Photo Exhibitions

Sous Les Etoiles Gallery is pleased to present a collection of twenty-five photographs from photojournalist Jean Pierre Laffont, represented exclusively in United States by the gallery. This exclusive online program will be on display from November 2nd until December 2nd, 2020. In 2020, French-American photographer Jean-Pierre Laffont received The Lucie Award for Achievement in Photojournalism and The Visa D'Or Award of the Figaro Magazine for Lifetime Achievement. To celebrate those achievements, Sous Les Etoiles Gallery is pleased to present a collection of photographs that represent the twenty five icons of his long carrier as a photo journalist in United States from November 3rd to December 12th, 2020. For more than three decades, starting in 1964, Jean-Pierre Laffont travelled all fifty states seeking to document as wide of a range of compelling American stories, and he also photographed celebrities both French and American along with all the politicians of the times. He spent eight years at the White House as a foreign correspondent and photographed several presidents. He produced in-depth photo essays of the rise of the World Trade Center, the gangs in the Bronx, and the violence on 42nd Street. When I look back at the individual photographs I took during this quarter-century period,comments Jean-Pierre Laffont, the images at first seem to depict a ball of confusion… riots, demonstrations, disintegration, collapse and conflict. Taken together, the images show the chaotic, often painful, birth of the country where we live in today: 21st-century America. They do what photographs do best: freeze decisive moments in time for future examination. These photographs form a personal and historical portrait of a country I have always viewed critically but affectionately, and to which I bear immense gratitude."

Catherine Couturier Gallery is delighted to present Collapse and Calamity, an exhibition of new work by gallery artist Patty Carroll. The exhibition features new work from Patty Carroll's series "Anonymous Women: Domestic Demise". Works including Staired Down, Cleaned Out, and Flagged Down feel particularly relevant to the tumultuous and exhausting past year. "Anonymous Women" is 3-part series of studio installations made for the camera, addressing women and their complicated relationships with domesticity. By camouflaging the figure in drapery and/or domestic objects, Carroll creates a dark and humorous game of hide-and-seek between her viewers and the Anonymous Woman. Aint-Bad Books recently published a new monograph of her work Anonymous Women: Domestic Demise, which is available to purchase at the gallery. Patty Carroll received her BFA from the University of Illinois, Champaign-Urbana in Graphic Design, and her Master of Science (MS) in Photography from the Institute of Design at IIT, Chicago. Since 2010, Carroll has shown at the White Box Museum in Beijing, (2011), Shanghai University Gallery (2010), the Cultural Center in Chicago (2012), Zhejiang Art Museum (2015), as well a several other University galleries and museums. Carroll was the recipient of an Artist Fellowship Grant from the Illinois Arts Council in 2003 and 2020.

Jane Hambleton is a Berkeley-based artist working in multiple mediums with an emphasis on graphite drawing. Her work spans the world of painting, drawing and collage with equal agility. Whether focused on the figure or the natural world around us, her highly detailed and layered pieces explore the ephemerality of life asking us to pause, be present and look more deeply. Each of the drawings in the exhibition are large-scale and are mostly taken from walks around the artist's neighborhood. The title of the exhibition, One Day refers to "now", a particular point in time. "It is all part of my practice of trying to be present in my life," said the artist. "It happens to me most successfully when I am on my walks. I am trying to really look, to really see and to let that be all that I am doing - to observe in stillness." Hambleton works on Stonehenge paper with a full range of the B (softer) graphite pencils. Layering the drawing to get the exact tonal elements, she often draws each leaf and detail of the drawing seven or more times to refine the image, working carefully so as not to damage the tooth of the paper. It is a patient and reverential process. She then coats the drawing with acrylic gel medium and applies an oil paint mixture that she removes with a cloth giving it a patina of time and allowing for imperfections in the surface that give each work its own particular character while also strengthening the paper. Symbolic of the "One Day," theme is March 17, 2020, an image of the artist's hand holding a single fallen leaf. That singular day was the day after the "shelter in place" order for Californians. On that particular day at a that particular time, Hambleton took a walk and picked up that particular fallen leaf. There is the moment. "Our place on this planet is so small." said Hambleton. She is interested in what the Japanese call "mono no aware," literally "the pathos of things." It is the Japanese term for the awareness of the impermanence of things and refers to the ephemeral nature of beauty - the quietly elated bittersweet feeling of being witness to all of the up and down moments of life, balanced by the awareness that none of it can last.

The American Dream, the national ethos of the United States, was born from the Declaration of Independence's ideal that "all men are created equal". Not women, not black, brown, or indigenous people, just white men. The ethos embodies the set of ideals determined to be fundamental to humanity—democracy, rights, liberty, opportunity, and equality. It is also the idea that the pursuit of "life, liberty, and happiness" will be rewarded to those willing to work hard. With every president and change in government comes new definitions of what that means. This exhibition is a look at how the American Dream evolves under the influence of technology, war, religion, racism, discrimination, economic disparity, and eternal hope. Out of this, we aim to foster dialogue, question assumptions, illuminate prejudice, and make space for community connection within and beyond American borders. Exhibiting artists: Intisar Abioto, Holly Andres, Julie Blackmon, Kris Graves, Jamil Hellu, Jon Henry, Thomas Kiefer, Mia K. McNeal, Carlos Javier Ortiz, Cinthya Santos-Briones, Hank Willis Thomas, Rodrigo Valenzuela, and Matika Wilbur

The Snite Museum of Art at the University of Notre Dame is home to a noteworthy collection of photographs, perhaps the finest academic collection in the Midwest. Although the 19th century collection is renowned, the 20th century collection is equally significant but lesser known. This exhibition of one hundred carefully selected American and European photographs is the first presentation of this scope at Notre Dame. It will provide a survey of creative photography through the course of the century, an era when such images were known worldwide, providing touchstones of history and culture. Among this survey are iconic works by Alfred Stieglitz and Lewis Wickes Hine at the dawn of the century, as well as photographs by Sally Mann and John Baldessari in is final decades. In the academic setting, the photographs have been chosen to exemplify major developments in visual culture, historical events, and the stylistic and technical evolution of photography. This dynamic century-marked by two world wars, aesthetic and news pictures, and humans on the Moon-is preserved in the collective memory in photographic images. The installation will unfold in a roughly chronological arrangement over seven galleries. This presentation is meant to guide college students in diverse ways of confronting and understanding works of art. It also provides an introduction to the history of photography. The exhibition will also reveal the scope and caliber of the Museum's collection to the broader national academic community. For the general public the show will provide a rare opportunity to experience a survey of such breadth and quality.

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.

The Right To Herself exhibition explores the cultural nuances behind the 19th Amendment-its complicated promise of human rights, liberty and equity-and the search for agency through diverse works of art. The Right To Herself exhibition examines the complexities of the 100th anniversary of the passing of the 19th amendment. Though the law legally prohibited the denial of the right to vote based on sex, many women of diverse backgrounds in the U.S. were unable to exercise that right. In this way, The Right to Herself exhibition and related programs will provide a lens to view works by women artists who self-identify as indigenous, women of color, and/or embody diverse racial, ethnic, and economic identities. They share their various perspectives on the intersections of gender equity, and the influence of women of color on the suffrage and equal rights movement both in contemporary society and in history. The exhibition will reflect on the vote as a promise for agency and voice within society, and its relationship to diverse communities. In featuring these themes, the show will recall, reclaim, and reimagine the power of women from different racial, ethnic, and class-based histories in front of the lens and rectify their lacking presence within photography and art history. Featured Artists: Tya Anthony, Lindsey Beal, Christa Blackwood, Marcella Ernest, Adama Delphine Fawundu, Angela Faz, Karen Ann Hoffman, Ann 'Sole Sister' Johnson, Letitia Huckaby, Gabi Magaly, Pallavi Govindnathan, Renluka Maharaj, Jennifer McClure, Michelle Rogers Pritzl, Pete Sands, Rachelle Mozman Solano, Susan Sponsler-Carstarphen, and Chanell Stone. Co-curated by Lauren Cross, Ph.D, MFA and Hamidah Glasgow, MA, Executive Director and Curator, The Center for Fine Art Photography. The exhibition is split between two locations, October 20 - November 28, 2020, at the Lincoln Center Gallery and October 22 - December 12 at the Clara Hatton Gallery at Colorado State University in Fort Collins, CO, and virtually through the Center for Fine Art Photography’s website. Additionally, the exhibition(s) will feature an accompanying billboard, catalog, and virtual talks and events. Find the additional information on our website. This project is funded in part by a grant from the National Endowment for The Arts and a grant from The City of Fort Collins, Fort Fund Grant.

Marshall Contemporary presents its originally scheduled Paris Photo fair booth at Santa Monica's Bergamot Station; Where Ravens Cry is Dutch-Canadian artist Jakob de Boer's largest body of work to date, made during a two-year period over eight extensive trips to Canada's Pacific Northwest. Prompted by a fascination with its myths, De Boer immersed himself in this world to understand why mythology comparable to that of the Greco-Roman era was birthed out of this corner of the world. The result is a sweeping narrative: an immersive story that unfolds through large-format photographs, revolving around themes of life, death, memory, and transformation, often fused into De Boer's work with motifs from the remote, fog-shrouded world he encountered. Through this series and masterful silver gelatin prints, De Boer examines a world few have seen, at a poignant time when this region faces the logging of ancient forests and the invasion of pipelines. The series' monograph was published by Nazraeli Press in 2019.

photo-eye Gallery is excited to announce Yosemite: Seeking Sublime, an online solo exhibition by Utah-based photographer Edward Bateman. Awe-inspiring, enigmatic, and alluring, Bateman's distinctive prints, created by photographing 3D models, are thoroughly contemporary in their concept and methodology. Produced during the ongoing pandemic and with limited possibility of travel, Bateman crafted the work using geographical data and a 3D printer. The artist's unique process yields captivating, abstract images depicting plastic filaments that explore the concept of the sublime through representations of the majestic landscapes of Yosemite National Park. This thought-provoking exhibition opens Saturday, November 14. It uses photo-eye's revolutionary new VisualServer X website builder and is the second in a series of photo-eye's major online shows. Mountains and nature have long been places of peace and refuge. During this pandemic, due to lockdown and quarantine, they have been denied to us. There are few emotions about places for which adequate single words exist. At the beginning of the eighteenth century, the word sublime arose to describe the feelings that the natural world can evoke. On my kitchen table, I have been photographing the grandeur of Yosemite National Park, long immortalized by photographers from Carleton Watkins to Ansel Adams. Using geographical data from the internet, I used my 3D printer to try to capture something of the sublime in bits of plastic. With clouds from a small fog machine, I create atmospheric perspective. This will have to do until we are once again allowed to travel freely. Until that time, I will continue to explore this imaginary landscape. Edward Bateman

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.

