Traverse City, MI
From January 19, 2020 to April 26, 2020
In this powerful exhibit featuring the photography of Howard G. Buffett, 40 photographs document the world hunger crisis as part of a global awareness campaign. Traveling to more than 137 countries, Buffett turned his camera lens on the powerful forces that fuel hunger and poverty. A philanthropist and farmer, Buffett believes that each of us has about 40 chances to accomplish our life goals, just as farmers have about 40 growing seasons to improve their harvests. His photography is a call to action to find lasting solutions to the world hunger crisis.
Gordon Parks: The New Tide, Early Work 1940-1950
Andover, MA
From February 01, 2020 to April 26, 2020
During the 1940s, American photographer Gordon Parks (1912-2006) grew from a self-taught photographer making portraits and documenting everyday life in Saint Paul and Chicago to a visionary professional shooting for Ebony, Glamour, Smart Woman, and Life. For the first time, the formative first decade of Parks's 60-year career is the focus of an exhibition, which brings together 150 photographs and ephemera-including magazines, books, letters, and family pictures. The exhibition will illustrate Parks's early experiences at the Farm Security Administration, Office of War Information, and Standard Oil (New Jersey), as well as his close relationships with Roy Stryker, Langston Hughes, Richard Wright, and Ralph Ellison and reveal how th​ese helped shape his groundbreaking style. A catalog with extensive new research and previously unpublished images accompanies the exhibition. The exhibition is curated by Philip Brookman, Consulting Curator, Department of Photographs, National Gallery of Art, Washington, D.C. Generous support for the Addison Gallery's presentation of this exhibition has been provided by the Francesca S. Woodman Exhibitions Fund. Bank of America is proud to be the national sponsor of Gordon Parks: The New Tide, Early Work 1940-1950.
Terence Price II:  Never Ending Gardens
Miami, FL
From January 25, 2020 to April 26, 2020
Terence Price II, a self-taught photographer and filmmaker based in Miami, creates work that reflects on the notion of community and captures the intimate relationships formed among family, friends, and neighbors. Keenly aware of the power of place, Price focuses on Carol City (now known more popularly as Miami Gardens). He bears witness to change in his community and documents how individual lives are affected by economic shifts. The exhibition’s title refers to his enduring bond with the community and its residents who raised him and shaped his perspective. Informed by traditions of family photography, he recognizes the need to record the lives of people who make up the cultural fabric of Carol City. A predominately black community, Carol City has been subject to neglect and it has faced economic decline. Miami experiences rapid gentrification and often choices around neighborhood development neglect to factor in the needs of the most vulnerable among us. Price not only wants to hold on to the past, but he also seeks to reclaim the present and create a narrative that brings dignity to the people and places that make up his community. For Price, his community is beautiful, and he wants his viewers to recognize this as well. Terence Price: Never Ending Gardens includes new and recent street photography and videos that address familial rites of passage, preserving history, gun violence, and community celebrations. Price recognizes that the history of street photography is often characterized by visual artists who document specific communities and then leave. He embraces the tools of the medium but portrays communities and individuals with whom he forms deep bonds. The exhibition is part of the Martin Luther King, Jr. Exhibition Series, which addresses issues of race, diversity, social justice, civil rights, and humanity to serve as a catalyst for dialogue and to enrich our community with new perspectives.
Roger Ballen: In Retrospect
Tampa, FL
From January 10, 2020 to April 26, 2020
One of the most influential and important photographic artists of the 21st century, Roger Ballen's photographs span over forty years. His strange and extreme works confront the viewer and challenge them to come with him on a journey into their own minds as he explores the deeper recesses of his own. Roger Ballen was born in New York in 1950 but for over 30 years he has lived and worked in South Africa. His work as a geologist took him out into the countryside and led him to take up his camera and explore the hidden world of small South African towns. At first he explored the empty streets in the glare of the midday sun but, once he had made the step of knocking on people's doors, he discovered a world inside these houses which was to have a profound effect on his work. These interiors with their distinctive collections of objects and the occupants within these closed worlds took his unique vision on a path from social critique to the creation of metaphors for the inner mind. After 1994 he no longer looked to the countryside for his subject matter finding it closer to home in Johannesburg.
2020 Open Juried Exhibition
Brattleboro, VT
From March 06, 2020 to April 26, 2020
Exhibiting Artists: Peter Crabtree, Isabella Dellolio, Bill Gore, Bruce Hooke, Bernie Kubiak, Kelsey Sucena, Evelyn Swett Jurors Statement: When I jury a show, I go in without a preconceived rubric or criteria, because one tends to develop as I go. There were so many beautiful and interesting photographs to choose from, and so for this show, my criteria became: In addition to (or instead of) capturing something interesting or beautiful, is the artist using photography to comment on or experiment with the medium of photography, and/or to make a profound and nuanced comment on something else? Is this something I haven't seen before? Is the quality consistent among the images submitted? Rather than sharing a common theme, the finalists are superlative examples of diverse approaches or genres of photography, which sound like dichotomies but are really spectrums: documentary, staged, manipulated, straight, painterly, detailed, experimenting with the latest photographic technologies, using traditional technologies, portraits, landscapes, still lifes, abstracts, color, black and white, socio-political, formal/aesthetic. Finally, the most powerful criteria that came to me as I worked through submissions: Do the images stick in my memory, long after I looked at them? This is distinctly true of every one of the selected artists. Congratulations to them for having achieved the photographer's elusive goal: the use of photographic images to make meaning and powerfully communicate it.
Women of the White Buffalo
New York, NY
From March 05, 2020 to April 30, 2020
The Leica Store New York Soho is pleased to announce the opening of Women of the White Buffalo, an exhibit of photographs shot by Deborah Anderson during the creation of her feature documentary about the Native Women from the Oglala Lakota Nation. An award-winning photographer and film artist, she has published three fine art books of her photo work, as well as a feature documentary, Aroused, and short film pieces featuring, among others, Eve Ensler and Rosario Dawson. Anderson has spent the past two years on a feature documentary, Women of the White Buffalo, about the Native American Lakota women living on the Pine Ridge reservation in South Dakota. It won the best feature documentary award at the 24th Red Nation Film Festival and Best Director of a Feature Documentary at the Los Angeles Independent Film Festival. The film is set to release in 2020. "I recently traveled to the Pine Ridge Reservation in South Dakota, the home to the Oglala Lakota Nation." Anderson writes. "I met with the women that are the backbone of the community and keepers of their ancient wisdom … Their stories of loss, suicide, murder and epidemic meth addiction amongst their community are mirrored by their deep ancestral roots, traditional ceremony, prayer and hope." In celebration of International Women's Day the opening night reception will be hosted by actress Gina Gershon and social entrepreneur Dee Poku.
Norm Diamond:  Doug
Dallas, TX
From February 28, 2020 to April 30, 2020
As a physician for almost forty years, Norm Diamond was accustomed to facing death and loss, themes that followed him into his second career as a fine art photographer. In his first book What Is Left Behind (Daylight, 2017), Diamond photographed poignant objects he found at estate sales in Dallas, Texas. In Doug's Gym (Kehrer Verlag, February 2020), Diamond trained his camera on a legendary "no frills" gym that was one of the landmarks of downtown Dallas for 55 years. Owned and operated by the grizzled, cigar smoking Doug Eidd, the gym evoked a bygone era that captivated Diamond. In his artist statement, Diamond writes: "On my first trip to Doug's Gym in downtown Dallas, I climbed a sagging wooden staircase to find a rundown old gym with peeling paint, sagging tin ceiling, and ancient equipment. It was dilapidated to the point of beauty. I had avoided gyms for most of my life, but I joined this one for its themes of memory, loss, and mortality, which have preoccupied me in my photography." Diamond's stark images of Doug's Gym, including portraits of 87-year-old Doug, look like they emerged from a time capsule. No modern gym looks like this. The members did not care that the gym was run down or that Doug's cigar smoke hung in the air most of the day. They respected his expertise and loved the casual atmosphere he created. Although Doug was still fit, he did not resemble the muscle-bound figure of his youth. He knew that time would one day engulf him and the gym. This came to pass in the spring of 2018 when he was forced to close the gym on short notice. Diamond stayed to photograph the removal of the equipment as Doug's Gym drifted into memory.
Looking Back: Ten Years of Pier 24 Photography
San Francisco, CA
From July 01, 2019 to April 30, 2020
The first of two consecutive exhibitions that Pier 24 Photography will present on the occasion of its tenth anniversary, Looking Back features photographers and subjects the Pilara Foundation collected in depth before this space opened. Many of these core photographers-including Robert Adams, Diane Arbus, Richard Avedon, Dorothea Lange, and Hiroshi Sugimoto-have been instrumental to the medium's development. Reflecting the Foundation's significant focus on the genre, the exhibition's opening galleries highlight a wide range of portraiture, ranging from mugshots and works by unknown photographers to iconic images by celebrated figures in the history of photography. The main gallery-entitled "About Face"-spans more than 120 years of the medium, presenting the portrait through the lenses of nearly fifty different artists. With its other thematic galleries, Looking Back also reconsiders subjects explored in some of the ten exhibitions on view since Pier 24 opened. These installations incorporate recent additions to the collection, reframing the themes explored in earlier presentations and demonstrating their continued relevance. Looking Back is not meant to reflect the breadth of the collection as a whole but rather to focus on some of the key building blocks of the Foundation's collection. In 2020, Looking Forward-the second of the anniversary exhibitions-will examine works primarily collected since Pier 24 Photography's founding. Together, these shows will consider the Pilara Foundation Collection's origins, recent history, and future trajectory.
Single Figure: David Marlin
Winchester, MA
From March 05, 2020 to April 30, 2020
The news stories and famous faces that I photographed number in the thousands. I had a front row seat on life itself. I covered the great and near great, and the homeless eating out of dumpsters. I filmed kings and queens, presidents, and princes of the church. I recorded militants and pacifists, and great revelations in medicine. My camera and I were witness to the wise counsel of the experts of our time. I had a great passion for covering television news during the journalistically exciting period of the 50's through the 80's, a time that produced a constant flood of headline stories. You never knew what the next phone call would bring. However, artists, sculptors, photographers, and other creators of art, can hold their work in their hands or stand back and behold it with their eyes. That's not the case for a photojournalist or producer of television news. Our work is so fleeting. Unless it is a story of a very unusual news event that gets played over and over, once the film or tape runs on the news-it's gone forever. Great effort and creativity vanishes, for the most part never to be seen again-only remembered. Knowing this motivated me, if possible, to try and capture the essence of the moment with my still camera. Although miles and miles of film and videotape have traveled through my motion picture cameras recording the great and the extraordinary, I have actually gained a deeper sense of satisfaction of my life's work through the still camera. If I was fortunate enough to have the time or presence of mind while filming for television to also make an image or two with my Leica or Nikon, either a portrait, landscape, or some other related image, I could eventually make a memorable print, hang it on the wall and say, "I did that-I was there!"- DM
In Sharp Focus: Charles
Pittsburgh, PA
From January 25, 2020 to May 01, 2020
CMOA is thrilled to announce the creation of a dedicated gallery for the works of photographer Charles 'Teenie' Harris. This exhibition features iconic examples of Harris's photographs and will host a number of educational programs and community events inspired by this world-renowned collection. Harris-who was a photographer for The Pittsburgh Courier, one of the nation's most influential black newspapers-created an unparalleled chronicle of African American history and culture during the mid-twentieth century. As both a member and documentarian of the black community, Harris remains an iconic figure in Pittsburgh to this day. With this installation, the museum celebrates Harris's legacy and looks forward to creating opportunities for creative collaboration with local partners.
