All About Photo has selected the best photo exhibitions on show right now, special events and must-see photography exhibits. To focus your search, you can make your own selection of events by states, cities and venues.
Drawing primarily from the National Portrait Gallery's vast collection of self-portraits, this exhibition will explore how American artists have chosen to portray themselves since the beginning of the last century. As people are confronted each day with "selfies" via social media and as they continue to examine the fluidity of contemporary identity, this is an opportune time to reassess the significance of self-portraiture in relation to the country's history and culture. The exhibition will feature more than 75 works by artists such as Josef Albers, Patricia Cronin, Imogen Cunningham, Elaine de Kooning, Edward Hopper, Joan Jonas, Jacob Lawrence, Alice Neel, Louise Nevelson, Diego Rivera, Lucas Samaras, Fritz Scholder, Roger Shimomura, Shahzia Sikander and Martin Wong. "Eye to I: Self-Portraits from 1900 to Today" is curated by Brandon Brame Fortune, chief curator, National Portrait Gallery. This exhibition concludes the Portrait Gallery's 50th anniversary celebrations, and an expanded, illustrated companion book will be published in spring 2019.
“No matter how dark a situation may be, a camera can extract the light and turn a negative into a positive. In creating Flint Is Family In Three Acts, I see the role of photographs as empowering and enacting visible change: in Act I, the photographs bear witness and reclaim history; in Act II, the photographs reveal a hidden narrative; in Act III, the photographs are a catalyst for obtaining resources.” --LaToya Ruby Frazier
Flint Is Family In Three Acts is a multi-part exhibition by renowned artist LaToya Ruby Frazier. For five years, Frazier researched and collaborated with two poets, activists, mothers and residents of Flint, Michigan, Shea Cobb and Amber Hasan, as they endured one of the most devastating ecological crises in U.S. history. Resulting in a monumental oeuvre of photographs, video, and texts Frazier developed Flint Is Family In Three Acts (2016–2021) to advocate for access to clean and safe drinking water for all regardless of race, religion and economic status. The series records stories of surviving and thriving, especially within racialized and marginalized neighborhoods in Flint, to ensure that they remained visible in national debates concerning environmental justice. Drawing inspiration from the urgency in Frazier’s work, which also sheds light on building equitable and inclusive futures Stamps Gallery, part of Penny W. Stamps School of Art & Design at University of Michigan, initiated a partnership with the Flint Institute of Arts and the Eli and Edythe Broad Art Museum at Michigan State University to bring this important exhibition together for the first time in Michigan. As co-presenters of this landmark exhibition our goal is to offer a creative pedagogical platform that reaches broader audiences across Michigan and beyond—Flint is Family: Act I (2016–2017) will take place at the Flint Institute of Arts, Act II (2017–2019) at the Eli and Edythe Broad Art Museum, and Act III (2019) at Stamps Gallery. The exhibition served as a catalyst to bring three disparate institutions together to deepen our understanding of individual and institutional agency in advocating for equity, transparency and environmental justice in our respective communities, while also highlighting the role of the artist as an agent for enacting positive social change.
Organized by Stamps Gallery in partnership with the Eli and Edythe Broad Art Museum at Michigan State University, and the Flint Institute of Arts. Curated by Srimoyee Mitra, Tracee Glab, and Steven L. Bridges with the assistance of Jennifer Junkermeier-Khan, Rachel Winter, and Rachael Holstege.
For 50 years, Robert Adams (born 1937) has made compelling, provocative, and highly influential photographs that show the wonder and fragility of the American landscape, its inherent beauty, and the inadequacy of our response to it. American Silence: The Photographs of Robert Adams celebrates the art of this seminal American photographer and explores the reverential way he looks at the world around him and the almost palpable silence of his work. Capturing the sense of peace and harmony created through what Adams calls “the silence of light” that can be seen on the prairie, in the woods, and by the ocean, American Silence features some 175 pictures from 1965 to 2015. Other images on view question our moral silence to the desecration of that beauty by consumerism, industrialization, and lack of environmental stewardship. Divided into three sections—The Gift, Our Response, and Tenancy—the exhibition includes works from not only the artist’s most important projects but also lesser-known ones that depict suburban sprawl, strip malls, highways, homes, and stores, as well as rivers, skies, the prairie, and the ocean. While these photographs lament the ravages that have been inflicted on the land, they also pay homage to what remains.