The photograph's power as a narrative tool is derived from the impression that what is captured within the frame is an accurate representation of what actually occurred at a specific moment in time. As complete or comprehensive as any narrative may appear to be, it will always be subject to a process of including some elements and excluding others. These inclusions and exclusion are a crucial part of what photographic storytelling is all about - What is being presented within the frame to the viewer - and what is being left out or left to the viewer's imagination. Praxis Gallery presents photographic works of art that explore the development of visual narratives through the still image. Stories may take any shape or form; they may be literal or fantasy, documentary or fiction; complex or minimal. Juror: Sandrine Hermand-Grisel

Deborah Bell Photographs will presentE.J. Bellocq: Storyville Portraitsfrom February 15 -March 28, 2020. Thirty-six printing-out-paper prints, made later by Lee Friedlander from Bellocq's original glass plate negatives, will be on view. A reception will be held on Saturday, February 29 from 4 to 6pm.E.J. Bellocq (American, 1873-1949) remains an ambiguous figure in history.Following his death in 1949, eighty-nineglass plate negatives of portraits of female prostitutes from New Orleans' Storyville district were found in his desk. All of the images were taken circa 1912by Bellocq, who wasa commercial photographer practicing in New Orleans. Photographer Lee Friedlander acquired the plates in 1966 and made contact prints of the 8 x 10-inch negatives on the same gold-toned printing out paper that Bellocq used in his rare prints. Friedlander is credited with salvaging and promoting thesepictures, the only aspect of Bellocq's work known to have survived. The mystery surrounding the photographs and the personality of E.J. Bellocq is furthered by the fact that many of the plates were cracked, scratched, or damaged at the time that Friedlander acquired them.In 1970,The Museum of Modern Art, New York, exhibited a survey of the Bellocq prints made by Friedlander, and published E.J. Bellocq: Storyville Portraits, edited by John Szarkowski and Lee Friedlander. A second monograph, E. J. Bellocq: Photographs from Storyville, The Red Light District of New Orleans, edited by Friedlander and Mark Holborn, was released in 1996

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.

Von Lintel Gallery is very pleased to present its second solo exhibition of photographs by Joni Sternbach, culled from her most recent series Surfboard. Over the last twenty years, Sternbach has worked with large format cameras and early photographic processes to explore how we observe, relate to, and interact with the earth's oceans. For her current exhibition she digs deeper, concentrating on the vessel designed for ocean voyage, the surfboard. Surfboards, through Sternbach's eyes are remarkable examples of functional design, that as a group tell a compelling story of a critical American art form. These sculptural totems reflect culture and class, echoing the politics of their time. Through this new body of work, Sternbach deftly draws connections between materials, objects and human experience. The Artist's Statement: I document historic surfboards making large-format, collodion coated glass negatives. The collodion process allows the elements of each board to be reduced in a purposeful transformation, as the chemistry itself has unique color sensitivities and insensitivities, rendering certain colors more prominent and others invisible. This quality of the process is essential to the work itself as it allows us to see details that lie just below the surface, which are not perceptible by the human eye. Finally, I connect the elements by laying the glass plate on silver gelatin paper to make contact prints, repeating the gesture of rider to board. Through these elaborate wet processes, I capture how surfboards, as primitive vehicles of sport and transport, take on and fulfill totemic and archetypal meaning and force. Sternbach is a native New Yorker. She received a BFA in Photography from the School of Visual Arts and an MA from New York University/International Center of Photography. Her work is included in many public collections including LACMA, Los Angeles, National Portrait Gallery, London, UK; CA; Nelson-Atkins Museum, Kansas City, MO; and Peabody Essex Museum, Salem, MA.

Scott b. davis, Christine Elfman, Julia Goodman, Mona Kuhn, Michael Light, Michael Lundgren, Klea McKenna, Ansley West Rivers, Christina Seely, Rodrigo Valenzuela, Giorgia Valli: Calm, a group exhibitionA group exhibition all based on 'Calm', there might be backstories that are not calm (climate change, manifest destiny) but the beauty of the work.

KLOMPCHING GALLERY is pleased to present a solo exhibition of recent work, by artist Krista Svalbonas. This will be the artist's first solo exhibition at the gallery, following announcement of her representation. As the child of parents who arrived in the United States as refugee, ideas of home and dislocation have always been compelling to Krista Svalbonas. Her work explores this theme, with architectural structure serving as the anchor around which she explores family history and subsequent personal identity in relation of 'place'. Project titles such as 'Displacement', 'Migrants', 'Migrator', 'In The Presence of Memory' are seemingly simple pointers to a subject that is layered and complex. The exhibition is a survey of the artist's recent works—spanning several of these projects—and bringing to the gallery for the first time, artworks that extend beyond photography. The show incorporate mixed media, painting, 3-dimensional sculptural pieces and photographs incorporating laser-cutting. Whatever the media utilized by the artist, the starting point is lens-based, and informed by photography's monocular vision.

Originally programmed for Spring 2020, this exhibition is now scheduled for the Fall. We're delighted to be premiering new work from the 'Love Notes' series, as well as presenting collector favorites from previous bodies of work. More information and details regarding Artworks will be available online from August 1st. A public Opening Reception is scheduled for October 22nd, 6:00–8:00pm.

Paul Smith's first one-man show at ABC No Rio in 1983, about the civil war in Guatemala, was reviewed by Walter Robinson, with works subsequently included in museum shows curated by Lucy Lippard, Leon Golub and Lowery Sims. This was followed in the '80's by three solo shows at the East Village's Greathouse Gallery, and innumerable group shows. He was included in surveys of the East Village scene curated by Henry Geldzahler, Sur Rodney Sur, Phyllis Plous, John Caldwell, Tom Solomon, etc. He also participated in many projects with Group Material, from "Subculture" on NYC subways in 1983, to "MASS" at MOMA, 1988 (in "Committed to Print"), and "The Decade Show" in 1990 at the New Museum, MOCHA & the Studio Museum in Harlem. Smith curated several exhibitions at ABC No Rio and NYC nightclubs, including works by then unknown artists such as Andres Serrano and Zoe Leonard alongside early works by Richard Prince, Jenny Holzer, Barbara Kruger, etc. Friendship with David Wojnarowicz led to a role in Rosa von Praunheim's film "Silence Equals Death" 1990, and in several Wojnarowicz photographs. A 1991 Fullbright fellowship in India led to friendships with and writings on Indian artists including Raghubir Singh, Bhupen Khakhar and Vivan Sunderam, a solo exhibition and workshop at the National Centre for Photography, Mumbai, and a project with SAHMAT at Gallery Chemould, Mumbai and Rhabindra Bhavan, New Delhi. In 1994 he showed Guatemalan paintings at galleries in Guatemala City, Antigua, and Panajachel--where he continues to work several months most years. His use of wide-angled, curvilinear picture planes led to participation in a widely travelled Hudson River Museum show, "The World is Round" curated by Marcia Clark, and discussion in the forward to a translation of the seminal book CURVILINEAR PERSPECTIVE (Flocon & Barre). From 2008 to 2016 he participated in the Brucennial exhibitions and Free University of the Bruce High Quality Foundation, which he chronicled in a 2-part feature article in Art In America. Smith has written on art frequently for magazines Arts, Art In America, Artnet and The Economist. His work is included in the collections of the NY Stock Exchange, Coca-Cola and The Carnegie Museum, Pittsburgh. He's received the Joan Mitchell Foundation Painters and Sculptors Award, a Pollock-Krasner Foundation grant, a Cummington Center for the Arts residency, and a Skowhegan School Governor's award, among other prizes. He's taught at Brooklyn & Queens Colleges, CUNY, the Newark School of Art & the N J Center for the Arts, Summit NJ. He has a B.A. summa cum laude from Bowdoin College and a MFA from Brooklyn College.

ClampArt is pleased to announce Honduran-born artist Daniel Handal's second solo show with the gallery. Titled "Final Girls and Other Work," the exhibition includes three series: "Final Girls," "Pajaritos," and "Cranach Nudes." For his newest body of work, "Final Girls," Handal directs his focus on a slice of culture which played a role in the zeitgeist of the time when he came of age in Central America-namely American horror movies of the 1970s and 80s. Horror movies reflect social anxieties of a given era and are directly linked to cultural preoccupations such as religious, social, and technological developments. Using imagery from such films, Handal makes screen prints of iconic portraits of lead female roles, known in film theory as final girls. Generally portrayed as a virtuous, boyish-looking heroine often with a gender-ambiguous name, the typical final girl is the story's sole survivor-narrator, whose hard-fought triumph over evil blurs gender lines. She not only survives, the final girl conquers her oppressor. A common narrative choice for slasher films is to manipulate the viewer initially to identify with the villain, later shifting its identification to the victim-hero. Considering this duality and shift in alliance from male to female, the artist prints using two colors. Often the colors are so close in shade that each portrait mimics the experience of seeing in the dark or being blinded by light. In some cases, glow-in-the-dark ink is utilized for the flood base color, and the image is revealed in low light. Each print is then mounted to a museum box which has been painted with two additional colors on the sides, transforming these two-dimensional pieces into sculptural objects. "Final Girls" is an exploration into popular culture and uses color to infuse film archetypes with new meaning and interpretation. At the heart of it, the series is about the tenacity of the human spirit and our ability to confront tough obstacles. Each final girl symbolizes our own battles and inspires us to believe, that no matter how difficult, we are able to overcome great challenges. For the second body of work titled "Pajaritos," Daniel Handal finds exotic bird keepers in New York City and travels to their homes with a portable studio resembling a pup tent with a variety of pastel-colored backdrops that include a place for a perch. He picks an appropriately hued backdrop to situate in the tent along with the owner's bird, and as the subject flutters about, Handal shoots a portrait. Due to their ability to soar far above the earth, birds universally represent the idea of freedom. Handal embraces this symbolism and employs the birds in a form of self-identification. The artist was raised in Honduras where "pajaros" is a derogatory term for gay men. Growing up in a machismo Hispanic culture, Handal struggled with his own sexuality as a youth, worried about his ability to be true to himself amidst the stringent societal pressure to conform. Handal writes about his series "Pajaritos": "With my project I embrace two cultural references: the constrictive idea that in our culture colors define gender-blue for boys, pink for girls-and the liberating realization that I can defy the expected by emphasizing the delicate beauty of birds with the flamboyant use of pastel colors. These conflicting ideas are both reconciliatory and cathartic; they are a deconstruction of gender roles." Handal's bird portraits celebrate beauty and visual pleasure. He comments: "They are . . . my way of transforming pretty into a statement of rebellion: the angelic beauty of canaries and finches resting on a perch in front of immaculate pastel-colored backgrounds are as much a statement of grace as a state of defiance."

Forty-five juror-selected photographs will be exhibited from November 14 through December 20 in our historic gallery in Carmel, California. The winner of cash prizes will be listed here as well as a link to the 45 chosen for the 'online' gallery. Check back for more information as the time nears!

C24 Gallery is pleased to announce the opening of our next exhibition, On the Inside: Portraiture Through Photography, featuring the work of Lisa Crafts, Laura Heyman, Pixy Liao, Sven Marquardt and Marie Tomanova. This body of work by an international assembling of photographers encompassing cultural backgrounds and content from Germany, China, Japan, Czechoslovakia, Haiti and the US, offers a collection of images borne of deeply personal connections, resulting in intimate and revealing portraits from around the globe. The exhibition opens on Saturday, October 3rd and will be on view through Thursday, December 24th, 2020. The artists featured in On the Inside each realize their images through distinctive versions of an insider's perspective.