Julie Blackmon: Talent Show
New York, NY
From March 02, 2020 to May 01, 2020
Robert Mann Gallery is pleased to present, Talent Show, an exhibition that draws from Julie Blackmon's latest collection of theatrical photographs. There is a dreamlike quality to Blackmon's imagery. Children live, play, grow bored, make up stories, act them out and play some more, as if unaware of the camera, while the artist devises a tableau of domestic entropy. Blackmon says,"I compare [my work] sometimes to fiction and literature; sometimes the greatest truth can come out of fiction." Drawing influence from her own family life, the Dutch master Jan Steen and French modernist painter, Balthus, Blackmon creates photographs that have an air of a past era - perhaps the 1950's or '60s - yet her use of 21st-century iconography, such as a perfectly placed iPhone recording a makeshift Talent Show, tells us that they are quite contemporary. Blackmon sets her scenes in familiar environments like a backyard bathing session or a fixer upper house and sometimes with multiple competing narratives at once. She focuses on children and families that are imbued with personality, yet overtaken by the haphazardness of child-rearing despite all the best-laid plans. Julie Blackmon lives and works in Springfield, Missouri. The artist's work is found in numerous museums and public collections including the George Eastman House; Nelson Atkins Museum of Art; Museum of Fine Arts, Houston; Kemper Museum of Contemporary Art, Kansas City; the Portland Art Museum; and the Musée Français de la Photographie in Bièvres, France. She was named American Photo's "Emerging Photographer of 2008" and one of PDN's "30 New and Emerging Photographers" in 2007, and has been the recipient of various awards including first prize from The Santa Fe Center for Photography in the Project Competition in 2006. Blackmon has had two monographs published, the first of which sold out, Domestic Vacations (Radius Books, 2008) and Homegrown (Radius Books co-published with Robert Mann Gallery, 2014). The exhibition coincides with Julie Blackmon's Fever Dreams at Fotografiska New York, March 5 - May 3, 2020, organized by Grace Noh in collaboration with Robert Mann Gallery and the artist. Fever Dreams presents a selection of photographs from Blackmon's Homegrown series as well as more recent works. Her photographs are updated with a satirical, penetrating eye and Blackmon's belief that artful fiction can capture the truth more memorably than the truth itself. "I deeply admire the photojournalism of Robert Frank, Diane Arbus and Garry Winogrand. But I am not practicing journalism, and I do not use my camera as those photographers did. I think of myself as a visual artist working in the medium of photography, and my assignment is to chart the fever dreams of American life."
An-My Lê: On Contested Terrain
Pittsburgh, PA
From January 25, 2020 to May 01, 2020
An-My Lê: On Contested Terrain is the first comprehensive survey of the politically charged work of photographer An-My Lê (American, born Vietnam, 1960). Featuring over 100 photographs, this exhibition presents seven of Lê's series, providing insight into her evocative images that draw on a landscape tradition to address the complexity of war. Intimate and timely, this expansive exhibition explores the intricacies of armed combat through the work of a photographer who lived through the Vietnam War. Through Lê's lens, viewers are exposed to military training, maneuvers, and reenactments, and are invited to question their own relationship to, and complicity in, conflict. An-My Lê: On Contested Terrain also presents new photographs from Lê's ongoing series Silent General. These new works grapple with the legacy of America's Civil War and connect to the complexities of our current socio-political moment. Taking inspiration from Walt Whitman's autobiographical Specimen Days, the photographs probe the ways in which past conflicts influence and shape the present landscape in America. While Lê is represented in many major museum collections, An-My Lê: On Contested Terrain is the first ever survey of her work in an American museum. The exhibition will be accompanied by a fully-illustrated catalogue featuring many never-before-published images. An-My Lê: On Contested Terrain is organized by Dan Leers, curator of photography at Carnegie Museum of Art.
Dorothea Lange: Words & Pictures
New York, NY
From February 09, 2020 to May 02, 2020
Toward the end of her life, Dorothea Lange (1895-1965) reflected, "All photographs-not only those that are so called 'documentary'...can be fortified by words." A committed social observer, Lange paid sharp attention to the human condition, conveying stories of everyday life through her photographs and the voices they drew in. Dorothea Lange: Words & Pictures, the first major MoMA exhibition of Lange's in 50 years, brings iconic works from the collection together with less seen photographs-from early street photography to projects on criminal justice reform. The work's complex relationships to words show Lange's interest in art's power to deliver public awareness and to connect to intimate narratives in the world. In her landmark 1939 photobook An American Exodus-a central focus of the show-Lange experiments with combining words and pictures to convey the human impact of Dust Bowl migration. Conceived in collaboration with her husband, agricultural economist Paul Taylor, the book weaves together field notes, folk song lyrics, newspaper excerpts, and observations from contemporary sociologists. These are accompanied by a chorus of first-person quotations from the sharecroppers, displaced families, and migrant workers at the center of her pictures. Presenting Lange's work in its diverse contexts-photobooks, Depression-era government reports, newspapers, magazines, poems-along with the voices of contemporary artists, writers, and thinkers, the exhibition offers a more nuanced understanding of Lange's vocation, and new means for considering words and pictures today.
Ansel Adams: Signature Style
Tucson, AZ
From February 29, 2020 to May 02, 2020
Ansel Adams's long photographic career saw a significant shift in style between his early work, made between 1916 and 1941, and his most recognizable production, from 1941 through the end of his life in 1984. The catalyst for this change was a commission from the federal government: in 1941 Adams was hired by the Department of the Interior to make photographs of the national parks as part of a mural project to adorn the new Interior building in Washington D.C. He was honored to be hired for a project of such importance and personal significance. With the broad American public in mind as his audience, he set out on a trip through the Western United States to picture the country's dramatic protected lands. Although the large-scale murals were not completed in Adams's lifetime, the project had a huge impact on the photographer: the style he adopted for the national parks commission became his signature, characterizing much of his artwork for the rest of his life. He was so invested in taking pictures of America's national parks that in the late 1940s he applied for, and received, a Guggenheim fellowship to continue documenting spectacular wilderness places after the funding for the initial commission ran out. This exhibition presents twenty-two photographs, illustrating three elements in his body of work: his signature style, the shift in style in 1941, and his commercial work. His signature style will be shown through later works and national parks pictures made either for the mural project or on his Guggenheim fellowship which exhibit characteristic elements. Pairs and groupings of works that contrast early and later works will track the shift in his style. And finally examples of his commercial photography, a little known but important component of his career, illustrate the development of his artistic language.
Signs of the Times
Dallas, TX
From February 15, 2020 to May 02, 2020
This thoughtful group exhibition began with a long-ago conversation between Gallery Director, Burt Finger, and the late Ilona Albok Vitarius, daughter of John Albok. While looking through John Albok's vintage photographs together, Ilona thought of an exhibition featuring signs. Of course John Albok created many great images of Manhattan that included an eclectic number of signs. Ilona even named the show, Signs of the Times. The discussion between Burt and Ilona spawned many ideas regarding the significance of signs in Albok's photographs, and other street photographers. The signage bears fruit, giving us references of the era, the market, design, cultural messaging, political advertising messages, etc. These signs can be considered time capsules. This exhibition consists of many John Albok photographs that Ilona selected from her father's archive, mainly dated from the 1930's – 1940's. Additional photographs in this show include PDNB Gallery artists. David Graham's signature image, Really, Really Good, has a nostalgic, minimal, tongue-in-cheek sensibility. Elliott Erwitt's, North Carolina, 1950, definitely gives us a measure of the times in the South. The artist, Lucienne Bloch, chose to photograph her friends, Frida and Diego, seated underneath a very informative sign. The signage calls attention to the couple's political leanings. John Albok's charming Fruit Faces, from 1940, gives us not only pricing information, but you also see the shop keeper's added talent for catching the eye of a passer-by. Albok's war-time era parade photograph, Remember Pearl Harbor, 1943, highlights a patriotic banner that keenly illustrates both man and woman ringing the bell of freedom. Other artists include Earlie Hudnall, Jr., William Greiner, Bill Kennedy, Morris Engel, Jeffrey Silverthorne and more.
Alisson Rossiter: Substance of Density 1918-1948
New York, NY
From March 06, 2020 to May 02, 2020
Yossi Milo Gallery is pleased to present an exhibition of new camera-less photographs by Alison Rossiter. Substance of Density 1918-1948 presents a chronology of assemblages made from expired photographic papers in the artist's collection. Through rigorous grouping and presentation, Rossiter constructs a photographic tonal narrative through three specific decades of the 20th century. The exhibition will open on Friday, March 6 with a reception for the artist and book signing from 5:30 - 8:00pm, and will be on view through Saturday, May 2. This is the artist's third exhibition at the gallery. The archive of expired photographic papers collected by Rossiter is the resource for her work. Since 2007 she has gathered over two thousand packages of paper dating from the 19th and 20th centuries, many of which have an expiration date stamped on the product box or envelope as a marker of quality assurance backed by the manufacturer. Even in dark storage each package of paper reacted to its surroundings over time. No matter what the light sensitive silver gelatin materials endured through their dormant years, they still respond to chemical development. Physical damage, mold, and atmospheric pollution form latent images in the photographic emulsion coating on the papers and become visible when processed in a darkroom. The artist considers these effects to be subject matter. The resulting photographic tones are evidence of experience and records of time. Substance of Density 1918-1948 involves the period when art movements responded to the social, political, and intellectual upheaval across nations after World War I. Dadaism, Surrealism, Suprematism, and Constructivism flourished. Influential art education thrived at the Bauhaus in Germany from 1919 through 1933 and Vkhutemas, the Russian state art and technical school in Moscow, operated from 1920 through 1930. Each of the assembled pieces in Substance of Density 1918-1948 is made with prints manufactured from the time period noted in its title. The assemblages are composed of the rarest samples of expired paper from the artist's archive, with emphases on the time in history that each sheet of paper represents. The expiration dates pinpoint their locations on a timeline and coexist with events in world history. For example, in 1919, the Bauhaus is founded in Weimar, Germany; the New York Wall Street Crash begins a worldwide economic crisis in 1929; the Summer Olympics are held in Berlin, Nazi Germany in 1936; in 1945, the Second World War ends. In addition to the assemblages, Substance of Density 1918-1948 includes three prints from a large roll of Gevaert Gevaluxe Velours paper from the 1930s that was given to Rossiter by the Belgian artist Pierre Cordier who, in turn, was gifted this paper by his friend the Belgian photographer Joseph Cayet (1907 - 1987). The exhibited works reflect Rossiter's chronological and thematic continuation of Compendium 1898-1919, twelve sets of gelatin silver prints included in Anna Atkins Refracted: Contemporary Works at New York Public Library, from September 28, 2018 - January 6, 2019, and subsequently acquired by the library for inclusion in their permanent collection. A new monograph, Compendium 1898-1919, featuring all twelve works from the series reproduced at actual scale, will be released in spring 2020, co-published by Radius Books/New York Public Library/Yossi Milo. This book will debut during the Paris Photo New York art fair presented with AIPAD in New York City, from April 2-5, 2020. Rossiter's first monograph, Expired Paper (2017, Radius Books/Yossi Milo), was nominated for Paris Photo-Aperture Foundation's 2017 PhotoBook of the Year, and will be available at the gallery during the artist's book signing on March 6, 5:30 - 8:00pm. Alison Rossiter's photographs are in the collections of major public institutions, including the National Gallery of Art, Washington, D.C.; New York Public Library; Israel Museum, Jerusalem; Carnegie Museum of Art, Pittsburgh; Art Institute of Chicago; Philadelphia Museum of Art; Minneapolis Institute of Arts; Museum of Fine Arts, Houston; Museum of Contemporary Photography, Chicago; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; National Gallery of Canada, Ottawa; and the J. Paul Getty Museum, Los Angeles. Rossiter was born in Jackson, Mississippi in 1953 and currently lives and works in the New York City metropolitan area.