Organized in cooperation with the artist, the exhibition is accompanied by a fully-illustrated, 332-page catalogue published by the National Gallery of Art and Aperture, New York. The exhibition is curated by Sarah Greenough, senior curator and head of the department of photographs, National Gallery of Art.
This exhibition is organized by the National Gallery of Art, Washington. The exhibition and catalog are made possible through the leadership support of the Trellis Fund and a generous gift from Jane P. Watkins. The exhibition is also made possible in part by The Shared Earth Foundation. Additional support is provided by Randi and Bob Fisher, Wes and Kate Mitchell, Nion McEvoy, Greg and Aline Gooding, and the James D. and Kathryn K. Steele Fund for Photography.
Scottish born photojournalist Harry Benson CBE came to America with The Beatles in 1964 and in his words, "never looked back." In the decades since, the award-winning photographer has demonstrated incredible range. He photographed Civil Rights marches and the Watts Riots, was on the scene when Robert F. Kennedy was assassinated, and covered conflicts in Kosovo, Bosnia, and the Gulf War. The only photographer who has photographed the last 13 U.S. presidents from Dwight D. Eisenhower to Joe Biden, Benson has also turned his lens on everyone from Mohammad Ali to Queen Elizabeth II. His photographs of historic events, political figures, and luminaries have been published in major magazines including LIFE, The Daily Express, Time, Vanity Fair, W, Newsweek, French Vogue, Paris Match, Forbes, The New Yorker, People, Quest, and The Sunday Times Magazine. The subject of a 2015 documentary, Harry Benson: Shoot First, Benson's work has also been published in numerous monographs including the recently released Paul celebrating the 80th birthday and career of Paul McCartney.
Building on the Addison's holdings of works by Benson and amplified with loans from the artist, this exhibition focuses on four powerful photo stories from the 1960s: the building of the Berlin Wall, the Beatles' first American tour, the James Meredith March Against Fear, and the assassination of Robert F. Kennedy. These photographs not only catapulted Benson's career, but also incisively capture defining moments of this tumultuous period in history.
All About Photo is pleased to present 'Bombay Beach' by Bram Coppens
Bombay Beach is a place in Imperial County, California, USA. The population was 231 at the 2020 census. It is located on the Salton Sea, and is the lowest community in the United States, located 223 feet (68 m) below sea level.
Once a popular getaway for beachgoers until the 1980s, when the draining and increasing salinity of the Salton Sea destroyed the lake's ecosystem and drove businesses and private landowners out of the area, rendering Bombay Beach a ghost town. Despite this, by 2018, a number of people had moved into the area, and the town's many abandoned structures and features from its past have drawn visitors back in. Bombay Beach was "enjoying a rebirth of sorts with an influx of artists, intellectuals and hipsters who have turned it into a bohemian playground." The Bombay Beach Biennale, an annual art festival, is held here.
Living In Los Angeles at that time I knew Salton Sea so it was on my list to visit for years. Hearing that it was turning into some sort of artist micro community triggered me to finally do that road trip and go.
Arriving there and while waiting for the perfect light situation, I was drawn by the atmosphere and the artistic community, but above all drawn by the desolate vibes.
As I wanted to translate this desolate vibe into a visually driven language and capture the authentic look and feel of the moment, I tried to steer away from any obvious new art installation and tried to focus on the dead Salton Sea part, the ghost part of the town.
The series was shot in Bombay Beach California in 2019 on Medium format analogue 6x6 film.