Online exhibition

Fraenkel Gallery is pleased to present new work by Wardell Milan. The gallery's second solo show of the New York-based artist will be on display in our gallery from October 29 to December 22, 2020. Explore individual works in the show and watch a recent conversation between Wardell Milan and Elena Gross, the Curatorial Manager of Exhibitions at the Museum of the African Diaspora, by visiting our Online Viewing Room. The exhibition features Milan's ongoing series "Death, Wine, Revolt," which combines photography, drawing, painting, collage, and sculpture to explore themes of over-indulgence, destruction, and revolution. While earlier series such as "Parisian Landscapes" looked inward, to personal questions of freedom and desire, Milan made the works on view in response to the turmoil of the global moment. In several large-scale works, Milan uses enlargements of his own photographs of specific locations-the Lorraine Motel in Memphis, where Martin Luther King was assassinated, or the city of Venice-setting his images in dialogue with historical sites of racist violence or political rebellion. Populating the works are a range of human figures, often nude, whose bodies are pieced together from fractured drawings and photographs, and overlaid with blue and white paint. Some groupings suggest erotic coupling or violent encounters, and many arrangements are based on photographic sources. In 2020, Los Feliz, Los Angeles, Milan positions five figures in white Ku Klux Klan hoods against his own photograph of the city's hills. The arrangement of bodies is based on a found image of a Klan social gathering, and presents the white nationalists in a bland, contemporary California suburb. In The Parade, the arrangement of figures echoes Diane Arbus's Untitled (7), from her final body of work made in a home for the developmentally disabled in New Jersey. Also on view are a selection of smaller works, including white-on-white cut paper collages depicting hooded Klansmen, and paintings from Milan's ongoing series of tulips. While earlier flower paintings were inspired by the 17th-century Dutch tulip craze, the new works deconstruct the flowers, transforming them into chaotic arrangements of petals and leaves, hinting at the dissolutions the past year has wrought. Concurrent with the exhibition, in the third gallery, Milan has curated a selection of photographs from the gallery's archives and beyond. The presentation, which includes works by Diane Arbus, Peter Hujar and George Dureau, is a collection of images that have inspired Milan's own practice.

Leading up to the 2020 presidential election, the MoCP has invited seven faculty members from various departments at Columbia College Chicago to mine the MoCP’s permanent collection of 16,000 objects. Each curator will interpret the museum’s collection to consider what democracy means to them, and how photographic images record and shape our understanding of current and historical events.

Robert Klein Gallery presents On Photographs, an online exhibition from November 10 through December 31, 2020. The exhibition takes its name from a new book by David Campany, a curator and writer based in London and New York. David Campany was an undergraduate student when he met Susan Sontag. During a friendly discussion about her groundbreaking and influential book On Photography, Campany asked about her assessment of photography without including specific photographs. "My book is more about photography as a phenomenon, social and artistic," she replied. "Perhaps one day you will write a book titled On Photographs." Campany has accomplished the goal Susan Sontag set out for him with On Photographs, published this fall by MIT Press. In the spirit of the book—exploring the meaning of photography and its history by focusing on specific images—the exhibition On Photographs surveys 20 images from 18 leading 20th century photographers including Eugene Atget, Ilse Bing, Henri Cartier-Bresson, Mark Cohen, Walker Evans, Mario Giacomelli, Ralph Gibson, Bill Jacobson, György Kepes, Andre Kertesz, Helen Levitt, Man Ray, Aaron Siskind, Jerry Uelsmann, Edward Weston, Francesca Woodman, and Masao Yamamoto. The exhibition presents an opportunity to commemorate Robert Klein Gallery's 40th anniversary as most of the photographers in On Photographs have been in multiple exhibitions at the gallery.

Collecting New York's Stories: Stuyvesant to Sid Vicious features highlights drawn from the hundreds of additions to the Museum’s permanent collection over the past three years, running the gamut from the colonial era to the recent past. A gallery of historic and contemporary photographs, currently open, showcases works by both well-known and emerging artists, including Janette Beckman, Bruce Davidson, Helen Levitt, Ruddy Roye, Richard Sandler, Gail Thacker, James Van Der Zee, Harvey Wang, and many others. A companion gallery presents original drawings by long-time New Yorker illustrator Saul Steinberg alongside gifts of garments, posters, decorative arts objects, and many other artifacts speaking to the everyday life of the city. Together, these beautiful, eclectic, and poignant images and objects illuminate the compelling and layered identity of New York and its stories.

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.

Recently Earlie Hudnall has experienced a groundswell of attention locally and nationally. Two months ago, during the Juneteenth celebration, the New York Times published his tender image, The Kiss, caught in the 3rd Ward in 1989 in Houston. And two weeks ago, TIME Magazine featured a generous 8-page spread of new and old images in their August 17th issue, as well as online. TIME Editor, Paul Moakley, who penned the article, has been following Earlie's career, earlier writing about him in in 2016 regarding Hudnall's influence on the cinematographer, James Laxton, when filming the Oscar winning Best Film, Moonlight. Earlie Hudnall, Houston's beloved documentarian of the 3rd and 4th Wards, has also had multiple exposures in recent art exhibitions, including the MFA Houston's very timely exhibition, Soul of a Nation: Art in the Age of Black Power. In addition, a solo exhibition at the Houston City Hall features many of Hudnall's images from the 4th Ward, the historic neighborhood west of Downtown with roots that trace back to Freedmen's Town, settled by freed slaves. His work will also be included in an upcoming exhibition at the Holocaust Museum Houston this September. Earlie has provided a window to the vibrant communities of color in Houston for 40 years. These neighborhoods have changed, but because of Earlie's dedication to this work, we are fortunate to have these documents of Houston's inner city, that mirror so many cities of America. PDNB Gallery is devoting its gallery space and website to Earlie Hudnall, one of our most treasured artists that has been with the gallery since 1997. This exhibition will feature new work, as well as older images from his career that have not been seen in the gallery since the 1990's. The gallery is open by appointment only during normal business hours. Masks are required for safety.

On March 20, the International Center of Photography announced an open call for imagemakers around the world to post and tag imagery of their experiences as the COVID-19 pandemic unfolded. The hashtag #ICPConcerned was named in recognition of ICP's founding principle to champion "concerned photography"-socially and politically minded images that can educate and change the world. Confirmed cases had just surpassed 200,000 globally. It had taken over three months to reach the first 100,000 and just 12 days to reach the next 100,000. By March 24 the number had surpassed 400,000. The virus is invisible and its deadliest effects were happening in near isolation. As the confirmed cases in New York City reached 10,000 the number of #ICPConcerned images on Instagram also reached 10,000. Photojournalism and documentary pictures sit with staged and more metaphorical photographs. Amateur smartphone pictures are being uploaded alongside the work of professional imagemakers. A whole range of emotions is present: anger, despair, loss, confusion, frustration, boredom, loneliness, strength, and resolve. Data shows the virus disproportionally affects people of color and those who are otherwise marginalized and disadvantaged. Everyone is in the same storm, but not in the same boat. On May 25, George Floyd, a Black man, was killed in Minneapolis by a white police officer, Derek Chauvin, during an arrest for allegedly using a counterfeit bill. The murder was filmed by 17-year-old Darnella Frazier and the video helped galvanize protests against police brutality and marches in support of Black lives around the world. Millions came out of isolation to gather in anger and defiance of centuries of systemic racism and white supremacy. Within days, streets went from empty to full of protest. Thousands of #ICPConcerned images of the demonstrations were uploaded and shared. Intense debates erupted about the way the protests were being documented. Should faces be shown? Who has the right to photograph? Who was the media commissioning to take photographs? In June, ICP initiated an evolving #ICPConcerned exhibition in its largest gallery space. One thousand images are being chosen by a wide range of ICP staff-curators, administrators, and educators. Photographers are being contacted, and prints made in the gallery space. For a time, no one was able to visit but the process and the installation were documented and shown online, taking the images back to the worldwide audience that made them. Now, the returning public will be able to come see a visual account of this tumultuous era. The number of photographs in the show heads toward one thousand, and so far, represents submissions from over 60 countries. Images responding to the COVID-19 pandemic and in support of Black Lives Matter expose the effects of corporate greed, mass unemployment, ecological crisis, and deep fear about the future. What we interpreted as "normal" pre-pandemic is being challenged by what we have learned about the interconnectedness of our problems and the interdependence of our lives.

In March, ICP commissioned five photographers based in various parts of New York to make work in response to the COVID-19 crisis. They are Yuki Iwamura, Sarah Blesener, Jeenah Moon, Gaia Squarci, and Jeff Mermelstein. Although they are from very different cultural backgrounds, all are alumni of ICP's One-Year Certificate Programs. They worked through the month of April, when the virus was at its initial peak in the city. Each photographer's experience was different, and each made a distinctive approach. The results include reportage, image-text storytelling, autobiography, fiction, and street photography. The restrictions under which they worked were severe, but restrictions often motivate image makers to be resourceful, to find new means of expression. Breaking with expectations of themselves and the medium, they experimented in pursuit of visual strategies to shed important light upon what the people of the city endured that month.

Between January and November 2016, George Georgiou photographed spectators lining the streets of big cities and small towns across the United States of America, as they watched or waited for parades. He visited fourteen different states, twenty-four cities, and twenty-six parades. The visual approach was simple and eloquent. Standing on one side of the route, Georgiou would wait for a clear view to photograph a section of the group on the other. The New York Times saw some early examples and immediately supported the project, allowing Georgiou to make several extended trips from his home in England. Georgiou photographed throughout the 2016 presidential campaigns. The first parade he visited was a Martin Luther King Jr. celebration in Long Beach, California. The last was in Brockton, Massachusetts, on November 26, shortly after Donald Trump had been elected president. Along the way, he photographed Gay Pride, Saint Patrick's Day, Jesse James parades, Mermaid Parades, George Washington Day, Charro Days, the Fourth of July, Black History Month, Thanksgiving Day, and Mardi Gras.

In her fifth solo show at Robert Mann Gallery, Mary Mattingly exhibits a series of photographs that are driven by an urgency to document the speed of climate change and habitat fragmentation through images that appear as fluid timelines. These photographs interpret changes in land over geologic time (based on fossil records) in order to describe a place through its deep history. They also speculate on near futures as witness to an exponential speeding-up of geologic time due to human-induced climate change. Pipelines and Permafrost was also driven by hope: hope that arises when people work together to combat destruction of a land base. It honors water, land, and forest protectors around the world who have fought for the rights of nature against increased industrialization. Many are Indigenous Peoples (or are in alliance) fighting to protect their nations and homelands against exploitation, many have struggled against extractive mining operations, logging corporations, and industrial agriculture* to protect primary forests, conserve animal habitats, plant species, and water. These photographs are particularly potent today because of the current administration’s relaxation of many environmental protections put in place by previous administrations, including the Clean Air Act, the Clean Water Act. "I needed photography to do something that was beyond documenting, and specifically documenting widespread traumas through visible scars left on land. So I started to construct these collages that fluidly evoke places from deep time through to a speculative future. To me, they honor the work of everyone involved in fighting for habitats, and for humanity by proxy." - Mary Mattingly Mattingly is a photographer and sculptor with a focus on Environmental Art. Most recently, Mattingly was announced as the Brooklyn Public Library's Artist in Residence for 2020. Some of her major projects include the founding Swale, a landscape on a barge in New York City; participating in the Second ICP Triennial of Photography and Video Ecotopia show; the Waterpod Project in the New York City Mayor's Office; and Wearable Homes at the Anchorage Museum, examining the intersection of clothing and sustainability. She participated in MoMA PS1's "Expo 1" in collaboration with Triple Canopy Magazine in 2013, received a Knight Foundation Grant for her WetLand project that opened in 2014 on the Delaware River in Philadelphia, and in 2015, she completed a two-part sculpture 'Pull' for the International Havana Biennial with the Museo Nacional de Bellas Artes de la Habana and the Bronx Museum of the Arts. Her first Art 21: New York Close Up documentary video was released in 2013. Mattingly's work has been exhibited at the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. Her writings were included in Nature, edited by Jeffrey Kastner in the Whitechapel Documents of Contemporary Art series.