JR: Chronicles
New York, NY
From October 04, 2019 to May 03, 2020
Over the past two decades, JR has expanded the meaning of public art through his ambitious projects that give visibility and agency to a broad spectrum of people around the world. Showcasing murals, photographs, videos, films, dioramas, and archival materials, JR: Chronicles is the first major exhibition in North America of works by the French-born artist. Working at the intersections of photography, social engagement, and street art, JR collaborates with communities by taking individual portraits, reproducing them at a monumental scale, and wheat pasting them-sometimes illegally-in nearby public spaces. This soaring multimedia installation traces JR's career from his early documentation of graffiti artists as a teenager in Paris to his large-scale architectural interventions in cities worldwide to his more recent digitally collaged murals that create collective portraits of diverse publics. The centerpiece of the exhibition is The Chronicles of New York City, a new epic mural of more than one thousand New Yorkers that is accompanied by audio recordings of each person's story. All of the projects on view honor the voices of everyday people and demonstrate JR's ongoing commitment to community, collaboration, and civic discourse. JR: Chronicles is curated by Sharon Matt Atkins, Director of Exhibitions and Strategic Initiatives, and Drew Sawyer, Phillip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum.
Julie Blackmon: Fever Dreams
New York, NY
From March 05, 2020 to May 03, 2020
The playfully artful and chaotic nature present in the photographs of Julie Blackmon (American, b. 1966) illustrates the everyday people and places that have shaped the artist's life. These are the familiar and ordinary scenes of Blackmon's daily routine in her hometown of Springfield, Missouri, which she describes as "the generic American town" in the middle of the United States. Her scenes are often centered around children in backyards, garages and neighborhoods where the absence of adults alludes to a looming potential for danger. Her photographs, otherwise innocuous domestic tableaux, are woven with fantasy and subtle satire that reflect a delicate balance between the darkness and charm of contemporary American life in suburbia. Blackmon carefully sets her scenes, and like film and theater directors, she is in pursuit of unscripted moments that provoke, disturb, and challenge the viewer. Some of the images reference paintings by Dutch masters, French impressionists, and Modernists such as Edward Hopper and Balthus, but they are updated with a satirical, penetrating eye and Blackmon's belief that artful fiction can capture the truth more memorably than the truth itself.
Tuan Andrew Nguyen:  A Lotus in a Sea of Fire
New York, NY
From February 23, 2020 to May 03, 2020
James Cohan is pleased to present A Lotus in a Sea of Fire, an exhibition of new work by Tuan Andrew Nguyen, on view from February 28 through May 3 at 291 Grand Street. This is the artist's first solo exhibition with James Cohan. The gallery will host an opening reception with the artist on Friday, February 28 from 6-8 PM. Nguyen will be in conversation with Christopher Myers at the gallery on Sunday, March 1 at 3 PM. Tuan Andrew Nguyen's work explores the power of storytelling through video and sculpture. His projects are based on extensive research and community engagement, tapping into inherited histories and counter-memory. Nguyen extracts and re-works dominant, oftentimes colonial histories and supernaturalisms into imaginative vignettes. Fact and fiction are interwoven in poetic narratives that span time and place. The centerpiece of the exhibition is The Boat People, a single channel video installation displayed alongside hand-carved wooden sculptural objects. Set in an unspecified post-apocalyptic future at the precarious edge of humanity's possible extinction, the film follows a band of children led by a strong-willed and resourceful little girl. Calling themselves The Boat People, they travel the seas and collect the stories of a world they never knew through objects that survived over time. The group replicates the objects they discover in wood as a way to piece together a history they are trying to understand. They then burn the carvings and scatter the ashes in the ocean to set the objects free. The little girl, who we discover is the last woman on earth, comes face to face with a mysterious statue head buried in the sand on the beach. They engage in a dialogue that explores concepts of a future and a past world through an existential lens. This dialogue, both literally and figuratively, brings the dead object to life again. The video centers itself around a series of objects found in and around Bataan, Philippines and anchors itself to the multiple layers of history in wars, migration, and perseverance contained in the land itself. Several of the beautifully hand-carved and charred wooden replicas that populate the video are displayed in the gallery. Ritual burning has a long and complex history throughout Southeast Asia, both in the Philippines and in Vietnam, where today people burn paper currency and votive replicas of contemporary luxury items-houses, cars, smartphones folded from paper-as an offering of good fortune to their dead. In The Boat People, fire is used as a metaphor for remembrance, creating a porosity between the realms of the living and the dead. It acts as both an agent of destructive change and of transformative liberation. Nguyen is interested in objects that have survived through time: objects that humanity has created, and in turn inherited. His work parses both the stories objects contain and our memories of the objects themselves. In The Boat People, the children discover and engage with artifacts from a refugee crisis, a world war and its attendant atrocities, and some of the earliest human migrations. They encounter Japanese machine guns, American-made gas-masks, a memorial to a World War II massacre, refugee boats, the hands and head of a Quan Yin, the female buddha of compassion, and a kampilan, a traditional Filipino blade that resembles the famous sword the hero Lapu Lapu used to slay Magellan. When the children recreate these objects, their actions highlight the nature of the replica, of the copy as a reflection on the authenticity of experience and the transference of memory. The coastline of Bataan has borne witness to waves of migration and the movement of people both reaching for their freedom and of people seeking to take that freedom away from others, and carries the physical traces of all these journeys. The ocean that abuts this coast is a space of transition and of opposition. It is into this ocean that the children scatter the ashes of their totemic objects, in order to set them free, rendering the ocean a repository for memory. The Boat People was co-produced by Bellas Artes Projects and James Cohan, New York.
PCNW 23rd Juried Photography Exhibition
Seattle, WA
From March 26, 2020 to May 03, 2020
PCNW is proud to present our 23rd annual juried exhibition, Distinction. One of the most anticipated shows in our gallery program, this exhibition features a wide range of visually rich images that were selected from artists from across the world: 309 artists, from 36 states in the US + artists from Canada and China, submitted a total of 1950 images. Juror Kris Graves chose images from 44 individuals to be included in the exhibition.Exhibiting Artists: Lisa Ahlberg (Seattle, WA), Jake Alexander (Seattle, WA), Brian Allen (Seattle, WA), Ken Allison (Seattle, WA), Hannah Altman (Richmond, VA), Anastasia Babenko (Seattle, WA), Peter Baker (Los Angeles, CA), David Bartlett (Farmington, MI), Sheri Lynn Behr (New York, NY), Claude Beller (New York, NY), Quinn Russell Brown (Seattle, WA), Michael Cardinali (Swampscott, MA), Clinton Chambers (Los Angeles, CA), Nelson Chan (Oakland, CA), Laurent Chevalier (Brooklyn, NY), Mark Coggins (San Francisco, CA), Barbara Diener (Chicago, IL), Jesse Egner (Brooklyn, NY), Suzanne Engelberg (Tiburon, CA), Gregg Evans (Brooklyn, NY), Jon Feinstein (Seattle, WA), Cheryl L. Guerrero (San Francisco, CA), Keavy Handley-Byrne (Brooklyn, NY), Charlotta Hauksdottir (Palo Alto, CA), Jon Henry (Brooklyn, NY), Michael Hicks + Courtney Asztalos (Syracuse, NY), Tzu Hung (John) Huang (Seattle, WA), Mercedes Jelinek (Brooklyn, NY), Richard Kent (Lancaster, PA), Brian Lau (Issaquah, WA), Jessica Rycheal Lester (Seattle, WA), Nancy Libson (Washington, DC), Joshua Littlefield (Baltimore, MD), Walter O’Brien (Eugene, OR), Alana Perino (Oakland, CA), Jody Poorwill (Tacoma, WA), John-David Richardson (Bellevue, KY), Lynn Saville (New York, NY), Aline Smithson (Los Angeles, CA), Judith Stenneken (New York, NY), Barbara Strigel (Vancouver, Canada), Kiliii Yuyan (Seattle, WA), Sam Zalutsky (New York, NY), Jennifer Zwick (Seattle, WA) . JUROR: Kris Graves
 One Third of a Nation:  The Photographs of the Farm Security Administration
New York, NY
From March 19, 2020 to May 09, 2020
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.
 Lewis Hine: The WPA National Research Project Photographs, 1936-37
New York, NY
From March 19, 2020 to May 09, 2020
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.
DOUG HALL: In Silence
New York, NY
From March 12, 2020 to May 09, 2020
In Silence brings together excerpts from four different bodies of Doug Hall's work spanning over twenty years that explore the theme of archives through its quintessential medium-photography. The earliest work is from The Archive Project (1995-96), created while Hall was a fellow at the American Academy in Rome. These photographs of ancient archives in Naples and Rome reveal a humanist need to order that is being replaced and made widely available through the internet, furthering a process of democratization Hall characterizes as "devour[ing] epistemological palpability, its aura as well as its vain will to order." Doug Hall has worked for over 40 years in a wide range of media, including performance, installation, video, and large format photography. In the 1970s he became prominent for his collaborative work with the media art collective, T. R. Uthco, which, among many other works, created the video and installation, The Eternal Frame, 1976 (in collaboration with Ant Farm), a reenactment of the Kennedy assassination, filmed in Dealey Plaza, Dallas. Public collections include the San Francisco Museum of Modern Art; The Museum of Modern Art, New York; The Contemporary Art Museum, Chicago; The Berlinische Galerie, Berlin; Berkeley Art Museum/Pacific Film Archive, California; Museum für Moderne Kunst, Vienna; The San Jose Museum of Art, California; and The Whitney Museum of American Art, New York. Among the grants and fellowships he has received are those from The National Endowment for the Arts, The California Arts Council, The Fulbright Foundation, The Rockefeller Foundation, and The Guggenheim Foundation. He is the co-editor (with Sally Jo Fifer) of Illuminating Video (1991, Aperture Books, New York). Hall is represented by Benrubi Gallery in New York City and Rena Bransten Gallery in San Francisco. He is Professor Emeritus at the San Francisco Art Institute.
New York, NY
From March 15, 2020 to May 09, 2020
Janice Guy and Higher Pictures present Papa Don't Preach by D'Angelo Lovell Williams. This is the artist's first exhibition with Janice Guy and fourth solo presentation with Higher Pictures. January 7th, 2020, I was diagnosed with HIV. Only a handful of chosen family knew up until now. I'm on Biktarvy, taken once a day to suppress the virus. Soon I'll be undetectable. Discovery is one of the driving forces behind the work. Drawing from moments of love, intimacy and kinship, I use my body in the home and the landscape to reconcile with our history. In the images, I aim to puncture the realm of self-awareness, creating a space where the spirits of Black bodies can live freely in their encounters with one another. My father and my mama's mama, both reborn and never to sin again, provoke a renewed existence. The earth engulfs me as I pull the love of my life into the unknown. Confident, tender hands cradle the flesh of loved ones, immediate family, and the self, embodying gestures of both defiance and care. The demanding scenes mimic portals, delivering us to the parts of our own history that still linger in the every day. -D'Angelo Lovell Williams D'Angelo Lovell Williams (b. 1992, Jackson, Mississippi) is a Black, HIV-positive artist expanding narratives of Black and queer intimacy through photography. They earned their BFA in photography from Memphis College of Art in 2015 and an MFA in photography from Syracuse University in 2018. They are a 2018 Skowhegan School of Art alum. They have had solo exhibitions at Higher Pictures in 2017, 2018, and 2019. D'Angelo Lovell Williams lives and works in New York City.