The Center for Photography at Woodstock (CPW) is pleased to announce Parallel Lives: Photography, Identity, and Belonging, an ambitious and innovative group exhibition of international contemporary artists, drawn from CPW’s annual open call for submissions. Organized by noted curator Maya Benton, this is the largest exhibition in CPW’s 45-year history and will be on view at a specially designed gallery space at the former IBM headquarters at Tech City, in Kingston, NY from November 5, 2022, through February 5, 2023.
Parallel Lives: Photography, Identity, and Belonging draws attention to complex notions of community and belonging, and in particular how our social and familial relationships have been reimagined as a result of the conditions of isolation and uncertainty imposed by the Covid-19 pandemic. Shared tendencies bring this geographically and ethnically diverse group of artists together, including the impulse to explore complex political histories, challenge modes of self-representation, excavate personal and family trauma, and an intense yearning for connection, kinship, and community. At a time of profound anxiety about the future and collective loss, the artists in Parallel Lives – ranging in age from their early 20s to their late 60s – are placed in dialogue with each other, presented in pairs or couplings, to encourage connections, conversations, and shared searches for meaning. The works engage with such topical issues as violence and intergenerational trauma, race and self-representation, immigration and border policing, constructions of gender and masculinity, and intimacy and the body. The artists draw from sources as diverse as their own family albums, government surveillance tools, and international archives of modern conflict – and they experiment with a wide range of photographic practices, including archaic techniques like cyanotype and wet collodion and the deployment of expired photographic materials.
“In direct response to the isolation and confinement of the pandemic years,” states curator Maya Benton, “this exhibition aims to spark dialogue between artists and audience about vital social and political issues concerning race, representation, immigration, policing, gender, intimacy, and community. I sense a profound desire to facilitate and to reactivate the consolations and connections of communal gatherings.”
The thirteen emerging and mid-career artists featured in this exhibition are Manual Acevedo (Newark, NJ), Jillian Marie Browning (Birmingham, AL), Billie Carter-Rankin (Milwaukee, WI), Marcus Xavier Chormicle (Las Cruces, NM), Scarlett Coten (Arles, France), Noelle Mason (Tampa, FL), Susan Mikula (Western Massachusetts), Marc Ohrem-Leclef (Brooklyn, NY), Deanna Pizzitelli (Bratislava, Slovakia), Felix Quintana (Los Angeles, CA), Jared Ragland (Logan, UT), Rashod Taylor (Springfield, MO), and Iris Wu (Chicago, IL).
Parallel Lives is the most recent installment of the series Photography Now, CPW’s annual call-for-entry, in which a curator of national or international repute is invited to create a survey exhibition of contemporary photography. The selection of artists was drawn from over 600 submissions. Benton notes, “What is striking about this group of emerging artists is the diversity of backgrounds and approaches. Their wide-ranging responses to specific political and social forces amount to a kind of barometer of the key issues for photography today.”
The large, pop-up exhibition will occupy 8,000 square feet of the former IBM offices at Tech City in Kingston, radically transforming an abandoned space that is itself in the midst of a revival.
In tandem with the Parallel Lives exhibition, CPW will host a five-part speakers series in January, featuring artists and invited guests. Check CPW website for further details.
This landmark exhibition surveys the work of Christina Fernandez, the crucially important Los Angeles-based artist who has spent thirty years in a rich exploration of migration, labor, gender, her Mexican-American identity, and the unique capacities of the photographic medium itself. Christina Fernandez: Multiple Exposures brings together the artist’s most important bodies of works for the first time, allowing audiences to discover the threads that connect them, both formal and conceptual. Through work that spans decades, Fernandez compels us to reconsider history, the border, and the real lives that cross and inhabit them.
Christina Fernandez: Multiple Exposures is organized by UCR ARTS and is curated by Joanna Szupinska, Senior Curator at the California Museum of Photography. Chon Noriega, Distinguished Professor of Film, Television, and Digital Media at UCLA, is curatorial advisor.