Catherine Edelman Gallery is pleased to present Place in the Sun, our first exhibition of works by scott b. davis. The show opens November 6 and runs through December 31, 2020. Since the inception of the camera, photographers have been drawn to the majestic landscapes throughout the Southwest, attempting to capture the land's unimaginable splendor. scott b. davis (b. 1971, Silver Spring, MD) is one of these artists drawn to such settings, bearing witness to nature's beauty and its nuances. His ongoing search for remote places is what sets his work apart. As he states, "I became interested in photography in the early 1990's and was soon drawn to unremarkable wilderness corridors—the places where maps offered little if any information. These spaces demand research to learn what, if anything, one might find there, and generally benefit those who learn the history of its use in earlier times. Today, my interest in history and place drives the work I do with photography and encourages my taking an active role as a traveler in the landscape." scott b. davis works with large format cameras and 19th c. printing processes (palladium paper negatives and platinum/palladium positive prints) to create one-of-a-kind photographs that are as gentle and meditative as the places in which he photographs. Whether focusing his camera on the copper mountains in Arizona, a small crevasse in a distant peak, a sandbar in the Anza-Borrego Desert, or brittlebush seeds scattered on the ground, scott b. davis's artwork captures the simple, subtle pleasures of silence. In a world full of immense noise and countless distractions, it's important to be reminded of the calm that exists when one takes the road less traveled. scott b. davis has exhibited in numerous galleries and museums throughout the country. His work can be seen in the permanent collections of the Los Angeles County Museum of Art (Los Angeles, CA), George Eastman Museum (Rochester, NY), The J. Paul Getty Museum (Los Angeles, CA), Kiyosato Museum of Photographic Arts (Kiyosato, Japan), and the Nelson-Atkins Museum of Art (Kansas City, MO) among others. He currently resides in San Diego, CA.

Black Americans live in a different world or perhaps a more accurate description would be we live in the same world differently. Western culture historically associates art with the desire for power and influence. Growing up with neither, conflict and contrast not art and artists, were a part of my world. I have been told I was a very observant child. Raised by a single mother who worked long hours, I spent much of my time alone, peering out the front-room window, imagining. Becoming an artist was a way of imagining everything around me differently. That was the primary fantasy. I think of being an artist and the work I do as a way of inserting myself into domains where historically I would have been absent. The physical collages and stereographic devices I construct coerce images from dissimilar and often contradictory points of reference to exchange features, traits and dividends in the eye and mind of the viewer. Moments that result from these exchanges trespass upon and shift vernaculars, disrupting the reading of familiar narratives by disarming generally accepted interpretations of the images, nudging the emphasis towards a discovery of what could not be anticipated or expected. For example, historically the portrait has been an interlocutor in the cultural dialogue concerning beauty, power, influence, identity and social status. One of the unfailing functions of a portrait is to validate and give permanence to the world it describes and to the persons that inhabited that world. A portrait predictably fixes in the mind of the viewer the immortality of the profiles, ideals and attitudes it depicts while, at the same time without ambiguity or uncertainty, marginalizes any irregularities or competing traits. Never seen as possessing the humanity, dignity, statue and/or inner life commensurate with the objectives of a portrait, throughout history images of Black women, Black men and Black children have been largely invisible or reduced to the uncomplicated characterization of a stranger in the world of the white man's imagination. My intention is to compel an alternative parable. I make choices intuitively not always knowing exactly where the process of combining images created in different times and places, by often contradictory sources for seemingly incompatible reasons will take me. I am interested in the questions that their mergers would raise more than definitive answers, interested in the struggle between what could be discovered and what might be lost in the process.

Candela Gallery is honored to feature an installation of 3436, an ongoing project by Ohemaa Dixon. Experiencing Dixon's work in person is essential to understanding the artist's intention. Working as an interdisciplinary artist, Dixon's large scale works, printed on Habotai Silk, are a direct response to the history and visual trauma of lynching. Suspended and illuminated from the gallery ceiling, accompanied by soundscapes, the larger installation serves as a guide to Dixon's own experiences and a meditation on the philosophical nature of Afro-Futurism. Taken separately, the works radically reimagine our country's historic and complex relationship with the black body in nature. But when the artist's ideas are mediated in this dramatic environment, her work strives to deliver the viewer to a place of reflection. And awakening.

In January 2020, photographer Tyler Mitchell presented I Can Make You Feel Good at ICP as a declaration of joy and presence. Perhaps it was also foreshadowing. In these unprecedented times during a global pandemic and the fight for racial justice-for the survival of Black and Brown peoples around the world-ICP is honored to extend this exhibition and invite our audiences to re-view the significance and potency of Mitchell's work. In I Can Make You Feel Good, he posits great possibilities for a future of pleasure, power and visibility and asks us to consider what a Black utopia could look like. Imagine.

The Maine Museum of Photographic Arts' gallery may be closed to the public during the COVID-19 pandemic but the work continues online. Our idea for the Antidote to the viral disruption happening is that we tout upbeat, positive and forward-looking posts that digitally feature the art and artists of Maine. Published bi-weekly, Antidote features contemporary photographers and interviews with industry experts.

Mario Algaze is a contemporary Cuban-American photographer whose work celebrates the culture of Latin America. In 1960, at the age of thirteen, Algaze was exiled from Cuba with his family. He relocated to America and settled in Miami, Florida. Miami offered a rich cultural mecca that encouraged Algaze to travel throughout Central and South America. These trips allowed him a glimpse of belonging within a familiar culture. In finding his identity after exile, he began photographing Latin America in the 1970's while reconnecting with the feeling of home. His photographs embody the everyday of Latin life. Between his travels in the late 70's, Algaze studied visual art at Miami Dade College. Algaze's masterful command of light illuminates his street scenes that detail the struggles and victories of Latin culture. Mario Algaze is the recipient of various acclaimed awards, including the Florida Artist Fellowship from the Florida Arts Council (1985), the Cintas Foundation Fellowship in Photography (1991), the Visual Arts Fellowship and the SAF Artist Fellowship sponsored by the National Endowment for the Arts. In 1992, he received the National Endowment for the Arts Fellowship in Photography. A retrospective collection of his work is showcased in the important monograph, Mario Algaze: Portfolio, published by Di Puglia Publisher, 2010. Additional monographs by the artist include, Mario Algaze Portafolio Latinamericano, Mario Algaze: Cuba 1999-2000, and Mario Algaze A Respect for Light: The Latin American Photographs: 1974-2008. Algaze's documentary work is highly sought after by institutions and collectors worldwide. His work can be found in permanent collections at every corner of the world including the Museum of Fine Arts, Houston; Museo Tamayo, Mexico City; Santa Barbara Museum; Museum of Photographic Arts, San Diego; Victoria and Albert Museum, London, DePaul University, Chicago and the Cleveland Museum of Art.

All About Photo is pleased to present Kanava by Hannah Altman. Juli Lowe, Director of Catherine Edelman Gallery is the curator for this month's show. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of December 2020 and includes fourteen photographs from the project published this year by Kris Graves Projects. Kavana Jewish thought suggests that the memory of an action is as primary as the action itself. This is to say that when my hand is wounded, I remember other hands. I trace ache back to other aches - my mother grabbing my wrist pulling me across the intersection, my great-grandmother's fingers numb on the ship headed towards Cuba fleeing the Nazis, Miriam's palms pouring water for the Hebrews in the desert - this is how a Jew understands action. Because no physical space is a given for the Jewish diaspora, time and the rituals that steep into it are centered as a mode of carrying on. The bloodline of a folktale, an object, a ritual, pulses through interpretation and enactment. In this work I explore notions of Jewish memory, narrative heirlooms, and image making; the works position themselves in the past as memories, in the present as stories being told, and in the future as actions to interpret and repeat. To approach an image in this way is not only to ask what it looks like but asks: what does it remember like? - Hannah Altman In this moment of great uncertainty and turmoil, these online Solo Exhibitions aim to continue to connect audiences and artists, building on our beliefs that access to art and culture is a right and not a privilege and that artists' voices should be heard. It is a platform to help photographers pursue their visions, their dreams and their projects. With our new online showroom space, we've placed All About Photo's role as a supporter and amplifier of creative ideas.

Atlanta Photography Group presents PHOTOBUCKHEAD, photographic works selected by juror, Gregory Harris. This exhibition takes place at the Buckhead Library in Atlanta. Ana Castillo Lopez, Andy Steele, Becky Wilkes, Carolyn Hollingsworth, Chip Standifer, Dan Kaufman, Darnell Wilburn, David Clifton-Strawn, Douglas Powell, Elena Sergeeva, Hannah Elijah, Hopeton St.Clair Hibbert, Jennifer McKinnon Richman, Juan Carlos Rodriguez, Karey Walter, Kemachat Sirichanvimol, Mark Caceres, Mary Farmer, Shine Huang, Susan Pelteson, Susanne Swing Thompson, Tom Meiss, Tresha Glenister, Zoltan Gerliczki: PhotoBUCKHEAD

The color blue is a latecomer among hues; ancient peoples in Arizona and around the world created the first known artistic expressions in marks of ochre, brown and yellow-colors that could be quickly obtained from the earth. Enduring and effective blue pigments are a product of generations of human experimentation, resulting from processes formulated by natural philosophers and artists from diverse cultures and traditions. When blue pigment did finally enter the story of human expression, its cultural and spiritual impact was unprecedented. Aquamarine, cobalt, and indigo arrived like a miracle, changing the nature of artistic and cultural expression, suggesting the brilliance of the sky, and embodying human aspiration. blue, a timely exhibition opening this fall at Lisa Sette Gallery, traces the significance of the color blue in art history, while drawing from it a powerful metaphor for the politics of our time. The exhibition was conceived before the coronavirus pandemic, and was set to open in September, 2020, ahead of the presidential election. The opening reception is now delayed until we can gather in a smart and safe manner. The color blue becomes an agent of change, in both its physical manifestation and in the political philosophy that it represents-and Lisa Sette, the gallery's founder, sees Arizona as a state on the verge of transformation. All of the artists in blue are from Arizona, or have a strong connection to the state.

This traveling exhibition of photographs from SFMOMA's collection reveals a distinctively rich and diverse tradition of photography in Mexico. It begins with works from the medium's first artistic flowering in the wake of the Mexican Revolution (1910-20) and goes on to explore the explosion of the illustrated press at midcentury; the documentary investigations of cultural traditions and urban politics that emerged in the 1970s and 1980s; and more recent considerations of urban life and globalization. Featuring approximately 75 photographs, Photography in Mexico includes works by Lola Álvarez Bravo, Manuel Álvarez Bravo, Manuel Carrillo, Graciela Iturbide, Elsa Medina, Tina Modotti, Pablo Ortiz Monasterio, Edward Weston, and Mariana Yampolsky, among others. This presentation at the Bakersfield Museum of Art is part of an unprecedented tour of works from SFMOMA's renowned photography collection to communities throughout California while our building is closed for expansion.