Helen Glazer: Walking in Antarctica
Reno, NV
From January 10, 2020 to May 10, 2020
Helen Glazer visited the Antarctic for two months in 2015 as a participant in the National Science Foundation's Antarctic Artists and Writers Program. The overall goal of her artistic practice is to provide people "with an understanding of scientific concepts of growth and form in nature and the physical processes that shape the landscape." To accomplish this goal in the Antarctic, Glazer photographed ice and geological formations. She used these images as the basis for scans from which she made 3D printed sculptures. Based on these photographs, she also compiled a series of audio tours of the Antarctic landscape that include walks over frozen lakes, around glaciers and sea ice formations, into an ice cave, across fields of boulders, and through a colony of nesting Adélie penguins. The multimedia project that resulted from this journey provides a unique representation of the world's most forbidding landscape.
2020 Vision: Photographs, 1840s-1860s
New York, NY
From December 02, 2019 to May 10, 2020
In celebration of The Met's 150th anniversary in 2020, the Department of Photographs will highlight the important role of gifts in developing its collection. This will be the first of a two-part presentation that features recent and new gifts, many offered in honor of the sesquicentennial celebration and exhibited at The Met for the first time. This first part of the exhibition will focus on nineteenth-century photographs from the 1840s through the 1860s, all made in the three decades before the Museum's founding in 1870. The second part will move forward a century, bringing together works from the 1940s through the 1960s. Playing on the association of 2020 with perfect vision, the exhibition will present photography as a dynamic medium through which to view the world, while also honoring the far-sighted collectors and patrons who made this presentation possible.
 LOOKING IN: Photography from the Outside
Fort Worth, TX
From December 21, 2019 to May 10, 2020
Looking In: Photography from the Outside examines the way artists have photographed groups they are not part of. It takes an in-depth look at series by six important twentieth-century artists who navigated their role as "outsider" differently, raising complicated questions about perception, representation, and power. This exhibition is drawn from the Carter's collection, featuring works by Richard Avedon, who took portraits of Hutterites although their official stance is against photography, Morris Engel, who photographed members of a Texas dairy family going about their daily lives, Laura Gilpin, who spent decades taking photographs of close Diné (Navajo) friends, Dorothea Lange, who went with Ansel Adams to photograph rural Mormon towns in Utah, Danny Lyon, who joined the Chicago Outlaw bikeriders and published a book of images and interviews, and Paul Strand, who traveled south and captured what he thought was the essential Mexican national identity.
Elad Lassry
San Francisco, CA
From January 04, 2020 to May 10, 2020
Elad Lassry probes and disrupts photographic images and prescribed modes of looking to analyze the relationship between objects and their representations. Using various elements such as wire and stainless steel ball bearings to obscure images, Lassry alters the flatness and framing of his pictures to destabilize how we engage with photography. In this exhibition, Lassry presents three distinct groupings of new work: collaged photographs using sourced archival negatives from sales catalogues and amateur snapshots of nature; outtakes from an imaginary fashion campaign; and container-like structures made from used motorcycle gas tanks. Viewed together in the gallery, these photographs and sculptures feel familiar yet disorienting. Lassry's rigorous conceptual strategies generate intentional collisions, highlighting perceptual paradoxes inherent to the photographic medium, while questioning the very meaning of pictures in contemporary culture. This exhibition is in the New to the Collection gallery, a space dedicated to showing recently acquired work or new work by an artist.
Eliot Porter
Fort Worth, TX
From January 04, 2020 to May 10, 2020
Eliot Porter (1901-1990) set the model for today's nature photography. While he is internationally celebrated for his colorful renderings of the natural world, Eliot Porter's Birds highlights his equal, career-long focus on photographing birds. More than thirty photographs and archival objects are presented alongside excerpts from the artist's extensive writings about his activities, giving visitors an opportunity to feel a direct connection with the artist. Porter photographed birds almost every spring for more than fifty years, deeply appreciating their colors, variety, and ability to fly. He sought from the start to set a new artistic model for bird photography that aligned with the great lithographs of the nineteenth-century artist-naturalist John James Audubon. Visitors will be able to experience how Porter pushed the limits of photographic technologies through a display of his personally designed camera outfit. Also on view are his research notes for locating and recording his subjects, and a display showing how he went about making his exquisite prints.
2020 VISION: Elliott Erwitt and Henri Cartier-Bresson, A Tribute Show to The Greatest Eyes
New Orleans, LA
From January 11, 2020 to May 15, 2020
A Gallery for Fine Photography is pleased to open 2020 Vision, a collection of rare silver gelatin photographs. The exhibit will include ten photographs by Elliott Erwitt and ten photographs by Henri Cartier-Bresson. 2020 Vision will showcase these magnificent photographers side by side for the first time ever. Henri Cartier-Bresson Henri Cartier-Bresson was born on August 22, 1908 in Chanteloup, France. A pioneer in photojournalism, Cartier-Bresson wandered around the world with his camera, becoming completely immersed in his environment. Considered one of the major artists of the 20th century, he covered many of the world’s biggest events including the Spanish Civil War to the French uprisings in 1968. For the rest of his life, Cartier-Bresson's approach to photography would remain much the same. The naturalist in Cartier-Bresson believed that all edits should be done when the image was made. Cartier-Bresson coined the term "the decisive moment" and he never cropped his images. Just a few weeks shy of his 96th birthday, Henri Cartier-Bresson passed away at his home in Provence on August 3, 2004. Elliott Erwitt Erwitt was born on July 26, 1928 in Paris, France, to Jewish- Russian immigrant parents, who moved to Italy. In 1939. When he was ten, his family immigrated to the United States. He studied photography and filmmaking at Los Angeles City College and the New School of Social Research, finishing his education in 1950. In 1951 he was drafted into the army, and discharged in 1953. Elliott Erwitt served as a photographer's assistant in the 1950s in the US while stationed in France and Germany. He was influenced by meeting the famous photographers Steichen, Capa and Stryker. Stryker, the former Director of the Farm Security Administration's photography department, hired Erwitt to work on a photography project for the Standard Oil Company. He then began a freelance photography career and produced work for Collier's, Look, Life and Holiday. Erwitt was invited to become a member of Magnum Photos by the founder Robert Capa. Elliott Erwitt has received major attention in the Fine Art Photography arena and is in all of the major museum collections around the world. Eliott Erwitt still lives in New York City where he continues his fine art photography career at ninety-two years old.
Volcano!  Mount St. Helens in Art
Portland, OR
From February 08, 2020 to May 17, 2020
To commemorate the 40th anniversary of the great eruption of Mount St. Helens in 1980, the Portland Art Museum is proud to present an exhibition that examines artists' responses to the awesome beauty and power of the volcano. From pre-contact Native American objects to contemporary paintings, drawings, and photographs, the show will trace the mountain's changing image and significance for local peoples. Native Americans used the substance of the volcano-mainly basalt and obsidian-to create objects of great beauty and utility. While Mount St. Helens featured in their creation stories, no depictions of the volcano in the visual arts are known before the mid-1840s, when explorers Henry James Warre and Paul Kane traveled through the area. As luck would have it, their visits coincided with the volcano's last eruptive period and they recorded the venting of steam and ash on the north side, presaging its destruction on May 18, 1980. Beginning about 1870, when the volcano was quiet once again, Portland's leading landscape artists celebrated the picturesque beauty of the nearly symmetrical cone rising from the surrounding landscape. The exhibition includes fine examples created for Pacific Northwest homes by Eliza Barchus, Grace Russell Fountain, Clyde Leon Keller, William Samuel Parrott, Cleveland Rockwell, and James Everett Stuart, as well as paintings by artists such as Albert Bierstadt who were visiting the area from the East Coast. Interestingly, paintings of Mount St. Helens were historically rare compared with the numerous images of Mount Hood-but that would change in 1980. Volcanic eruptions have long been depicted by artists because they are the most visually spectacular manifestations of nature's awesome power. Earthquakes, fires, and hurricanes can affect much larger areas, but few are as breathtakingly beautiful. Pacific Northwest artists who witnessed the eruption in 1980 were compelled to express their experience of nature at its most violent. Henk Pander recorded the visual wonder in numerous watercolors and a large oil painting that normally hangs in City Hall. George Johanson adopted the erupting volcano in subsequent depictions of himself and made it virtually a symbol of the city in his many timeless depictions of Portland. Lucinda Parker also took up the subject and endowed it with her distinctive painterly energy; the exhibition will include a large painting that Parker recently completed. Barbara Noah and Ryan Molenkamp, both from Seattle, explored the event as reflection of our emotions and states of mind when confronted with an overwhelming event. As soon as the smoke cleared, ceramic and glass artists gathered the abundant ash-which was 67 percent silica-to use in their works. The exhibition will include Paul Marioni's Mount St. Helens Vase, which he blew from pure ash the day after the eruption. Photography was the perfect medium for depicting the eruption's radical transformation of the landscape. Emmet Gowin, Frank Gohlke, Marilyn Bridges, and other photographers concentrated on the savage beauty that resulted from the destruction. Gowin, Gohlke, and later Buzzy Sullivan returned year after year to show the landscape's evolution. Along with Diane Cook and Len Jenshel, they have depicted the amazing rebounding of nature. In more recent years, artists have sought to depict the instability of the mountain and our knowledge that another eruption could happen at any time. Cameron Martin's Remission, an 11-foot-wide painting expressing this instability in purely visual terms, will close the exhibition. As the region commemorates the 40th anniversary of the volcano's eruption, the Museum is partnering with the Mount St. Helens Institute on a series of programs, tours, and in-gallery experiences throughout the run of the exhibition. For those who remember the eruption of 1980 and for those who know only its legacy, the exhibition will bring to life one of the most momentous days in the history of the Pacific Northwest, and artists' responses to one short period in the epic cycles of volcanic destruction and regeneration at Mount St. Helens.
One Life: Marian Anderson
Washington, DC
From June 28, 2019 to May 18, 2020
The Smithsonian's National Portrait Gallery will present "One Life: Marian Anderson," an exhibition exploring the life of the famed contralto, her achievements and how she became a symbol of the civil rights movement. Recognized as one of the greatest American singers of the 20th century, Anderson is perhaps best remembered for her legendary performance on the steps of the Lincoln Memorial, where she sang in 1939 after segregationist policies barred her from theaters across Washington, D.C. However, this exhibition broadens the focus, delving into underexplored moments of Anderson's decades-long career as a celebrated singer and diplomat. It also highlights the ways she inspired visual artists, ranging from Harlem Renaissance painter Beauford Delaney to fashion photographer Irving Penn. "One Life: Marian Anderson" will be on view June 28 through May 17, 2020. The Portrait Gallery exhibition is curated by Leslie Ureña, associate curator of photographs. It coincides with two Institution-wide initiatives organized by the Smithsonian, including the Smithsonian American Women's History Initiative, "Because of Her Story," and the 2019 celebration of the Smithsonian's Year of Music.
Surf Sequence by Ansel Adams
Stanford, CA
From November 20, 2019 to May 18, 2020
Ansel Adams (U.S.A., 1902-1984), Surf Sequence #4, San Mateo County Coast, California, 1940. Gelatin silver print. Used with permission of and © The Ansel Adams Publishing Rights Trust. The Capital Group Foundation Photography Collection at Stanford University, Rowland K. Rebele Gallery Explore this series of spontaneously-captured surf images, studies of nature, time, and organic line, in the context of Adams's relationship with water in different forms.