This exhibition is available to other venues through UCR ARTS Traveling Exhibitions. Please contact the museum for more information.
Christina Fernandez: Multiple Exposures was made possible by grants from The Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts. Support for the publication was provided by AltaMed Health Services, Fundacion Jumex Arte Contemporaneo, and Furthermore: a program of the J.M. Kaplan Fund. Programs at UCR ARTS are supported by the College of Humanities, Arts, and Social Sciences at UCR, and the City of Riverside.
Image: Christina Fernandez, Lavanderia #1, 2002. Courtesy of the artist and Gallery Luisotti, Los Angeles.
PDNB Gallery is proud to announce two solo shows by gallery artists: Keith Carter & Earlie Hudnall, Jr. Keith Carter’s show is in conjunction with the release of his new book, Ghostlight. Earlie Hudnall’s show will be a small exhibition in celebration of his recent Lifetime Achievement award given by the Art League, Houston.
Keith Carter (b. 1948, Madison, Wisconsin)
In Keith’s companion book essay, Sunday Morning, he writes,
“The Big Thicket has always been a place of swamp ghosts, spirits, legends, contrarians, peckerwoods, and outlaws: over one hundred thirteen thousand acres of dense tangled forests, angry water moccasins, and amber waterways-known the world over as a biological wonderland.”
For those not familiar with this impressive National Preserve, let Keith introduce you. His document approaches the mystical wetlands, a terrain that he visits often, with heightened senses. As an artist, Keith immerses himself in the environment and becomes close to his subjects: the trees, birds, vegetation and yes, the spirit of this magical, ecological treasure called the Big Thicket.
Ghostlight is one of many books published featuring Keith’s photographic journeys. It all started in 1988 with, From Uncertain to Blue, a document he and his wife, Patricia, created, traveling to small towns in Texas with odd names. Some of Keith's most successful books, The Blue Man, Mojo, and Bones, informed us of the culture of Southeast Texas, where he has lived most of his life. He has broadened his sphere, photographing around the world, but he has come back to his homeland and dedicated this series, Ghostlight, to loved ones that have passed.
Keith has been creating inspiring imagery for over fifty years. His photographs can be found in many major museum collections including the Amon Carter Museum, the Dallas Museum of Art, J. Paul Getty Museum, the Museum of Fine Arts Houston, George Eastman House, the Art Institute of Chicago, and the Smithsonian American Art Museum. Special collections include Elton John, Michelle & Barack Obama, Diane Keaton, and Horton Foote, who wrote a forward in Keith’s first book.
*There will be a Book Signing scheduled later, upon the release of Ghostlight. Published by the University of Texas Press.
Anne Noggle’s (American, 1922–2005) life is the stuff of legend. Born in Evanston, Illinois, in 1922, she earned her pilot’s license as a teenager. In the 1940s she flew missions as a Women’s Air Force Service pilot (WASP) a small, elite group of women who served during World War 2. She then went on to become a stunt pilot in an air show and a crop duster, and then again flew missions during the Korean War. Emphysema grounded her from official aviation shortly after that, but she never fully abandoned personal flight.
She did, however, begin a second, influential career as a photography professional, making photographs, teaching photography at the University of New Mexico, and working as a curator at the New Mexico Museum of Art. In all of these capacities, Noggle foregrounded women in photography. As a curator, she produced a major exhibition for the San Francisco Museum of Modern Art, Women of Photography: An Historical Survey in 1975. As a photographer, she explored the aging process of women, a process she referred to as “the saga of the fallen flesh.” In her most famous body of work, Noggle repeatedly photographed herself throughout the 1970s and ’80s in direct, revelatory images that record, for example, her face shortly after a facelift with sutures still visible under her eyes. Her desire to present her own body, with all of its wrinkles and folds, challenged traditional art historical concepts of feminine sexuality in pictures.