A Gallery for Fine Photography is pleased to host a virtual Zoom Opening on October 8, 2020 at 7:00pm CT for Josephine Sacabo: Those Who Dance are called insane by those who cannot hear the music- Nietzsche, a collection of 21 hand pulled photogravures. The exhibit is an homage to Nahui Olin (b. Carmen Mondragon), the muse, artist, poet, social rebel, and great beauty of Mexico in the 1920s - a woman who inspired the artists of the period including Diego Rivera, Dr. Atl and Edward Weston among others. They were mesmerized with her extraordinary beauty, her intelligence and her extravagant, uninhibited behavior. Josephine Sacabo resides in New Orleans and Mexico. Her work is informed by her interest in poetry, literature, photography and her homes. The resulting hand pulled photogravures are dreamlike, romantic and rich with tonal quality that is remarkable and striking. Her art combines traditional dark room methods and alternative processes. Sacabo's photography has been exhibited in galleries and museums in the U.S., Europe and Mexico. She has been the recipient of multiple awards and is included in permanent collections including The George Eastman House, The International Center for Photography, the Metropolitan Museum of Art and La Bibliothéque Nationale.

Joseph Bellows Gallery is pleased to present, for the first time in over forty years, an exhibition of Les Krims' Uranium Robots. In the mid-1970s, Les Krims (b. 1942) had been assigning his students at the SUNY College at Buffalo projects which required fabricating simple tableau, sometimes based on second-generation interpretations of trendy art, which he referred to as "Academic Art." A phrase Krims suggested a "snarky critic might use to describe the art one could see in faculty art exhibitions at schools across the country." In the summer of 1974, while teaching a workshop for Eikoe Hosoe's Tokyo School of Photography, Krims became fascinated by the animated cartoons and popular Transformer toys, or robots, that had not yet made their appearance in the United States. The series, Uranium Robots, was the result of two robot suit-building contests assigned by Krims to his students at SUNY, Buffalo. The competition offered "generous cash prices" for fabricating a wearable robot suit. Krims provided the idea, the space in which to photograph, and the conceptual method for making photographs. Each student had to fabricate their interpretation. The entrants wore their respective robot suits and stood in the same corner of the room, an otherworldly space invader trapped in a quotidian classroom. Krims documented the entrants using an 8x10 inch camera, and the resulting vintage contact prints were developed on either Portriga Rapid or Kodalith Ortho paper. Les Krims received his BFA from Cooper Union in 1964 and his MFA from the Pratt Institute in 1967. In the late 1960s, he began teaching photography at the Rochester Institute of Technology and the State University of New York at Buffalo. Krims has an extensive exhibition history, and his photographs are included in many museum collections, including The Hallmark Photographic Collection; San Francisco Museum of Modern Art; National Museum of American Art, Smithsonian Institution, Washington, D.C.; Los Angeles County Museum of Art; Museum of Modern Art, New York; Tate Modern, London; Centre Pompidou, the Hammer Museum, Los Angeles; Museum of Fine Arts, Houston; Art Institute of Chicago; Metropolitan Museum of Art; and the Black Dog Collection, San Francisco, among others.

Examine the ways artists over the last century have pictured and envisioned acts of caregiving as observers, practitioners, patients, and activists. The works in this exhibition present a broad range of approaches to medical care, from informal networks of mutual aid and community support to professional procedures and emergency interventions. Highlights include a drawing by Elizabeth Catlett, who portrays the demeanor and spirit of a nurse on duty in World War II, and photographs by W. Eugene Smith chronicling the challenging labor of Maude Callen, a nurse-midwife stationed in the rural South. The works on view affirm that the field of medicine itself has long served as an arena in struggles for social justice and human rights, as people continue to fight over who receives care, who gives care, and how care itself is defined. At a time when the stakes of such struggles are higher than ever, the pictures gathered here speak to the many forms of care that health, healing, and human dignity require. image: Untitled (detail), 1951, by W. Eugene Smith (American, 1918–1978), 1982-35-7

This exhibition of unique photo-based objects is based primarily on works from the Fred and Laura Ruth Bidwell collection. Although the medium of photography is characterized by its ability to reproduce multiples of the same image, the artists in ONE have all manipulated or subverted the medium to create unique hand-made objects. Many of the works in ONE resemble painting or craft and explore ideas that transcend the traditional roles and functions of the photographic image. Works by Chris McCaw, Mariah Robertson, Joseph Minek and Christopher Russell use processes and tools that were originally designed for objective representation as means to create personal and emotional gestures that reveal the hand-made process to the viewer. Chris McCaw unleashes the violence of the western sun to scorch its path across the sky of radically over-exposed landscapes. A 130'' long abstract painting in toxic color photo-chemistry unfurls in Mariah Robertson's abstract expressionist scroll. Joseph Minek creates highly disciplined abstractions by substituting the manufacturer's instructions with his own processes. Christopher Russell inscribes the surface of color abstractions with figurative etchings, reversing the traditional roles of photography and drawing. Photographers have always selectively revealed or concealed our world by placing a frame around their view. Kyle Meyer and Wilmer Wilson IV focus on the surface of the image as opposed to its edges as a way of editing our view. Meyers portraits of people from the LGBTQ community in Swaziland celebrate their individuality and culture while protecting their identities by weaving the cloth props used in their portraits together with the photographic print to create a new “fabric”. Wilson enlarges found flyers broadsides from neighborhoods in Washington, D. C. and reposts them covered with swirls of staples, obscuring and revealing the images beneath and transforming them into bulletins of both freedom and oppression. Sam Falls, Liz Rideal, Lauren Davies and Nobutaka Aozaki create unique works that stretch the limits of the photographic image beyond representation to the conceptual. Falls challenges tropes of art-making by mixing together conventions of commercial “product photography” with print-making and painting. Aozaki also uses the language of commercial photography to illustrate found shopping lists in a way that gives the viewer an open-ended and slightly voyeuristic look into the lives of strangers. Lauren Davies creates a mash-up between the photographed subject and the sculptural object and complicates the relationship between the real and the artificial. The dime-store photo-booth is appropriated by Liz Rideal to activate still lives of tulips that both recall Dutch still lifes and modernistic grids. At a time when many art experiences have been forced online and on-screen, all the works shown in ONE celebrate the importance of the physical art object, bearing the marks and gestures of the hand and mind of the artist in the physical world.

Established in May, 2010, A Smith Gallery is located in Johnson City, Texas in the Nugent Avenue Arts District. The gallery exhibits the work of both amateur and professional photographers through juried and invitational exhibitions. Juror Kevin Tully

Curated from The Ringling's photography collection, this exhibition features works by photographers who examine the complexities of identity and the staging of selfhood. Consisting primarily of self-portraits and portraits of empowered subjects, these works explore personal agency at the intersection of politics and the female body. Many of the artists in the exhibition are recognized as leading voices in contemporary art and offer diverse perspectives on issues surrounding power, sexuality, and self-representation. Each photograph presents a unique invitation to renew the dialogue on the authority of the gaze in the twentieth-first century. Being Seen also includes numerous works by significant women photographers from the twentieth century, added to the collection in recent years. This exhibition offers visitors a rare opportunity to explore themes of agency, visibility, and gender through the lens of a broader historical context.

This summer, take a trip across the American West through the lens of iconic American photographer Ansel Adams, together with more than 20 contemporary photographers. For more than 50 years, Ansel Adams captured the breathtaking beauty of the country's natural landscape in stunning black-and-white photographs. Ansel Adams: In Our Time, a new exhibition developed by the Museum of Fine Arts, Boston, displays Adams's work alongside contemporary artists whose modern-day environmental concerns point directly to Adams's legacy. Visit national parks, the American Southwest, and desert and wilderness spaces through 180 photographs as you move back and forth in time with Ansel Adams and his contemporary successors including Mark Klett, Trevor Paglen, Catherine Opie, Abelardo Morell, Victoria Sambunaris, and Binh Danh, exploring similar themes in a changing American landscape. This exhibition was organized by the Museum of Fine Arts, Boston.

Eye on Houston: High School Documentary Photography documents and celebrates the diversity of neighborhoods throughout the city. The annual exhibition is a collaboration between the Museum of Fine Arts, Houston, and area high schools. Now in its 25th year, Eye on Houston invites students to offer a glimpse into their daily lives, experiences, and personal stories. Each generation witnesses Houston through new eyes, seeing and experiencing a fresh incarnation of the city. Utilizing photography as a tool, these student photographers document their perspectives. All Houston Independent School District high schools were invited to take part this year, and the Museum received more than 1,000 submissions from across the Houston area. The diversity of these areas, and the connections between them, emerge through images that explore several themes: Movement, Home, Cultures, Family, and Growing Up. The 100 photographs chosen for the exhibition showcase work by freshmen, sophomores, juniors, and seniors. The 11 participating schools are Bellaire High School, Carnegie Vanguard High School, César E. Chavez High School, DeBakey High School for Health Professions, Eastwood Academy, Furr High School, Jane Long Academy, Sharpstown High School, Westbury High School, Westside High School, and Jack Yates High School.

Dreaming Alice celebrates internationally-acclaimed artist Maggie Taylor and her recent body of work, an illustration of "Through the Looking-Glass, and What Alice Found There," by Lewis Carroll. Taylor has garnered widespread attention for her breakthrough use of technology in her art. Sixty-two photographs make aesthetically innovative use of 19th-century photography (daguerreotypes, ambrotypes, tintypes), as well as scanned images of insects, dolls, flora and fauna. Taylor's object scans and digital manipulation to her own photographs generate dream-like imagery, with a 21st-century take on the Victorian Era. The whimsical subject matter and unique form of photography will intrigue visitors of all ages. This exhibition is made possible with support from the Margaret J. Early Program Endowment, the Harn Curator of Photography Endowment, the Harn Program Endowment, Kenneth and Laura Berns, and David Etherington and Jeff Dunn, with additional support from a group of generous donors.

From transgender icons and stalwart members of the underground scene, to the artist's mother and his radical would-be assassin, women and femmes in Warhol's world played crucial roles in every area of his life and practice. This exhibition shines a light on their stories, whose contributions have often been overlooked in retellings of Warhol's story. In the museum's second floor gallery, rare Warhol color films and popular paintings will offer new narratives about the individuals depicted. Femme Touch will also transform five floors of the museum's permanent collection galleries to position Warhol's work in dialogue with artifacts and artwork from the lives of these fascinating women and femmes. The exhibition also brings forth areas of the museum's archives, an extensive holding of over half a million diverse objects, and Warhol's films, many of which are being newly restored and digitized in an ongoing preservation initiative. Through cross-departmental collaboration, curators, educators, and archivists have come together to develop the exhibition which showcases individuals such as Candy Darling, Tally Brown, Donna Jordan, Jane Forth, Julia Warhola, Barbara Rubin, Mario Montez, Brigid Berlin, and Valerie Solanas. As the museum celebrates its twenty-fifth anniversary, this investigation into the lives and careers of the women and femmes who impacted Warhol will elicit a better understanding of the artist's worldview and the social contexts in which he operated.