 Tyler Mitchell: I Can Make You Feel Good
New York, NY
From January 25, 2020 to May 18, 2020
''I often think about what white fun looks like, and this notion that Black people can’t have the same. Growing up with Tumblr, I would often come across images of sensual, young, attractive white models running around being free and having so much fun-the kind of stuff Larry Clark and Ryan McGinley would make. I seldom saw that freedom for Black people in images-or at least in the photography I knew. My work responds to this lack. I feel an urgency to visualize Black people as free, expressive, effortless, and sensitive. I aim to visualize what a Black utopia looks like or could look like. People say utopia is never achievable, but I love the possibility that photography brings. It allows me to dream and make that dream become very real. In my work, I use the tools of documentary reportage, portraiture, fashion photography, art photography, and filmmaking. I view fashion as a space where clothes can enhance my message about the Black body. I make very little distinction between my commissioned and my personal works, using them both as opportunities to create this utopian universe-whether that’s photographing Beyoncé, Spike Lee, skaters in Cuba, or my very close friends. Documentary and real, or fictitious and staged, my images are characterized by an interest in purity and intimacy. In them, models recline, embrace each other closely, and peer into the lens, leaving evidence of a public display of affirmation in Blackness and a unifying visual text of hope. I also occasionally weave symbols into my portraits, such as water guns and plastic chains-symbols of repression as a subtle reminder of the ways in which the Black body is still politicized, and sometimes unable to move through the real world as freely as I would like. I Can Make You Feel Good is simply a declaration. And one that, for me, is gut punching in its optimism. It feels important at a time like this to declare such a thing.''
 CONTACT HIGH: A Visual History of Hip-Hop
New York, NY
From January 25, 2020 to May 18, 2020
CONTACT HIGH: A Visual History of Hip-Hop explores four decades of photography, from the late 1970s to today, documenting a revolution not just in music, but in politics, race relations, fashion, and culture. The images-many of them displayed alongside contact sheets from the session-give us a rare glimpse into the creative process behind some of hip-hop's most iconic photos. While the music was establishing itself as a cultural force, photographers were on the scene, documenting the urban spaces where hip-hop came alive. The music reflected everyday experience; the images captured and memorialized it, providing a necessary perspective-sometimes empowering, sometimes controversial. A single image can define a decisive moment, creating an instant icon. And that's exactly the point. Photography has helped shape hip-hop, which has always been about self-definition. Press photos and album covers announce the arrival of the style, swagger, bravado, singularity, and artistry that help the performer become an icon. For this genre that speaks truth to power, reclaims and concretizes identity, idealizes self-representation, and visualizes political rhetoric, the images are inseparable from the music. Today, moments become decisive on Instagram, and the shift to digital photography has made the contact sheet pretty much obsolete. Contact High pays tribute to the way a new genre reinvented popular music-back when nobody knew where hip-hop could go or how long it might last, back before hip-hop exploded worldwide.
 The Lower East Side: Selections from the ICP Collection
New York, NY
From January 25, 2020 to May 18, 2020
In many ways, the Lower East Side is both quintessentially American and uniquely New York. Always changing, it has been one of the most densely populated, multiethnic, and modern places in the country. While late nineteenth-century social reformers attempted to show middle- and upper-class New Yorkers "how the other half lives," later photographers had a different, and often more personal, relationship with the neighborhood. In fact, many of the social documenatrians and street photographers of the 1930s and 1940s were first-generation Americans born on the Lower East Side, who created sensitive and nuanced portraits of their neighbors and shared environment. This exhibition, which primarily draws from ICP's rich holdings of mid-twentieth-century works, examines the role images play in creating narratives about this first port of entry for generations of immigrants. As a newcomer to the neighborhood, ICP is committed to engaging with the many visual histories of the dynamic place that has been seen as ripe for reform and reinvention for more than a hundred years.
Femmetography: The Gaze Shifted
New York, NY
From October 01, 2019 to May 22, 2020
In this exhibition, Femmetography: The Gaze Shifted, the 2019 Teen Curators examine the Black feminine gaze using the first book documenting Black women photographers as a guide, Jeanne Moutoussamy-Ashe's 1985 opus, Viewfinders: Black Women Photographers. Moutoussamy-Ashe unravels the histories of these pioneering photographers and creates a space for their narratives to be discovered. As a new generation engages with this work, they wonder: what does the Black feminine gaze mean today? This fourth annual Teen Curators exhibition features portraiture, experimental photography, and archival materials. The Teen Curators program, where arts education leads to increased historical and cultural literacy for high school participants, culminates each season of aesthetic engagements and curatorial projects with an exhibition. Students work closely with curators and librarians from all of the Schomburg Center’s research divisions - Art and Artifacts; Manuscripts Archives and Rare Books; Moving Image and Recorded Sound; Photographs and Prints; the Jean Blackwell Hutson Research and Reference.
Santa Fe, NM
From February 25, 2020 to May 23, 2020
photo-eye is celebrating our 40th year with our first-ever juried exhibition. photo-eye Gallery recently held an international open call for artwork relating to the concept “Fractured.” This exhibition was juried by the photo-eye Gallery staff, and out of thousands of submissions, 35 artworks were selected. FRACTURED will run from February 25 to May 23, 2020, with an opening reception Friday, February 28 from 5-7pm corresponding with the Last Friday Art Walk in the Railyard Arts District. FRACTURED Today, our world can seem divided in a multitude of ways. Between debates over the climate emergency, corporations literally breaking our earth with fracking, families split at national borders, and our divided political systems, societal unity and harmony feel like a distant hope. Even on a personal level, humans have the capacity to feel fissured, split, and incomplete in our thoughts and emotions. Shifts in perspective, breaks from tradition, and experiences of loss can all encompass the idea of the fracture. This concept can have both positive and negative connotations. Acknowledging that something is broken is the first step in working toward healing. How can art be a platform for expressing, and ultimately bridging these personal and social divides? What role does the photographer play in observing, documenting, and healing the fractured landscapes around and within us all? photo-eye Gallery has selected 25 artists whose work addresses these questions.
Karin Apollonia Müller: Citylights
Reno, NV
From December 21, 2019 to May 24, 2020
Karin Apollonia Müller's photographs investigate the struggle between the natural world and the built environment. In her series FAROUT, Müller is particularly interested in human settlement patterns. During her research, she stumbled upon images from the Suomi National Polar-orbiting Partnership, a joint project of NASA and NOAA (National Oceanic and Atmospheric Administration.) The research images became the basis for Müller's Citylights photographs. The "lights" in these works reflect human population and distribution across the planet. While Müller did not manipulate the satellite images, she did turn the world upside down-occasionally fusing continents to encourage disorientation.
Southern Rites
Portland, OR
From February 05, 2020 to May 24, 2020
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.
Signs and Wonders: The Photographs of John Beasley Greene
Chicago, IL
From February 08, 2020 to May 25, 2020
In 1853, when John Beasley Greene first visited Egypt with his camera, archaeology and photography were still very new. Over the course of his exceptionally brief career—he died at the age of 24—Greene made an extraordinary body of pictures that advanced both archaeology and photography and continues to offer insight into the central concerns that shaped the two fields. Born in Ingouville, France, to American parents, Greene grew up in a well-connected merchant-banking family. This financial and social standing enabled him to pursue his twin passions: photography and Egyptology. In the early 19th century, Europeans developed a voracious drive to acquire and systematize knowledge about ancient Egyptian culture—an intellectual enterprise tightly bound to Western economic and colonialist interests in the region. After studying in Paris, Greene twice traveled to Egypt, where he used the camera to record hieroglyphic inscriptions on ancient monuments and to make spare, unpeopled views of the unfamiliar landscape. In late 1855 he traveled to Algeria, where his evocative images were similarly divided between documentation of excavations and studies of built and natural environments. Much of Greene's story remains a mystery. The albums and photographs he left behind attest to a curious mind, an inventive eye, and a keen sensitivity to the needs and possibilities of archaeology and photography in his time. Although he exhibited his photographs while he was alive, Greene's work escaped serious notice until the 1970s and 1980s, when an expanding art market for photographs encouraged renewed interest in 19th-century photographers. To 20th-century viewers trained in modernist art, it was impossible to ignore the striking spareness of Greene's landscapes, his adept manipulation of negative and positive space, and the near abstraction of his close-up views. Yet a purely formalist reading of Greene's work obscures the scientific and intellectual goals that underpinned it, as well as the expectations of his intended audiences. Moreover, it overlooks his contributions to a growing body of archaeological scholarship and the geopolitical conditions that shaped such studies. This exhibition, the first retrospective of this photography pioneer, contextualizes Greene's career through new scholarship, nearly 70 rare prints and albums, and Egyptian artwork from the Art Institute's collection. This nuanced examination invites consideration of the complex aesthetic and political lenses that we use to look at photography and the past as well as the complicated relationship between photography, colonialism, and modernism.
Dancing Atoms: Barbara Morgan Photographs
Asheville, NC
From March 06, 2020 to May 25, 2020
Barbara Morgan, a founding member of the Aperture Foundation, earned a reputation as a Modernist. Much of her work involves dance, photomontage, and a desire to capture motion. She often would design her images so that the figure was shown against neutral or blank backgrounds that heightened the energy of the motion. As proven in Morgan's photographs, the exploration of movement is a theme that countless photographers have been drawn to in the past. Capturing the beauty and effort of kinetic energy on film takes not only a keen photographic eye, but, more importantly, an understanding of the science that creates such action. Morgan was one such photographer. Her legacy of observing life in relation to "dancing atoms" is forever preserved on film and on paper, providing a glimpse into her world of photography, painting, light, and modern dance.
Daniel Beltra: The Amazon
Chicago, IL
From March 13, 2020 to May 30, 2020
Catherine Edelman Gallery is pleased to present The Amazon, our third exhibition by Spanish born photographer Daniel Beltrá. The show opens March 13 and runs through April 25, 2020. Daniel Beltrá has spent the past thirty years witnessing humans influence on the climate. Photographing from the air, he has documented everything from oil spills, to glacial melts, to droughts, to the effect of greenhouse gases. His commitment is extraordinary and has been acknowledged by both the conservation and art worlds, as he lays bare the undeniable reality of the climate crisis. The Amazon features fifteen photographs taken over a span of twenty years, alongside a photographic timeline describing his many adventures. The Amazon rainforest is a vital part of our ecosystem, covering more than 2 million square miles across nine countries. According to recent data, it is home to more than 390 billion trees, 2.5 million insect species, 40,000 plant species, 2000 birds, 2200 fishes, 1294 birds, 427 mammals, 428 amphibians, and 378 reptiles.* Prior to the 1970s, the forest remained relatively intact until the construction of the Trans-Amazonian Highway, which has yet to be completed. Nonetheless, access to the rainforest created opportunity for commerce, which in turned led to the discovery of fossil fuel. Deforestation, due to land development, logging, and drilling, has accounted for the loss of almost 20% of the rainforest. The fires in 2019 brought more destruction, creating an international outcry to protect the most biodiverse area on the planet. The Amazon features photographs of controlled burns, pristine canopies of untouched forests, and illegal logging. All images are taken from a small plane or helicopter, offering a unique perspective of the land's fragility. The tenuous state of our ecosystems is a continuous thread throughout Daniel Beltrá's work. By taking viewers to remote locations where man and nature conflict, Beltrá seeks to raise awareness about our effects on the planet through beautiful and haunting photographs. Daniel Beltrá (b. Madrid, Spain, 1964) is an award-winning photographer whose work has been published by most of the prominent international publications including The New Yorker, The National Geographic Society, Time, Newsweek, The New York Times, Le Monde, and El Pais. He has been honored with awards from the Prince Charles Rainforest Project, the Prix Pictet, and three world press photo awards, and is a fellow of the prestigious International League of Conservation Photographers. He currently resides in Seattle, Washington, with his wife and two cats. *Wikipedia
The Qualities of LIGHT: The Story of a Pioneering New York City Photography Gallery
Tucson, AZ
From December 14, 2020 to May 30, 2020
This exhibition celebrating the legacies of LIGHT (1971-1987), a significant early photography gallery, focuses on characteristics identified by those who visited, worked, showed, and were impacted by the gallery. It draws heavily on archives at the Center for Creative Photography. Sections of the exhibition highlight LIGHT's innovation, commitment to artists, focus on education, cultivation of community, and influence on the market, illustrated by photographic artworks, archival documentation, film or audio footage, installation views, period snapshots, and contemporary photographs, all chosen for their potential to illuminate. Educational programming is an integral component of the exhibition, offering visitors opportunities to better understand the critical period of the 1970s and 1980s within the history of photography and the seminal influence of LIGHT, as well as encouraging creative inquiry into broader ideas about the photographic market, artist legacies, and the nature of a research center and archive like the Center for Creative Photography. The accompanying symposium, Legacies of LIGHT- A Three Day Celebration, uses the immense influence of LIGHT, a contemporary fine-art photography gallery that operated in the 1970s and 1980s, as a starting point for a larger discussion about photography.