Her adventurous and fearless spirit is perhaps best embodied in the self-portrait she made while flying her own plane. One of the greatest selfies ever produced, Noggle would have had to temporarily let go of the plane controls to hold the camera and release the shutter. Finally, even later in life, Noggle tracked down and photographed as many WASP members as she could find. The portrait here of Bonnie Dorsey Shinski is further evidence of Noggle’s devotion to preserving the contributions of women in the twentieth-century.
This exhibition explores fashion and street style photography through the eyes of Swiss collector and patron Nicola Erni, who has built one of the most important private collections of fashion photography. It is the first time that this comprehensive collection of more than 250 photographs is being presented in a public institution.
Alongside high fashion photography, originally created for editorial and commercial projects by famous photographers such as Richard Avedon, Tina Barney, Guy Bourdin, Arthur Elgort, Hiro, Horst P. Horst, Peter Lindbergh, Steven Meisel, Tyler Mitchell, Helmut Newton, Irving Penn, Cindy Sherman, Albert Watson, and Esther Haase, street style photography will also be on view. This photographic genre, noted for its candid and spontaneous approach to capturing everyday people in their daily, urban lives, is documented in work by renowned artists such as Harry Callahan, Lee Friedlander, Anthony Hernandez, Helen Levitt, Garry Winogrand as well as Bill Cunningham and Scott Schuman (The Sartorialist), amongst others.
Rather than showing the works chronologically, High Fashion & Street Style looks at the binding themes and synergies that run through the photographs, dividing the exhibition into twelve sections such as The New Look, Fiction & Fantasy, Unreal, or Unfiltered. In addition to the main sections, High Fashion & Street Style includes backstage material from the world of fashion including portraits of era-defining models and designers that shaped our view of beauty and clothes from the 1930s to the present day. The exhibition will present rare vintage prints, large-format photographs, Polaroids, and original collages.
It is a strongly personal exhibition, which reflects Nicola Erni’s close relationship with a great number of artists. A substantial number of prints are unique and were especially produced for the Nicola Erni Collection or commissioned by her.
Shane Brown is an Oklahoma-based, Cherokee photographer and filmmaker documenting the present-day cultural landscape of the American West, experimenting with representations of time and motion, and working on a variety of film projects. Brown’s documentary photography project “In the Territories,” is a photographic survey of the cultural landscape of the American state of Oklahoma, its convoluted histories and their present-day manifestations. Other photography projects include “Life Out There,” an exploration of the Atomic Age-based mythology of the American West; and, “Great Plains Schema,” a survey of the ethos, archetypes, and myths of the Great Plains region. Brown’s projects reveal that the American West, Oklahoma, and the Great Plains region—in spite of or, perhaps because of, their mythos—have not escaped the 21st century any more than they did the 19th, 16th, or 5th centuries.
Over the last two decades, Brown has pursued freelance and creative projects in documentary and experimental photography and cinematography. Presently, Shane is the on-set still photographer for the Peabody Award winning FX series, Reservation Dogs, created by Taika Waititi and Sterlin Harjo. The series depicts contemporary reservation life through the lives of four teenagers. Other photography and cinematography clients and projects include—The New York Times, Bloomberg Businessweek, Tiger King 2, Teton Trade Cloth, First Americans Museum, Smithsonian Magazine, American Indian Quarterly, Bob Dylan Archive, Woody Guthrie Archive, Yeti, Buffalo Nickel Creative Agency, and Love and Fury (2020), Mekko (2015), and This May Be the Last Time (2014), all feature-length films by director Sterlin Harjo. In 2022, Shane was part of a team of Wall Street Journal editors, journalists, and photographers nominated for a Pulitzer Prize in Explanatory Journalism.
Featuring work made over the past two decades, this exhibition is the first museum survey dedicated to Deana Lawson. Working primarily in photography, Lawson investigates and challenges conventional representations of Black identities and bodies. Her work evokes a range of photographic histories and styles, including family albums, studio portraiture, and staged tableaux; she also employs documentary pictures and appropriated images.