We have the sky always before us, therefore we do not recognise how beautiful it is. It is very rare to see anybody go into raptures over the wonders of the sky, yet of all that goes on in the whole world there is nothing to approach it for variety, beauty, grandeur, and serenity. H. P. Robinson, The Elements of a Pictorial Photograph, 1896 At the end of the nineteenth century, Henry Peach Robinson (British, 1830-1901) emphasized the significance of the sky in landscape photography. "The artistic possibilities of clouds," he further noted, "are infinite." Robinson's plea to photographers to attend to the clouds was not new. From photography's beginnings, clouds had been central to aesthetic and technological debates in photographic circles. Moreover, they featured in discussions about the nature of the medium itself. Gathering Clouds demonstrates that clouds played a key role in the development and reception of photography from the medium's invention (1839) to World War I (1914-18). Through the juxtaposition of nineteenth-century and contemporary works, the exhibition further considers the longstanding metaphorical relationship between clouds and photography. Conceptions of both are dependent on oppositions, such as transience versus fixity, reflection versus projection, and nature versus culture.

This holiday season, treat your loved ones, or yourself, to something beautiful. Robert Mann Gallery is pleased to present an online exhibition of holiday-inspired works. The Art of Gifting features works by Holly Andres, Elijah Gowin, Julie Blackmon, Jeff Brouws, Michael Kenna, Cig Harvey, Ed Sievers, and David Vestal. From the vintage prints of Ed Sievers detailing timeless holiday window displays that exude nostalgia, to Elijah Gowin's abstracted and mystical images of snow, to Cig Harvey's hyper-saturated and awe-inspiring images, there is something for everyone in this collection!

The island of Adak, Alaska is situated half way out the Aleutian Chain. Bering Sea to the North and Pacific Ocean to the South. Closer to mainland Russia than to Anchorage. My interest in Adak began several years ago after reading the account of the bombing of Dutch Harbor during WW2, and learning more about the Japanese occupation of Attu, the furthest west island in Alaska. I was stunned to find an island out the chain that was once home to nearly ten thousand army personal, and later the air force, and finally the navy during the Cold War as a nuclear submarine surveillance outpost. I was born, in the Midwest, during the height of the Cold War. I'm a product of duck and cover drills, Red Dawn, War Games and the perpetual fear of the USSR. The island is a sort of time for me - at once menacing and strangely comforting. But, always a symbol of our waste and a relic of deteriorated power. In 1997, the army left the island. In the span of two weeks, nearly 6,000 people left the landscape. Now, 78 people live among the detritus of our military ambition. Atomic Island, Adak is an ongoing project. My next trip to the island was over the week of the 4th of July, where I made pictures of the red white and blue, fireworks, and celebration of independence against the backdrop of an abandoned military outpost in the Westernmost city in America.

Obscura Gallery is excited to debut a solo exhibition by Hugo Brehme, one of the earliest Modern photographers working in Mexico in the early 20th Century. This photographic exhibition will include photographs and postcards focused on iconic Mexican subjects including scenic landscapes, colonial architecture, and the everyday life of indigenous peoples. Complementing the work of Hugo Brehme, we will also have a small selection of work by Manuel Alvarez Bravo, a prominent Modern Mexican photographer heavily influenced by Brehme, as well as Mexican photographer Manuel Carrillo who resonated his predecessor in the beauty and authenticity of photographing his culture in the mid to later part of the 20th Century. Hugo Brehme was born in Eisenach, Germany in 1882. In his twenties, he developed an artistic eye trained by his photographic studies in Erfert, Germany which he completed in 1902. He then opened his own studio and made many expeditions to Africa with his photographic equipment. After making an expedition to Mexico in 1906, he arrived again in 1908 with his newly wedded wife, bringing along his photographic equipment with him.

Developing Stories: Native Photographers in the Field features two sequential photo essays by Native photojournalists Russel Albert Daniels and Tailyr Irvine, created in collaboration with the National Museum of the American Indian. The work of both photographers springs from the same desires: to break down stereotypes of Native peoples and to portray stories that show the diversity and complexity of their contemporary lives. Each photographer explores an issue that has long been of personal interest and touches the lives of Native people in a specific community. Their compelling, never-before-seen photography and essays provide thought-provoking insights into twenty-first century Native life and nuanced perspectives on an American experience that is largely invisible to mainstream society.

Keeper of the Hearth: Picturing Roland Barthes' Unseen Photograph, is the first exhibition of Odette England's book by the same name, which was published in the US in March 2020, marking the 40th year of Roland Barthes' renowned work, Camera Lucida (La chambre claire). As part of this project, England invited more than 200 photography-based artists, writers, critics, curators, and historians from around the world to contribute an image or text that reflects on the instigator of Barthes' semiotic musings-a photograph of his mother, Henriette, aged 5, that is never seen in the book, and is perhaps one of the most famous unseen photographs in the world. Contributors include established artists such as David Levi-Strauss, Alec Soth, Rosalind Fox Solomon, and Mona Kuhn as well as emerging and mid-career artists and critics including Stanley Wolukau Wanambwa, Paul Mpagi Sepuya, and Jess T. Dugan. From a diverse array of found photographs to intimate portraits of artists' lives, this exhibition creates a multitude of platforms from which to consider the theoretical conversations about photography-not only what we see but how we see-that continue to shape our understanding of the medium today. In addition to coinciding with the 40th anniversary of Camera Lucida, this exhibition opens two seasons of programs celebrating the 40th anniversary of Houston Center for Photography.

Since its invention, photography has played a critical role in recording the world. Consider the number of photographic images you view each day in print, on TV, on your phone, and online; the images in this gallery were all taken in the pre-digital era. The artists in The Subtle Power of Photographs: A Private Collection have been variously labeled photojournalists, documentarians, pictorialists, or fine art photographers. Each artist utilized the camera to evoke emotion, capturing subtle tonal concerns, interesting compositions, and the juxtaposition of light and shadow. The works offer an opportunity to trace a timeline of interconnectedness within the history of photography: who influenced or studied with whom, and how each artist infused new elements into the medium. This collection, thoughtfully shaped by Walter and Sally Rugaber, spans over one hundred years from the mid-19th century through the 1960s Civil Rights era and beyond. The works on view capture street scenes of old Paris and the grand architectural plans of British cathedrals; children laboring in factories; scenes of rural America; sensitive portraits of Depression-era farmers, miners, and their families; and Civil Rights era sit-ins. These are interspersed with laconic still lifes, quiet portraits, and hauntingly beautiful "sense of place" landscapes. Many artists in this collection used images to address social justice issues. All are images of wonderment, beauty, and discord where the banal becomes a fascinating slice of life and simplicity is celebrated. Walter and Sally Rugaber are longtime supporters of the arts in the Roanoke valley. They each began their respective careers in journalism and met while working at The Atlanta Journal. They have lived in southwest Virginia since 1982, during which time Mr. Rugaber worked as publisher and president of The Roanoke Times and Landmark Publishing Group. The Rugabers' background in journalism and social concerns may have influenced their collecting choices. As Mrs. Rugaber notes, "A good photograph to me is one that you can't stop looking at - either the people, or the scene, or the memory it evokes." The Subtle Power of Photographs: A Private Collection is curated by the Eleanor D. Wilson Museum at Hollins University.

Jasmine Swope's black-and-white photography deftly captures the beautiful, otherworldly essence of California's marine parks and our 1,100 mile long coastline. California made history with the creation of the nation's first statewide system of ocean parks - a network of 124 Marine Protected Areas (MPAs) stretching from Oregon to the Mexico border. Like national parks on land, MPAs are magnificent in beauty and wildness while providing protection for wildlife, solutions to climate change, and recreational resources for all. Soon after the system was established, LA-based photographer Jasmine Swope set out to capture the essence of the marine parks. Her quest took her up and down California's long coastline. The result is Our Ocean's Edge, a photographic documentary project that celebrates these fragile seascapes, from Southern to Northern California, while increasing awareness about their natural benefits and promoting ecological conservation.

This exhibition consists of ten moving, digital portraits of individuals who share their stories of how they were convicted and sentenced to death row for crimes they did not commit. Schoeller collaborated with Witness To Innocence, a non-profit led by exonerated death row survivors who work to abolish the death penalty in the United States.

Sylvester Manor, Shelter Island When living in Sag Harbor, NY one of my great pleasures was taking the 10 minute ferry trip to Shelter Island (whose sleepy beauty starkly contrasts with the glitz and glamor of the Hamptons) and exploring/documenting Sylvester Manor. The island was originally inhabited by indigenous peoples, but was officially established as a slave holding provisioning plantation in 1652 by Nathaniel Sylvester, a sugar merchant from Barbados, who purchased the entire island for 1600 pounds of sugar. Sylvester Manor has been in the Sylvester family for 11 generations. Descendants of Nathaniel Sylvester used slaves to work the plantation until early in the 19th century when slavery was abolished in the north. Sylvester Manor is almost 368 years old. What will this historic property be like in 50 or 100 years? People relate to this series because of Sylvester Manor's history and mystery. I was drawn to it for those same reasons, and of course it’s sad, dark haunting beauty.

The Garden is an ongoing body of work depicting Heck's wife and two young sons in a variety of richly colourful surroundings. The photographs draw upon Catholic iconography and other mythic pictorial traditions to develop a color-based narrative evocative of spiritual archetypes and the processes of dissolution and rebirth. The series moves through a singular world - a fairytale in which figures and settings become tableaux for hyper-concentrated tonal arrangements. Images are composited and oversaturated with color to create painterly and surreal compositions in which the familiar and fantastic are merged. Completing its aesthetic fantasy through lavish clothes, gestures of dreamlike poignancy, and an Edenic environment, The Garden expresses the supramundane innocence and spontaneity that art makes possible-a life lived in the direct, immediate experience of beauty. Shot predominantly at the family's home in New England, the series initially elicits comparisons with other contemporary photography confronting family life. But though the subjects of Heck's photographs are ostensibly his family, The Garden's real subject matter is color and the aesthetic possibilities of photography to create what it captures.

In 1973 and '74, two Chicago photographers spent more than six months documenting the southern Louisiana region known as Acadiana, as well as its coastal outposts to the east. The exhibition Cajun Document: Acadiana 1973–74, featuring images by Douglas Baz and Charles H. Traub never before gathered as a comprehensive exhibition, visits Louisiana towns from Welsh to Erath, Mamou to Golden Meadow, capturing everyday life in living rooms and dance halls, on fishing boats, and at rural Mardi Gras festivities, as well as a sweeping view of the region's industries and geography. The scenes Baz and Traub preserved comprise a relic of a time and place integral to the Louisiana story. With a foreword by John H. Lawrence and an introductory essay by the photographers, a large-format companion book of the same title, available for purchase at The Shop at The Collection, collects the images on view in the exhibition. (Learn how THNOC and The Shop at The Collection are supporting hurricane relief efforts in southwest Louisiana through sales of Cajun Document.)