Women of Progress: Early Camera Portraits
Washington, DC
From June 14, 2019 to May 31, 2020
In mid-nineteenth-century America, the growing presence of women in public life coincided with the rise of portrait photography. This exhibition of daguerreotypes and ambrotypes from the 1840s and 1850s features portraits of early feminist icons, women's rights advocates Margaret Fuller and Lucy Stone, abolitionist Lucretia Mott and best-selling author Harriet Beecher Stowe. Ann Shumard, the National Portrait Gallery's senior curator of photographs, is the curator of this exhibition.
JR The Chronicles of San Francisco
San Francisco, CA
From May 23, 2019 to May 31, 2020
Celebrate the voices of our extraordinary, unique, and diverse city in The Chronicles of San Francisco, by internationally recognized artist JR. Over the course of two months in early 2018, the artist set up a mobile studio in twenty-two locations around San Francisco, where he filmed and interviewed nearly twelve hundred people from across the city's multifaceted communities. In the completed work, a digital mural scrolls across a seamless bank of screens, bringing together the faces and untold stories of the people we encounter every day. Presented in SFMOMA's soaring Roberts Family Gallery, this work is free and accessible to the public. Born in France in 1983, JR began tagging buildings as a young teenager. Soon he shifted from graffiti to photo-based work, creating images of faces, printing them on large sheets of inexpensive paper, and pasting them on buildings. Although he has completed many such projects around the world, this is his first major installation in San Francisco, and uniquely draws inspiration from Diego Rivera's murals found throughout the city.
In Focus: Platinum Photographs
Los Angeles, CA
From January 21, 2020 to May 31, 2020
The J. Paul Getty Museum presents In Focus: Platinum Photographs, featuring more than two dozen striking prints made with platinum and the closely related palladium photographic process. Drawn from the museum's collection, the exhibition explores the wide variety of visual characteristics that have come to define the allure and beauty of this medium, which include a velvety matte surface, wide tonal range, and neutral palette. Introduced in 1873 by scientist William Willis Jr. (British, 1841-1923), the use of platinum was quickly embraced by both professional and amateur photographers alike and helped to establish photography as a fine art. The visual qualities of each print could be individualized by changing the temperature of the developer or adding chemicals such as mercury or uranium. Photographers further enhanced their works by using an array of commercially available papers with rich textures and by employing inventive techniques such as the application of pigments and layered coatings to mimic effects associated with painting and drawing. Platinum printing became widely associated with Pictorialism, an international movement and aesthetic style popular at the end of the 19th century. Advocates of Pictorialism favored visible marks of the artist's hand that might be achieved by manipulating either the negative or the print, or both. These hand-crafted prints differentiated themselves from the crisp images produced by commercial photographers and snapshots made with hand-held cameras recently introduced by Kodak. Among the works on view is a triptych of a mother and child by Gertrude Käsebier (American, 1852-1934), one of the most technically innovative photographers associated with Pictorialism, an atmospheric nude by Edward Steichen (American, born Luxembourg, 1879-1973), and a view of Venice by Alvin Langdon Coburn (British, born United States, 1882-1966). Other images by Paul Strand (American, 1890-1976) and Karl Struss (American, 1886-1981) incorporate geometric forms or unusual vantage points to introduce abstraction into their compositions. The popularity of platinum paper declined in the years leading up to the First World War. The soaring price of the metal forced manufacturers to introduce alternatives, including papers made with palladium and a platinum-and-silver hybrid. As platinum became crucial in the manufacture of explosives, governments prohibited its use for any purpose outside the defense industry. The scarcity of materials and eventual shifting aesthetic preferences led many photographers to abandon the process in favor of gelatin silver prints. Interest in the process was renewed in the mid-20th century, and a relatively small but dedicated number of photographers continue to use the process today. The fashion photographer Irving Penn (American, 1917-2009) began hand coating papers with platinum in the 1960s and created prints that simultaneously emphasize intense and detailed shadows and subtle luminous highlights. More recent examples include a double portrait by artist Madoka Takagi (American, born Japan, 1956-2015) featuring herself, arms crossed and a shirtless man covered in tattoos, both gazing stoically into the camera's lens; a suburban night scene by Scott B. Davis (American, born 1971); and an experiment in abstraction by James Welling (American, born 1951).
Body Language: Picturing People
Boulder, CO
From July 18, 2019 to June 01, 2020
This exhibition considers how the pose, the gesture and the body in motion are used by artists to convey meaning. Figural artworks from the CU Art Museum’s collection are brought into conversation across cultural geographies and historical eras. Whether in presenting portraits of individuals or fictional personages, or in picturing religious icons, artistic depictions of the body speak volumes about personality, character and the values of a time or place.
Going Viral
Wellesley, MA
From February 06, 2020 to June 07, 2020
Today, we use the phrase going viral to describe the rapid reception and reproduction of media on the Internet. However, since the dawn of amateur photography in the late-nineteenth century, critics have warned of a "universal snapping psychosis." Long before the age of the selfie, the craze for candid cameras spawned innumerable tropes that snapshooters found irresistible. This exhibition of early-twentieth-century American snapshots considers our everyday relationship to photography: the ways in which we mediate, understand, and narrate our lives through the snapping and sharing of photographs, and how and why certain types of images become socially infectious. In addition to serving as personal mementos, snapshots are objects of material culture produced in accordance with social norms and public expectations. The happy couple is documented cutting the cake on their wedding day, a family commemorates a trip to Paris with a photo in front of the Eiffel Tower, or a little girl twirls in her new dress for the camera. Mined from the Peter J. Cohen Collection gift of nearly 1,000 anonymous snapshots, the exhibition is organized into eleven sections that explore various performances, rituals, and gestures that have gone viral via photography: Viewing Vistas, Monuments Men, Showing Skirts, Fake Fighting, Cross Dressing, Snapping Shadows, Pyromania, "Me," The Ends, Costumes & Caricatures, and Pictures of People Taking Pictures. The texts for each section provide micro-histories of these diverse social phenomena and demonstrate how vernacular photographs might function as affective historical documents. A single image of two men, fists aimed at each other in a classic pugilist pose, cannot tell us much about the circumstances under which the exact photograph was snapped. But hundreds of examples that depict variations on the same theme? They promise rich rewards for the imaginative historian, anthropologist, or sociologist. In addition to the 123 snapshots on view, the exhibition will also showcase an Original Kodak camera, early amateur photography manuals, Kodak 1s and 2s, twentieth-century album pages, and six photo albums. The exhibition concludes with the latest from Kodak-the Printomatic-which will allow visitors to shoot and print their own snapshots in the gallery.
Beyond the Harlem Renaissance
New York, NY
From April 09, 2020 to June 12, 2020
Keith de Lellis Gallery celebrates the portraiture of Carl Van Vechten (American, 1880-1964) in its spring exhibition. Van Vechten moved to New York City from Chicago in 1906 to pursue a writing career (he would become the first American critic of modern dance while contributing to the New York Times) before dedicating himself to photography. Van Vechten had a lifelong interest in African American culture and was committed to promoting black artists. In the early 1920s, Van Vechten sought out NAACP leader Walter White, who would introduce him to his colleague James Weldon Johnson. Johnson in turn facilitated introductions between Van Vechten and countless key figures in the rising Harlem Renaissance. Van Vechten became a familiar sight in predominantly black spaces, attending formal NAACP banquets as well as Harlem nightclubs and speakeasies. The artist wrote a number of articles championing black writers and performers that would be published in popular publications such as Vanity Fair and the New York Herald Tribune. Upon Van Vechten's influence, Langston Hughes was taken on by Van Vechten's publisher, Alfred A. Knopf, to publish his first set of poems in 1926. Rudoph P. Byrd wrote, "In an age of rising nativism, Van Vechten was one of a small group of European American intellectuals who recognized the uniqueness, depth, and far-reaching significance of African American culture" (Generations in Black & White, University of Georgia Press, 1993). While he initially wrote in response to his experiences with New York's black community, he later turned to photography to elevate both established and emerging artists. He assembled a home studio and darkroom in his West 55th Street apartment and invited sitters of all sorts "to show young people of all races how many distinguished Negroes there are in the world" (Bruce Kellner, Keep A-Inchin Along, Praeger, 1979). His subjects included Pearl Bailey, Amiri Baraka, Ruby Dee, Billie Holiday, Langston Hughes, Leontyne Price, Bessie Smith, Ethel Waters, and many more. Van Vechten's commitment to documenting remarkable black figures lasted far beyond the period known as the Harlem Renaissance, and in fact continued until his death in 1964. The personalities of Van Vechten's subjects are effectively communicated through their pose and expression combined with the photographer's nuanced composition, backgrounds, and lighting. These dramatic portraits convey in equal measure the subject's dedication to their craft and Van Vechten's reverence for the artist. Some lively (joyous Bill "Bojangles" Robinson dancing across the frame), others quiet (a contemplative Bessie Smith with downcast eyes), the photographs capture a range of emotions, aesthetics, and talents. Van Vechten's photographs were exhibited at the Museum of the City of New York and the Philadelphia Museum of Art during his lifetime. He established collections at a number of universities and museums, including Yale University, Howard University, the Museum of Modern Art, the New York Public Library, Princeton University, and more.
CELL SIGNALS: Reframing and Resisting Mass Incarceration
San Francisco, CA
From April 09, 2020 to June 13, 2020
Curated by writer and educator Pete Brook, Cell Signals brings together visions from within U.S. prisons and jails to address the role of images in our understanding of incarceration in America. Through visitation hacks, repurposed archive reels, collaborative portraiture, cellphone pics and prison newspaper coverage, Cell Signals peers upon the growing and changing uses of both artistic gesture and networked, image-technologies within American security, prisons, and homeland culture.
Paul Jasmin: Lost Angeles
Los Angeles, CA
From April 09, 2020 to June 13, 2020
The Fahey/Klein Gallery is pleased to present Paul Jasmin: Lost Angeles, a selection of works celebrating Jasmin's long career and the gallery's first exhibition by the legendary Los Angeles photographer. Paul Jasmin's photographs are a dreamy tableau that takes the viewer on a journey of seductive beauty and erotic ennui. Lost Angeles highlights the last 50 years Jasmin has spent photographing L.A.'s young dreamers. Jasmin's images eloquently mirror the mythology of the city in the vulnerability and intangible cool of his subjects. There is life in his portraits of smiling girls and strong and frail men - and the never fading love for the Los Angeles street scenes. There is a nostalgic myth of a splendid and ideal aesthetic, stopped and caught forever. Paul Jasmin has had a long career as a fashion and art photographer. He was born in Helena, Montana and in 1954 left to begin an incredible journey that would take him to Paris, Morocco, New York, and eventually "the city of dreams", Los Angeles. Paul had been an illustrator, a painter, and an actor before picking up a camera - at the urging of his friend, Bruce Weber. Jasmin's images of real and imagined dreamers evoke a sensual and glamorous ideal while firmly rooted in reality. His Editorial work appears in Vogue, Teen Vogue, GQ, Details, V Magazine, V Man, Vogue Hommes, W, Nylon, Interview, Mr Porter, APC, Ron Herman, Bergdorf Goodman, Saks, and Nordstrom. Paul Jasmin lives and works in Los Angeles where he teaches at the Art Center College of Design in Pasadena, California. Paul's photography books include the much-acclaimed Hollywood Cowboy (2002) and its follow up, Lost Angeles (2004). In December 2010, Steidl/7l published Paul's third book, California Dreaming.