In Lawson’s highly staged scenes, individuals, couples, and families are pictured in intimate domestic spaces and public settings, interacting with one another. The artist describes her work as “a mirror of everyday life, but also a projection of what I want to happen. It’s about setting a different standard of values and saying that everyday Black lives, everyday experiences, are beautiful, and powerful, and intelligent.” Lawson’s practice is global in scope, as she creates her images throughout the African diaspora in locations as varied as Brooklyn, Haiti, Jamaica, Ethiopia, Brazil, the Democratic Republic of the Congo, and the Southern United States. This broad geographical range points to a collective memory of shared experiences and various cultural histories of the past.
This exhibition is co-organized by the Institute of Contemporary Art Boston and MoMA PS1.
The California Science Center proudly presents the North American premiere of Amazônia, the critically acclaimed exhibition featuring more than 200 photographs by world-renowned Brazilian photojournalist Sebastião Salgado, including portraits of the Amazon's indigenous peoples and large-scale rich landscapes. Enhance your experience seeing Amazon Adventure 3D, an immersive IMAX movie that transports viewers to the lush Amazon rainforest to meet some of the region's captivating animals on our 7-story screen.
Discover stunning portraits of the Amazon's indigenous leaders and communities, dramatic landscapes taken from intrepid riverboat expeditions, and sweeping aerial shots of immense waterfalls and stormy skies. Accompanied by an immersive forest soundscape and original music composed by French musician Jean-Michel Jarre, Salgado's breathtaking black-and-white photographs will draw viewers into the planet's largest rainforest and its hidden worlds. Lélia Wanick Salgado's curatorship and amazing scenography immerse us in the forest, among its inhabitants. Heralded by The Guardian as what "may be the most urgent exhibition of the year," Amazônia will enrich our understanding of life in the Amazon, the ongoing threats from the outside world, and the vital role of sustainable development and conservation to ensure its survival for generations to come. Photography by Sebastião Salgado, organized by Lélia Wanick Salgado, Curator and Scenographer.
Throughout 2020, Rasmuson Foundation gathered with Alaska Black leaders to discuss critical issues and how the Foundation could be a better partner to the Black community in Alaska. Through these conversations, a need for more positive media by and for Black Alaskans was highlighted.
Black in Alaska is a multimedia project with interviews, photos and short videos profiling 50 Black Alaskans. Participants are from all over the state and represent diverse backgrounds in age, gender, and socioeconomic status. Through storytelling, this project aims to dismantle stereotypes and create a deeper connection between communities. Stories, photos, and videos are available on Black in Alaska social media channels as well as the website blackinalaska.org.
Through the generous support of Linqto, the Center for Photographic Art is kicking off 2023 with CPA Celebrates!, four diverse exhibitions at the Pacific Grove Art Center. These exhibitions and accompanying programming augment the ongoing world-class exhibitions hosted at CPA’s storied gallery in Sunset Center, Carmel.
• Up Close and Personal: The Journey Continues (Gill Gallery) highlights the photographs of three cultural documentarians: Monica Denevan, Richard Murai and Manuello Paganelli.
• Oceana: Deep Reverence (Dyke Gallery) celebrates the 30th anniversary of the Monterey Bay Marine Sanctuary and features work by leading local underwater photographers Bryant Austin, Scott Campbell, Chuck Davis, Camille Lenore, Robin V. Robinson and Ryuijie.
• Bella Italia (Annand Gallery) features work by noted San Francisco photographer, Ernie Luppi. His retrospective exhibition highlights four decades of documentary photography and his commitment to film photography and darkroom printing.
• Arts in Progress: Where Photography’s Past Meets Its Future, (Boyer Gallery) is a collaboration with Arts Habitat and Zach Weston and the Weston Collective. The exhibition acknowledges the Collective’s twenty years of commitment and passion nurturing fine art photography among the youth of the Monterey region.