Unapologetic: All Women, All Year takes an in-depth look at works from SMoCA's collection, highlighting diverse women artists whose work boldly and unapologetically parses topics such as identity, beauty, violence, and equality. Artists include Dotty Attie, Melinda Bergman, Claudia Bernardi, Dominique Blain, Cristina Cardenas, Sue Chenoweth, Judy Chicago, Renee Cox, Lesley Dill, Bailey Doogan, Angela Ellsworth, Lalla Essaydi, Dorothy Fratt, Barbara Hepworth, Laura Korch, Barbara Krashes, Kyung-Lim Lee, Laurie Lundquist, Muriel Magenta, Louise Nevelson, Yoko Ono, Adria Pecora, Barbara Penn, Beverly Pepper, Monique Prieto, Jaune Quick-to-See-Smith, Kate Shepherd, Deb Sokolow, Beth Ames Swartz, Julianne Swartz, Kara Walker, Carrie Mae Weems, Melanie Yazzie and Asami Yoshiga. As a result of historically being overlooked within the structure of art history, women constitute an average of less than 15% of the artists in museum collections nationally. For the year, SMoCA presents a selection of women artists from its collection to bring awareness to this lack of inclusion. This exhibition's title conveys a sense of strength, signaling for systemic change within culture, where individuals of all gender, sexuality, race, ethnicity, class, age, and ability see themselves represented within museums. On view during the 100th anniversary of the Women's Suffrage Movement in the United States, Unapologetic aims to create a space that recognizes the importance of equality within cultural institutions. This exhibition presents a variety of mediums and genres of art, including modernist bronze sculpture; large, abstract, shaped canvases; conceptual art; written word; photography; printmaking; painting; sculpture; and collage. It is the Museum's first yearlong collection show, and it includes a section for rotational highlights, as well as a gallery dedicated to rarely shown installation-based works.

Fire as omen and elemental force, as metaphor and searing personal experience -- these are the subjects explored by the artists of Facing Fire. California's diverse ecologies are fire-prone, fire-adapted, even fire-dependent. In the past two decades, however, West Coast wildfires have exploded in scale and severity. There is a powerful consensus that we have entered a new era. The artists of Facing Fire bring us incendiary work from active fire lines and psychic burn zones. They face fire, sift its aftermath, and struggle with the implications.

In 1964, Norman Rockwell created the painting, "The Problem We All Live With". The artwork features a six-year-old African-American school girl (Ruby Bridges) being escorted by four U.S. Marshals to her first day at an all-white school in New Orleans. In the background is the word "nigger" graffitied on the wall alongside splattered tomatoes thrown at the little girl. In 2014, Pops Peterson created "The Problem Persists 1964 – 2014". The artist appropriated the image of Ruby from Rockwell's painting, but placed her walking through the crumbling landscape of the Ferguson riots. This piece is currently on view at Sohn Fine Art in the group exhibition, "Solidarity", and is also on view in a solo exhibit of the artist's work at Norman Rockwell Museum, "Rockwell Revisited". The current Black Lives Matter movement is making us further aware of the deep structural inequalities and systemic racism that continues to affect our communities. In a country that is free, the fight for equality still lingers. In an effort to battle systemic inequity, we are honored to provide a platform for artists' voices. Sohn Fine Art is proud to present "Solidarity", featuring photography by four emerging artists whose artworks beautifully illustrate current cultural narratives and the fight for civil rights. Freedom of expression is vital in helping us broaden our understanding and awareness of the issues at hand, as well as celebrate black beauty and culture in our modern society. Art has the power to voice what we cannot say, or may not even know yet. It can make us feel something beneath our skin, regardless the color. "Solidarity" is on view at Sohn Fine Art (69 Church Street, Lenox, MA) September 25, 2020 – January 18, 2021 (Martin Luther King Jr. day). A reception will take place on October 24th. RSVP is required for this event. A portion of proceeds from sales in this exhibition will be donated to the NAACP (National Association for the Advancement of Colored People).

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.

Artists: Feng Lianghong, Li Shan, Li Xiaofei, Shen Chen, Shen Wei, Wu Yuren, Wu Ziyang, Zhao Jiawei​ Eli Klein Gallery is proud to present "Alienation?" - a group exhibition of 8 Chinese contemporary artists currently residing in New York, and features 16 works completed in a multitude of mediums including painting, video, photography, and sculpture. Whereas direct references to social phenomena tend to rise and fade quickly, it is the ideas and rules we extrapolate and derive from these events that actually guide mankind towards the future. "Alienation?" invites its audience to inquire beneath what lies on the surface, whether it's a pandemic or social justice movements, to investigate the relationship between individuals and what they have created. Regardless of its controversial reputation in the West, Karl Marx's theory is, for some, considered to be more relevant than ever. Marx first defined the term "alienation" in 1844, pointing out that the working class will first be alienated from what they produce, then the capitalists, and then the society in general. If we look at the process of labor-alienation from the standpoint of an artist who has constructed a product that has become a valued work of art, does the process of alienation still persist? Do Chinese artists living in America experience a higher degree of alienation? Or maybe the exercise of applying art as a product is flawed at the very beginning? With his long term project "Assembly Line," Li Xiaofei has been on the very frontier as he has filmed over 280 factories all over the world. His milestone video work "I Am the People_2" is an amalgamation of all parts that he has tirelessly gathered over the past 10 years. Different from Li Xiaofei's calm and observing perspective, the other video work in the exhibition, "Where Did Macy Go?" finished during the lock-down by the animation artist Wu Ziyang, offers an abundance of information, reminiscent of the digital-dominated world in which we are living today. The conflict between our eagerness to stay connected and our reluctance to be controlled by information-providers portrays the modern-day paradox faced by each individual. The two photographers in the exhibition, Shen Wei and Zhao Jiawei, each incorporated himself as part of the object, albeit in an unconventional self-portraiture way. In Shen's "Self-portrait (Burn)," the part of his body which had indeed been burnt from an automobile accident distances itself from Shen's body to uphold the qualities of an object (the fruits). Zhao Jiawei masterfully creates a hypothetical "third space" in between the viewer and the work by literally reaching into his photos with his arms in one instance and with himself (masked) in another. The uniqueness in Shen Chen's painting stems from repetition of a single gesture of brush rolling, which he has engaged in tens of thousands of times. Shen Chen and his paintings melt into a whole, his works injected with his very soul. He once claimed sarcastically, "I'm a boring man doing a boring job day in and day out." On the other hand, Feng Lianghong, who moved to New York in the 90s, doesn't hide the influence of western masters such as Cy Twombly and Brice Marden on his own work. He unleashes his ultimate individuality through abstract paintings following the formalities that had been created by preceding masters. Wu Yuren appropriated two blocks of granite from the pavement on Wall Street and turned them into liquid dispensers, but only ones that cannot be pressed and won't dispense, thus raising the question: maybe the process of alienation between producers and products are bilateral? Or referencing Martin Heidegger, when the thing is deprived of its functional essence, or the "thingness," how is it perceived? Li Shan is regarded as one of the most important artists in the domain of BioArt. His two "Bio Inquiry" works were executed as if he were a painter living in our organs and vessels when he painted "en plein air" on a cell level. However, these insights never solely belong to the biology world -- the microcosm -- they are, by all means, manifestations of human society -- the macrocosm.

Ansel Adams in Our Time celebrates the visual legacy of the acclaimed American photographer and includes some of his most iconic images, from a symphonic view of snow-dusted peaks in The Tetons and Snake River, Grand Teton National Park, Wyoming (1942) to the sublime Moon and Half Dome, Yosemite National Park (1960). More than 100 photographs by Adams, displayed alongside images by photographers working both before and after him, will offer visitors a deeper perspective on themes central to Adams’s practice, demonstrate the power of his legacy, and spark conversation about the state of the American landscape of the 21st century.

Shoshana Wayne Gallery is pleased to announce an exhibition of over 30 photographs by the Los Angeles-based British-Mexican-American artist Sze Tsung Nicolás Leong, selected by the artist from his ongoing and iconic series Horizons, as well as a new image series Lookout Towers. Shown at a time when confinements and lockdowns have increasingly constricted us into looking near, these two series explore the opposite: the act of looking far. The exhibition opens online November 20 and runs through January. This will be the artist's second solo exhibition with the gallery. Sze Tsung Nicolás Leong's artistic practice focuses, he has previously written, "on how we see, understand, and belong to the world." His Horizons, begun in 2001, are a series of photographs taken throughout the globe of the line of sight separating ground from sky, and at the same time, on a more cognitive level, they are "an exploration of the horizon as the limit of what we can see and know, that questions the boundaries separating the present from the past, near from far, familiar from foreign." Mr Leong's Horizons presented in this exhibition again reiterate his exploration of the range of environments within which our lives and histories unfold, and highlight, in addition, connections between abstraction and landscape, the picture plane almost dissolving into vast fields of color. Among the works on display here are horizons taken this year at Playa del Rey in Los Angeles, capturing the turquoise light generated by bioluminescent algae found in the ocean-the algae absorbs light during the day and gives off a bright glow at night. Lookout Towers is a new series of black and white photographs of a building type particular to the Hoiping and Toisan regions of Canton, which emerged in the 16th century and reached an apogee of construction volume during the early 20th century. While these lookout towers served a defensive purpose against bandits and often functioned to represent social standing (whether of a family or a village), as a genre they are built expressions of diaspora-enabling, both literally and metaphorically, the act of looking out to distant horizons, and embodying the changing nature of living in and belonging to the broader world. Funded by remittances from communities in cities as dispersed as Mexicali, Lima, Caracas, San Francisco, Liverpool, Johannesburg, Kolkata, and Singapore, the towers symbolize an emerging form of global identity and cross-cultural melding that challenges ingrained assumptions about fixed borders and identities. Much like the contemporaneous Beaux Arts movement, these towers mined historical architectural styles to create new forms from an eclectic mixture of influences-from Greek and Roman columns, to medieval turrets, to Fung Seoi geomancy, to Spanish arches, to Han dynasty watchtowers, to classical Han script and iconography. Growing internationalism, aided by migration, cultural exchange and integration, education abroad, the rise of the World Fairs, along with the increased distribution of books, postcards and magazines, all influenced and encouraged this stylistic diversity. For Leong, Lookout Towers is also a personal exploration into ancestry, as his grandfather emigrated from Toisan to England during the First World War and sent money back to construct such buildings. Sze Tsung Nicolás Leong was born in Mexico City, where he spent his childhood as well as in London and Los Angeles, and has lived and worked in those cities as well as in New York, Rome, Houston, and Beijing. His visual practice has, over the past two decades, focused on creating new pictures of the world, whether by assembling together a new landscape that uncovers unexpected relationships, as in his series Horizons; by revealing how a society can be reshaped through the erasure of its history, as in his series History Images; or by surveying the newly unfamiliar terrains of a political map discolored by isolationism and nationalism, as in his series Atlas. His work has been exhibited internationally; reviewed, published, and written about extensively; and is included in numerous museum collections, including the Metropolitan Museum of Art and Museum of Modern Art in New York, the Victoria and Albert Museum, the National Galleries of Scotland, the National Gallery of Canada, the Getty Museum, and the Yale University Art Gallery. He is a Guggenheim Fellow and a recipient of the Abigail Cohen Rome Prize in Visual Arts from the American Academy in Rome. His books include History Images (Steidl, 2005), Horizons (Hatje Cantz, 2014), and the forthcoming Paris, Novembre (Steidl).

jdc Fine Art is proud to present You and Yours, an online group exhibition organized as remedy to the disconnection of social distance and isolation of quarantine. Any age would feel daunted by the challenges posed by a global pandemic. You and Yours counts our blessings as it emphasizes the power in connectivity. Designed to cast a wide net and bring new artists and ideas into our fold, this large group exhibition also harmonizes with the idea of viral spread. The gallery asked a core group of represented and previously exhibited artists to contribute work and extend the invitation outward by proposing a colleague for inclusion. Over 20 artists have been selected for exhibition. Included artists were not limited by media, and their works may but are not necessarily attached to their "regular practice."