Bea Nettles: Harvest of Memory
Rochester, NY
From January 31, 2020 to June 14, 2020
Bea Nettles explores the narrative potential of photography through constructed images often made with alternative photographic processes. The first large-scale retrospective of her fifty-year career, Bea Nettles: Harvest of Memory demonstrates this celebrated artist's experimental approaches to art-making. Combining craft and photography, Nettles's work makes use of wide-ranging tools and materials, including fabric and stitching, instamatic cameras, the book format, manually applied color, and hand‐coated photographic emulsions. Her imagery evokes metaphors that reference key stages in the lives of women, often with autobiographic undertones, and her key motifs draw upon mythology, family, motherhood, place, landscape, dreams, aging, and the passage of time. Nettles is a tremendously productive artist whose work has become part of museum permanent collections from coast to coast. Now, Bea Nettles: Harvest of Memory provides a comprehensive look at the work of an artist who profoundly illuminates our inner worlds.
Past Presence
Lawrence, KS
From February 08, 2020 to June 21, 2020
Past Presence will explore the diverse ways that artists since around 1970 have engaged with past events in their work. Some of the artists included in this exhibition explore familial histories, some excavate personal memories, and others seek to understand larger historical conditions. Their art reckons with, reflects on, clarifies, deconstructs, resurrects, and re-imagines history. The works in this exhibition draw connections between the past and the present, offering insights about the ways that historical events and the stories that we tell about them shape our current realities.
The Polaroid Project: At the Intersection of Art and Technology
Cambridge, MA
From October 11, 2019 to June 21, 2020
In its heyday, Polaroid and its products were loved by millions of amateurs and embraced by countless professionals. ThePolaroidProject tells the fascinating and instructive story of the Polaroid company, and presents all aspects of Polaroid photography, including the technology that made it possible. After traveling around the world, this critically acclaimed exhibition will make a stop at the MIT Museum, approximately a block from where instant film was first invented. This unique exhibition explores various dimensions of the art-technology relationship through the exhibition of both art and artifacts. Featured will be over two hundred original works by 120 artists, including Ansel Adams, Chuck Close, Barbara Crane, Harold Edgerton, Walker Evans, Hans Hansen, David Hockney, Dennis Hopper, Gyorgy Kepes, Robert Mapplethorpe, Robert Rauschenberg, Andy Warhol, and William Wegman. The exhibition also showcases more than 75 artifacts--including cameras, prototypes, experimental films and other technical materials--from the MIT Museum's own historic Polaroid collection. Due to the sensitivity of the photographs, the exhibition will be shown in two parts, with a complete re-installation mid-way through.
Elsa Dorfman: Me and My Camera
Boston, MA
From February 08, 2020 to June 21, 2020
This exhibition is the first to explore autobiography in the work of Elsa Dorfman (b. 1937), a beloved Cambridge photographer known for her large-format commissioned portraits. Working with a 200-pound, 20 x 24 Polaroid camera, one of only a few in existence, Dorfman has photographed friends, artists, and celebrities, all with disarming informality. Though many of her portraits are of others, Dorfman's self-portraiture is integral to her entire practice. "Being comfortable with the camera on myself affected how I felt in taking pictures of others," she once said. "I really had in my mind that this was helping me, in some magical way, to take portraits, because people would sense I did it to myself, too." Bringing together a selection of 20 x 24 self-portraits made since 1980, "Elsa Dorfman: Me and My Camera" looks at the artist's life through her work. Intimate photographs of Dorfman with her son, Isaac, and her husband, lawyer Harvey Silverglate, reveal the family's close bond. Self-portraits of the artist with her camera show the delight she takes in the medium. Some of the photographs show the artist with a bundle of black balloons. These works, taken on Dorfman's birthday, form an ironic chronicle of the process of aging. The exhibition also includes a group of smaller black-and-white photographs from the landmark 1974 photobook Elsa's Housebook: A Woman's Photojournal. These images celebrate the circle of friends who visited Dorfman at her home near Harvard Square in the 1970s, including Allen Ginsberg and a host of other writers. Like all of Dorfman's work, the photographs in this exhibition radiate warmth, inviting visitors into the intimate moments of an extraordinary life.
LIFE Magazine and the Power of Photography
Princeton, NJ
From February 22, 2020 to June 21, 2020
From the Great Depression to the Vietnam War, the vast majority of the photographs printed and consumed in the United States appeared on the pages of illustrated magazines. Offering an in-depth look at the photography featured in Life magazine throughout its weekly run from 1936 to 1972, this exhibition examines how the magazine's use of images fundamentally shaped the modern idea of photography in the United States. The work of photographers such as Margaret Bourke-White, Larry Burrows, Henri Cartier-Bresson, Frank Dandridge, Gordon Parks, and W. Eugene Smith is explored in the context of the creative and editorial structures at Life. Drawing on unprecedented access to Life magazine's picture and paper archives, as well as photographers' archives, the exhibition presents an array of materials, including caption files, contact sheets, and shooting scripts, that shed new light on the collaborative process behind many now-iconic images and photo-essays.
Nick Brandt: This Empty World, Inherit The Dust
New York, NY
From April 02, 2020 to June 21, 2020
Photographer Nick Brandt's most recent works -- "This Empty World" and "Inherit the Dust" -- remind us of the grandeur and fragility of the disappearing natural world. The series calls attention to the degradation of East African landscapes as runaway development threatens both the animals and people who live there. The cinematic and emotional images are an important and timely call to conservation. The exhibition, open April 2 through June 21 at Fotografiska New York, places Brandt's most recent series alongside behind-the-scenes images of his unique process. The photographs in "This Empty World" are a combination of two moments in time, captured on the exact same location. A partial set was built and lit on unprotected, populated community land in Kenya. In the following weeks, the animals of the region acclimated to the sets and eventually wandered in. Once the animals were captured on camera, the full sets were built. In all but a few of the photos, the camera remained fixed in place throughout. A second sequence was then photographed with complete set, and a cast of people drawn from local communities and beyond. The final, large-scale prints placed the subjects alongside each other, questioning the devastating consequences of unbridled development. The sets were created and removed with almost zero waste, leaving no impact on the landscape. For "Inherit the Dust," Brandt printed life-size versions of his unreleased portraits of animals and glued them to large panels. The panels were placed in locations where these animals used to roam but, as a result of human development, no longer do. The humans in this series go about their lives, oblivious to the ghost-like portraits of the animals that used to share the same land. The images never portray the people in the images as the aggressors. Poor rural people are the most affected by environmental degradation, often helplessly swept along by relentless waves of "progress" as natural resources on which they rely are exhausted. Brandt hopes this work raises awareness of the ongoing destruction of ecosystems and inspires viewers to act. He believes it is still possible to mitigate the worst of what humankind is doing. With that in mind, in 2010, Brandt co-founded the non-profit organization, Big Life Foundation, which operates in Kenya and Tanzania, in the area where "This Empty World" was photographed. Today, the organization employs almost 500 local people, including 300+ rangers who protect 1.6 million acres of wildland. Their presence has dramatically reduced the killing of elephants and all other animals in the ecosystem. For more information, visit:
Nasreen Mohamedi: Pull with a Direction
New York, NY
From February 29, 2020 to June 27, 2020
Talwar Gallery is delighted to present Pull with a Direction, an exhibition of work by Nasreen Mohamedi. Pull with a Direction will include drawings, prints, photographs and paintings. A selection of works, some of which are being exhibited for the first time, date from the late 1950s until the 1970s, offering a rare glimpse of Mohamedi's working process in its incipient form. Registered here are the paths of the artist's early explorations, wide-ranging but rarely meandering - emerging from landscapes, gestural ink drawings, experimentation in photography, paint on canvas and eventually arriving at her grid drawings. In a significant canvas floating overlapping squares form horizontals that are dissected by a gently curving vertical, a dynamism and structural groundwork for the later body of Mohamedi's works. In contrast, in an earlier painting from the 1960s, Mohamedi employs the brush like a pen, rendering the canvas more akin to a painted drawing. There are several clear lines of continuity throughout Pull with a Direction. In the drawings on view Mohamedi reveals an early investment in line as she carefully delineates the contours of a landscape while attempting to reconcile the perception of nature with the two-dimensionality of the plane of the paper - an inquiry that would sustain her interest in years that follow and profoundly permeate her oeuvre. In Pull with a Direction, even when discernable form slowly disappears from the works, nature remains an anchor and a sustaining point of inspiration for Mohamedi. In prints, created while Mohamedi was in Paris in the early 1960s, we see her move incrementally away from mimetic representation - orchestrating a sense of depth more through the saturation and density of ink than through the depiction of natural forms. Later drawings from the 1960s mark a further development, possibly registering the experience of the desert that Mohamedi witnessed in her travels to Bahrain, Kuwait, Iran and Turkey during this period. The drawings' sharp lines and softer washes of ink create a contrast that is echoed in the play between spindly desert bush and shadow in a vintage photograph from the same moment. Her paintings work in a similar way, overlaying, but not obscuring, their origin in the natural world with a system of abstracted line. Clearly ordered and without excess, they nevertheless retain an elegant potency that is Mohamedi's untold legacy - encapsulating the dynamism and structure within nature. Pull with a Direction presents a crucial new chapter in a career that has come to renewed critical and public attention in the past decade. Considered a pioneer of geometric and linear abstraction, Mohamedi gained recognition for the singularity of her artistic vocabulary, which evolved ceaselessly throughout her career. She created an oeuvre known for its unique vision and precise, austere form. A generous teacher, known for the asceticism and devotion of her style of living as of creating, Nasreen has become a critical figure for the generations of artists who followed her. Nasreen Mohamedi was born in 1937 in Karachi, India and passed away in 1990 in Kihim, India. Since her first solo outside of India at Talwar, New York in 2003, Mohamedi has been featured in numerous museum exhibitions worldwide. Mohamedi was the subject of Solo presentations at The Metropolitan Museum of Art (MET), New York (2016); Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain (2015); Tate, Liverpool, UK (2014); Kiran Nadar Museum of Art, India (2013) and The Drawing Center, New York (2005). Mohamedi's works have also been on view at Museum of Modern Art (MoMA), New York, NY; Queensland Art Gallery, Brisbane, Australia; Documenta XII, Kassel, Germany; Museum of Contemporary Art, Los Angeles, CA; Hammer Museum, Los Angeles, CA; Harvard University Art Museum, Cambridge, MA; Institute of Arab and Islamic Art, NY; Fotomuseum, Winterthur, Switzerland; Walker Art Center, Minneapolis, MN; Philadelphia Museum of Art, PA; Nelson-Atkins Museum, Kansas City, MO; and Whitechapel Gallery, London. This is Mohamedi's fourth solo exhibition at Talwar.