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

Since the beginning of human history, hair has held cultural and symbolic meaning. It is a marker of ethnicity, social class, identity, gender, sexuality, age, sickness, and health. Women's hair especially is woven into mythology, religion, politics, culture, and art. Rachel Portesi makes hair portraits utilizing the early photographic method of tintype. She works collaboratively with her models to create intricate-one might say baroque-hair styles. Pinned to walls or other scaffolding, the extravagant hair designs are often embellished with flowers, becoming living sculptures rooted in the human body. Hair is often referred to as a woman's "crowning glory." Portesi's "crowns" befit Ceres/Demeter, goddess of growing plants and motherly relationships; and Diana/Artemis, goddess of the hunt, wild animals, and the moon. Creating a tintype requires the subject, or model, to remain absolutely still for thirty seconds after the lens cap is removed and light floods onto the prepared wet plate. This wet process results in inconsistencies, with the deeply toned surface of each image retaining the traces of its distinctive making. Unlike digital photography, tintypes are singular objects, each print as unique as the portrait sitter.

The Alice Austen House presents Audre Lorde in photographs and historic texts. Powerful and Dangerous explores the intersection between language, activism and photographic messaging. The exhibition holds up a lens to the contemporary women's, LGBTQ+, and Black Lives Matter movements and considers how Lorde's words resonate today. Due to COVID-19 the exhibition has been extended with online programs until 2021. A series of public programs, including scholars talks, readings, outdoor film screenings and artist-led photo walks in the Staten Island neighborhood of Stapleton where Lorde's home, now an LGBTQ Historic landmark, will take place through 2021. This exhibition is curated by Victoria Munro with contributions by Clare Coss, Blanche Wiesen Cook, Jean Weisinger, Dagmar Shultz, Jennifer Abode and JEB. Scholars talks will include: Clare Coss, Blanche Wiesen Cook, Jewelle Gomez, Cheryl Clark, Elizabeth Lorde Rollins, M.D. and Alexis Pauline Gumbs. Film presentations by Dagmar Schultz and Jennifer Abod with audio interview by Jennifer Abod.

Adak Island, the midpoint of Alaska's Aleutian Islands chain, is bordered by the Pacific Ocean to the South and the Bering Sea to the North. Used by Indigenous Unangax^ peoples for millennia, in the 20th century the island became the primary U.S. military site for World War II defense against the Japan, as well as a strategic base in Cold War counterintelligence. The town of Adak once supported a military operation of 6,000 people, but in 1997, the U.S. Navy vacated the island. Today, less than 100 people call Adak home. Alaska photographer Ben Huff's documentation of Adak began in 2015. Intrigued by landscapes that once held vital economic and strategic importance in Western culture, he was drawn to the island's geographic remoteness and its complex history. Capturing Adak's stark and expansive horizons, remnants of suburbanization and military infrastructure, as well as portraits of present-day denizens of Adak, Huff explores connections between the natural, geopolitical and cultural forces that have shaped the island. He juxtaposes this work with historical records from the Anchorage Museum's archives. The work in this exhibition forms part of his forthcoming photo book, Atomic Island.

Ice Visions is an informal collaboration between myself, the ice fishing community, and elemental forces. When fishing holes refreeze overnight, they create fertile ground for nature's wild artistic side, and these perfectly augered circles become worlds at once interstellar and cellular, dreamlike and tactile. The images on display depict ice designs I've documented during 20 years of exploring New England lakes and ponds. In the morning light, with tiny bubbles from below fixed in place by several inches of new ice, these scenes come to life as eyes, galaxies, stars, cells, and more when rendered in black and white. Due to milder than usual temperatures during the past winter, on many mornings I found barely a skin of new ice covering the prior day's fishing holes. Bubbles pooled up at the surface before freezing, creating striking new kinds of formations I'd never seen before, ones that perhaps reveal the fingerprint of a warming climate.

As a biologist, a photographer, and a filmmaker, I have always been focused on humans' relationship with nature. At the beginning of my career, my photographs mostly took a documentary and taxonomical approach to describing species and ecosystems, as well as capturing the processes and intricacies of making science. Later on, while I was pursuing an MFA, my ideas expanded into the realm of "contemporary photography," broadening the way I produce and understand photography. When thinking about the images from the Ice Shanties series, two main questions come to mind: what is nature without humans, and what are humans without nature? In asking questions, I don't seek to find correct answers but rather to open up conversations about human-nature interactions across different cultures and latitudes. As a Colombian who moved to Vermont a couple years ago, I instantly became curious about and fascinated by the peculiar structures that adorn the frozen waters of Brattleboro's West River. What are they for? Who uses them? Why do they have such unique looks? Friends quickly answered these questions, but my obsession with the tiny houses, the frozen ecosystem, the fishing culture, and the ephemeral aspect of the landscape pushed me to take a deeper look. When I came across the shanties, photographing them in broad daylight didn't seem fitting. The fully revealing light and bright atmosphere felt detached from the ideas of ethereality, solitude, and contemplation. At night, however, a whole new world is revealed: the absence or presence of moonlight, the color of the night, the city lights and traffic, the frozen tracks of life on the snow, and the connection between the shanties and the ecosystem. Night also allows us to delve into imaginary narratives about life on the ice, narratives that are complemented by the daylight portraits of "frozen" fish and "buried" fishing traps.

Since the beginning of his career in the 1970s, Dawoud Bey (American, born 1953) has used his camera to create poignant meditations on visibility, race, place, and American history. From early street portraits made in Harlem to a recent series imagining an escape from slavery on the Underground Railroad, Bey explores photography's potential to reveal communities and stories that have been underrepresented or even unseen. Both a form of personal expression and an act of political responsibility, Bey's art insists on the power of photography to transform stereotypes, convene communities, and create dialogue. Dawoud Bey: An American Project traces these through lines across the forty-five years of Bey's career and his profound engagement with the young Black subject and African American history. The title intentionally inserts his photographs into a long-running conversation about what it means to represent America with a camera. The questions of who is considered an American photographer, or simply an American, and whose story is an American story are particularly urgent today. Bey's work offers a potent corrective to the gaps in our picture of American society and history—and an emphatic reminder of the ongoing impact of those omissions.

This exhibition is the first museum survey dedicated to the work of Deana Lawson (b. 1979 in Rochester, NY). Lawson is a singular voice in photography today. For more than 15 years, she has been investigating and challenging the conventional representations of black identities. Drawing on a wide spectrum of photographic languages, including the family album, studio portraiture, staged tableaux, documentary pictures, and appropriated images, Lawson's posed photographs channel broader ideas about personal and social histories, sexuality, and spiritual beliefs. Lawson's large-format color photographs are highly staged and depict individuals, couples, and families in both domestic and public settings, picturing narratives of family, love, and desire. Engaging members of her own community as well as strangers she meets on the street, she meticulously poses her subjects in a variety of interiors to create what the artist describes as “a mirror of everyday life, but also a projection of what I want to happen. It's about setting a different standard of values and saying that everyday black lives, everyday experiences, are beautiful, and powerful, and intelligent.” Lawson's works are made in collaboration with her subjects, who are often nude, embracing, and directly confronting the camera, destabilizing the notion of photography as a passively voyeuristic medium. This survey exhibition will include a selection of photographs from 2004 to the present, and will be accompanied by a fully illustrated scholarly catalog, featuring the voices and perspectives of a variety of scholars, historians, and writers.

The third iteration of the Hillman Photography Initiative (HPI), a CMOA project committed to exploring new ideas about photography, launches this year. The initiative will present an exhibition of work by artist Trevor Paglen, a publication, and an interdisciplinary podcast. With the development and advancement of artificial intelligence (AI), there has been a radical change in the way that surveillance systems capture, categorize, and synthesize photographs. Mirror with a Memory explores the many ways artists probe the intersections of photography, surveillance, and AI-their past, present, and future-to underscore concerns about implicit bias, right to privacy, and police monitoring embedded in corporate, military, and law enforcement applications. The exhibition will include a new site-specific commission as well as a sculpture that doubles as a WiFi hotspot and photographs that reveal how AI analyzes and labels photographs of people and places. These works will be placed in three areas within the museum, inviting visitors to encounter Paglen's insightful perspective in different contexts.

Infamous is a visual exploration of the long history of deeply rooted racism in the United States. Throughout his illustrious career, Andres Serrano has directly confronted the zeitgeist with provocative works. In this exhibition of over 30 photographs of racist artifacts, he continues to hold a mirror to the nation's recent, dark past. In 2019, Andres Serrano began buying and photographing objects with a sense of infamy attached. Serrano acquired KKK hoods, consumer products depicting caricatures of Black people, violent documentary photographs, and more, most of which were previously owned and purchased directly from the homes of Americans. By creating a visual catalog of evidence that includes reductive and virulent portrayals of Black Americans, the artist challenges viewers to confront the country’s racist history and consider its influence on and relevance in culture and society today. On the exhibition, Serrano shares 'Infamous is an excavation into Man's inglorious past. Seen through objects and images that paint a disturbing picture, it’s an exhibition imbued with the patina of tainted history. They tell the story of infamy with varying degrees of bigotry and insensitivity. Although we want to believe that ‘what happened in the past stays in the past’ history proves us wrong.'

Discover how the 20th-century's foremost American photographer often created multiple interpretations of a single image to express his creative vision. Twentieth-century American photographer Ansel Adams famously said that the photographic negative is like a composer's score, and the print a performance. Drawn from the Ansel Adams Archive, at the Center for Creative Photography, housed in Tucson at the University of Arizona, this exhibition illustrates Adams' meaning. Throughout the exhibition of sixty photographs, sets of prints-grouped in twos and threes-show how on different occasions Adams created varying interpretations from his own negatives. These groups demonstrate how, using the same score, Adams was constantly revising the way it was performed.

First published in France in 1958 and in the United States in 1959-in the midst of the Cold War-Robert Frank's The Americans is among the most influential photography books of the 20th century. The Addison is one of only four museums in the world to own a complete set of the images from the book. In 1955-56, a Guggenheim Fellowship allowed the Swiss-born photographer to travel throughout the United States with the goal of creating a book that he described as a "visual study of a civilization." Frank's dark and grainy images are the work of an outsider looking in and reveal his ambivalence toward his adopted country. The eighty-three carefully sequenced photographs, edited down from more than twenty-seven thousand, are raw documentation of a country in transition. They celebrate its strengths as an emerging superpower while exposing the cracks in the veneer of optimism and opportunity that defined its postwar culture. As Jack Kerouac wrote in the introduction to the book, "Robert Frank, Swiss, unobtrusive, nice, with that little camera that he raises and snaps with one hand, he sucked a sad poem right out of America onto film." Frank's unsentimental vision of a modern America that looked surprisingly lonely and dislocated was initially censured by the critics. However, the honest and poignant beauty captured in these images and his distinctively expressive and visceral style were soon embraced by younger photographers. More than a revelation of a specific moment in American history or a manifesto for a new photographic style, The Americans is a work of resonance that probes the defining and enduring dualities of American life and culture-hope and despair, affluence and want, freedom and limitation, community and isolation. Exploring the gulf between appearance and actuality, national ideals and regional specificity, American myth and street-level reality, these provocative and nuanced images ask what America is. Generous support for this exhibition has been ​provided by the Winton Family Exhibition Fund.

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

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

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

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

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

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

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

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

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

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

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

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