Danny Lyon: Dissenter in His Own Country
Seattle, WA
From November 23, 2019 to June 28, 2020
Since the 1960s, photographer Danny Lyon's work has been characterized by his full immersion within the lives of his subjects. Lyon began his career as the first staff photographer for the civil rights group the Student Nonviolent Coordinating Committee, an experience that sparked his lifelong commitment to social justice. He describes himself as "a dissenter in my own country," and this spirit of rebellion has led him to turn his camera toward those who are outside the mainstream. But far from acting as a voyeur, Lyon invests himself fully with his subjects, often living with them for years at a time and becoming deeply and personally familiar with their lives. The resulting images offer a uniquely intimate vision—an empathetic and emotive insider's view. The photographs are drawn from three bodies of work created from 1963 to 1980, with subjects ranging from bikeriders on a race track, to prisoners in a cotton field, to children in the streets of Colombia. For each image, Lyon presents this challenge to us as viewers: "The pictures do not ask you to ‘help' these people, but something much more difficult; to be briefly and intensely aware of their existence, an existence as real and significant as your own."
Alejandro Cartagena: Photo Structure-Foto Estructura
Rochester, NY
From January 31, 2020 to June 28, 2020
For his latest work, Alejandro Cartagena sifts through landfills for discarded photographs. Then, with a sharp blade, he excises figures, faces, or other details from the photographs, reconfiguring the original composition by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works. Cartagena has produced works of art specifically for this exhibition, giving visitors to the Eastman Museum the first opportunity to see the newest photographs in his most recent body of work.
Just Watch
San Francisco, CA
From March 19, 2020 to July 01, 2020
We are very pleased to welcome you on March 19th, 2020 to the opening reception of JustWatch@836M, a group exhibition featuring, for their first time in California, five emerging young photographers from around the world. Why JustWatch@836M? In a world where everything is visual, where images keep on flooding your screens or showing up on your Instagram accounts, where you're constantly affronted with visuals in the streets, are we still able to see the real world? We have invited five young photographers to display their work at 836M because we love what their photos capture in the world around them and reveal to their audiences. Artists Silvia Grav (Los Angeles), Wolfgang Bohusch (Vienna), Remy Lagrange (New-York), Myriam Boulos (Beirut), and Yassine Alaoui Ismaili (Casablanca), will all be in attendance at the opening reception.
Temporal: Puerto Rican Resistance
Chicago, IL
From April 09, 2020 to July 03, 2020
Temporal: Puerto Rican Resistance explores Puerto Rico's contemporary history as a United States colony. The exhibition traces the continued impact of three recent major events: the enactment of the US federal law titled the Puerto Rico Oversight, Management, and Economic Stability Act (PROMESA) in 2016, the US response to Hurricane María's landfall on the island in 2017, and the mass protests in July 2019 that forced the governor's resignation. Temporal takes its name from a Puerto Rican plena song, which roughly translates to "storm." Plena, a style of music with Afro-Caribbean origins dating back to the early 1900s, has been referred to as the "sung newspaper" of the people and often incorporated into protests chants on the island. The exhibition follows in the storytelling style of this traditional Puerto Rican musical genre, showcasing documentation of protests, life during and after María, and art of the resistance.
Chicago, IL
From February 22, 2020 to July 05, 2020
The fourth and final installment in the collection-driven series that pairs photography with other creative domains, Material Meanings brings 31 outstanding works to Chicago for the first public showing of the private collection of Constance R. Caplan. A resident of Baltimore, Caplan has been a keen student and steward of modern and contemporary art for more than 30 years, taking classes in art history and serving on and leading major museum boards—all in the service of art and the public trust. Her choices in 20th-century decorative arts, photography, and, above all, painting and sculpture, make an exquisite whole. Caplan is drawn to works with great presence, as she discusses in a conversation published in the accompanying exhibition catalogue; she is also moved by art that tells us something new about history and our perceptions of the world. Speaking admiringly of postwar European artists such as painter and sculptor Lucio Fontana and abstractionist Blinky Palermo, she confesses, "I just wanted to understand: what were they doing? They were dealing with materials that were on the streets, and I don't think anybody thinks that what they did then was pretty. It wasn't pretty. It was what they could find and what they were thinking about in the aftermath of war." Caplan herself practiced photography briefly and has collected the work of photographers interested, as she is, in the history of decorative or fine arts: Louise Lawler, Sherrie Levine, Christopher Williams, and others. She has researched and pursued works across a variety of historical periods and art forms, and the works on view in this presentation accordingly range from a Vienna Secession vase made around 1910 to an abstract photograph from 2012 by American artist Liz Deschenes. Mirroring the spirit of learning that has driven Caplan's collecting, the exhibition's descriptive wall texts draw from the catalogue's essays, many of which were written by students or faculty members of the School of the Art Institute of Chicago. This educational emphasis, along with an exceptional selection of objects, makes Material Meanings a singularly affecting and enriching encounter with modern and contemporary art.
Gordon Parks X Muhammad Ali
Kansas City, MO
From February 14, 2020 to July 05, 2020
In 1966, Life magazine assigned famed photographer Gordon Parks to cover Muhammad Ali, the brash young boxing champion. Four years later in 1970, the two came together again for a second Life feature story. These encounters framed a critical passage in the career of the controversial heavyweight, whose antiwar and black separatist views had led to widespread vilification in the United States. They also marked a significant moment of transition for Parks, then following up his remarkable success in photojournalism with new projects as an author, filmmaker and composer. Despite their generational and ideological differences, Parks and Ali respected and admired one another. As celebrated figures, both men shared a common struggle as they faced prejudice and bigotry in their fight for social justice and civil rights in the public eye. Significantly, Parks and Ali well understood the power of the media to shape public opinion. Parks's position at Life gave him a vast and influential platform, which he used to craft a sympathetic image of the controversial young champion. The Muhammad Ali whom Life readers discovered through Parks's photographs in 1966 and 1970 - the athlete, private man, controversial figure of politics and religion, and cultural icon-was, it later emerged, standing at an important crossroads in his own inspiring evolution. Parks's photographs capture this important early chapter in the life of the fighter we still call "the greatest of all time" as he confronted his challenges, inside and outside the ring.
Reimagining Home
Boston, MA
From January 11, 2020 to July 12, 2020
Two Iranian artists infuse documentation with imagination This exhibition features work by Bahman Jalali (1944-2010) and Gohar Dashti (b. 1980), two photographers of different generations with a rich shared history - as Iranians, as teacher and student, and as artists with deep knowledge of documentary photography. The featured works reveal that the artists also shared a strategy: incorporating surreal, fictive elements powered by their imaginations into their work, as a response to the political, social, and cultural changes they witnessed. Jalali is well known for his pioneering photographs of war and revolution and his dedication to preserving Iran's photographic history, and his legacy also endures through his work as a teacher. He mentored Dashti in the early 2000s, while he was creating the Image of Imagination series, featured in this exhibition. Produced from the layering of historical photographs of Iranian people and places, these visual juxtapositions pose questions about Iran's cultural history, especially its archetypes of men and women. Also on view is Dashti's Home series, made in 2017, which uses abandoned buildings in the Iranian city of Mashhad as backdrops for staged natural landscapes. Home documents contemporary experience while blurring the boundary between reality and fiction, presenting the artist's musings on belonging, displacement, and refuge. By displaying the series side by side, the exhibition illuminates how the artists' personal relationship and common experiences resulted in two visually distinct but nevertheless deeply connected sets of work. Combining documentary with imaginary elements, the artists evoke the transformation of history into memory. We invite visitors to contemplate how each of us negotiates the passage of time—how images and memories, rather than facts, guide us as we form our understandings of the world.
Raid the Icebox Now with Pablo Helguera
Providence, RI
From February 07, 2020 to July 19, 2020
Inventarios/Inventories explores the personal and domestic contexts of artworks, particularly as they exist in artists' personal lives and working environments and the homes of their close family and collaborators. Drawing upon the RISD Museum's Nancy Sayles Day Collection of Latin American art, Pablo Helguera has collaborated with living Latin American artists and the families, close friends, and collaborators of those no longer alive to provide a view of the domestic lives of artworks. The project is also a tribute to the exhibition history of the RISD Museum and the legacy of former director Alexander Dorner, who created immersive environments to enhance the visitor's experience. The exhibition is accompanied by public programs and performances developed in collaboration with the participating artists. Pablo Helguera is a Mexican artist who lives and works in New York. His projects span installation, sculpture, photography, drawing, socially engaged art, and performance, drawing inspiration from topics ranging from history, pedagogy, and sociology. His work often takes on unusual forms of presentation, which have included road trips, phonographic recordings, musical performances, and books. Raid the Icebox Now is made possible by a lead grant from the National Endowment for the Arts with additional support from the RISD Museum Associates, Judy and Robert Mann, Taylor Box Company, and a generous in-kind gift from Meyer Sound Laboratories. RISD Museum is supported by a grant from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly and a grant from the National Endowment for the Arts, and with the generous partnership of the Rhode Island School of Design, its Board of Trustees, and Museum Governors.
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Events From Home
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List of Cultural Events Cancelled Because of Coronavirus
While the number of known cases are on the rise, cultural events are cancelled worldwide to prevent the spreading of the virus. Here is a list of exhibitions, festivals, lectures, courses... that were cancelled or postponed. We will update the list on a daily basis.
Museum of the City of New York: The City Within
Before it became part of New York City in 1898, Brooklyn was a city of its own-the fourth largest in the nation. Even today, as New York's most populous borough, Brooklyn remains a "city within the city," three times the size of Manhattan. It is from this point of inspiration that The City Within: Brooklyn Photographs by Alex Webb & Rebecca Norris Webb presents more than thirty images by celebrated photographers Alex Webb and Rebecca Norris Webb.
L’oeil Urbain Photographic Festival
Sub-Saharan Africa is highlighted in this eighth edition of the Urban Eye festival; a territory of 48 states located south of the Sahara, so vast that it might seem futile to hope to encompass it and to define its contours in terms of photography. The pitfall is indeed to approach the subject from the angle of stereotypes, of the postcard in search of picturesque and a certain miserabilism where it would only be a question of slavery and colonialism. Generalities cannot take precedence over the contemporary reality of this vast territory, above all remarkable for its diversity. The vitality of current photography in Africa is a reflection of this excitement of a continent in turmoil in a globalized world; an emerging contemporary photography carried by a young generation of talented African photographers.
Nick Brandt: This Empty World, Inherit The Dust
Photographer Nick Brandt's most recent works -- "This Empty World" and "Inherit the Dust" -- remind us of the grandeur and fragility of the disappearing natural world. The series calls attention to the degradation of East African landscapes as runaway development threatens both the animals and people who live there. The cinematic and emotional images are an important and timely call to conservation. The exhibition, open April 2 through June 21 at Fotografiska New York, places Brandt's most recent series alongside behind-the-scenes images of his unique process.
The Essence of Work: Photographs by Masahi Mitsui
Nikkei National Geographic, Jadite Galleries and Photographers Associates Tokyo Present: The Essence of Work, Photographs by Masahi Mitsui; Nikkei National Geographic Photo Award Grand Prize WinnerA tribute to the unwavering spirit of working people -- 20 years of reportage inside Asia.<
Eternal Youth By Dan Hall at JM Gallery in London
Photographer Dan Hall exhibits Eternal Youth at JM Gallery in London from Friday 6 to Sunday 8 March 2020. Profits from prints and an accompanying photo-book will be in aid of Young Minds and Age UK.
JustWatch at 836M
We are very pleased to welcome you on March 19th, 2020 to the opening reception of JustWatch at 836M, a group exhibition featuring, for their first time in California, five emerging young photographers from around the world.
The Photography Show and The Video Show 2020 announce five more legends for the Super Stage
Following the announcement that Chase Jarvis will headline the 2020 event, The Photography Show and The Video Show has revealed five more inspiring speakers who will take to the Super Stage when it returns to Birmingham's NEC from 14-17 March. Once again commanding some of the industry's most influential photographers and filmmakers, the UK's largest photography and moving image co-located event is also set to welcome Susan Meiselas, Gavin Free, Ross Halfin, Juno Calypso and Brooke Shaden.
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