Meet the Artists! Join us for the following lively discussions and programs. These spirited exchanges and walk-throughs will add clarity to the work of the artists as they share their insights and experiences. Free admission.
The Robert Koch Gallery is pleased to offer works from Edward Burtynsky’s latest African Studies series. Between 2015 – 2019 Burtynsky focused on Sub-Sahara Africa’s complex and ever-changing landscape. A new monograph of the same title published by Steidl accompanies the exhibition.
Edward Burtynsky’s works are held in the collections of over 60 major museums around the world, including The Museum of Modern Art, New York; the Guggenheim Museum in New York; the Whitney Museum of American Art in New York; the Tate Modern London; the Los Angeles County Museum of Art; the San Francisco Museum of Modern Art; the Art Gallery of Ontario; and the National Gallery of Canada. Burtynsky is a recipient of the 2004 TED Prize honoring individuals who have shown they can positively impact life in a global context, as well as the ICP Infinity Award for Art (2008), the Rogers Best Documentary Film Award (2006), The Outreach Award at the Rencontres d’Arles (2004), and the Roloff Beny Book Award (2003). The National Gallery of Canada organized and toured in 2003 the first retrospective of Burtynsky’s work, Manufactured Landscapes, which subsequently travelled to the The Brooklyn Museum of Art, New York; the Museum of Photographic Arts, San Diego; and the Cantor Center for Visual Arts, at Stanford University.
The Hulett Collection is proud to present iconic music images including everything from The Rat Pack to Sex Pistols, Queen, Led Zeppelin and Bob Dylan amongst many others. The Gallery's preeminent collection includes work from such artists as Roberta Bayley, Andrew Kent, Lisa Law, Graham Nash, Terry O'Neill, Neal Preston and more. These artists were initiators of a movement and have captured the culture that was and is rock and roll.
Music is a reflection of our culture and our place in time. It is the adhesive that draws us together and propels us forward towards shared aspirations. This undeniably emotional collection of photographs contains images that appeal to viewers of all ages and musical appetites. The photographs will set aside commonplace notions while showcasing the tremendous influence of both the photographers and their subjects.
Other People’s Pictures: Gifts from the Robert and Kerstin Adams Collection explores the reciprocal relationships among artists and their creative exchange of objects. Comprised of more than 70 photographic works selected from a collection donated to the DAM in 2018 by Robert and Kerstin Adams, this exhibition also examines the themes of collecting, the pleasure of looking, and how diverse points of view interact to shape perspectives.
Through photographic themes of landscape and recreation; people and places; forces of nature; slowing down; and ethics, belief and memory, Other People’s Pictures invites visitors to contemplate their own connections to the objects, people, and places in their own lives and how photographs can convey that attachment.
Robert Mann Gallery is pleased to announce the representation of Larry Fink along with his inaugural exhibition at the gallery, opening on December 7th. The show will feature works from the series: Social Graces, Boxing, and Loggers among others. Born in Brooklyn in 1941 and raised in New York City, Fink began making pictures in his early teens. He was privately taught and mentored by photographer Lisette Model whose work greatly influenced Fink. He was strongly influenced by the dichotomy within his family, and in particular, the contradictory nature of his mother—who he has described as a bourgeois woman and a Marxist.
Since the 1970’s, Fink has lived and worked on a farm in Martins Creek, Pennsylvania, where he met the Sabatine’s. Images of this family would later become of great importance in the series Social Graces. Fink photographed normal moments in their lives, such as birthday parties and graduations, while simultaneously exploring the upper crust of Manhattan Society. Fink would attend parties in New York City where he photographed the eccentricities of Manhattan’s high society, driving hours back and forth in his truck, downing gin and tonics at the bar to get himself comfortable at the scene. Then, he would drive back home to immediately develop his film. These images of the Sabatine Family and high society parties explored issues of class and ultimately gave way to Fink’s most acclaimed series: Social Graces. Social Graces was the subject of a solo exhibition at the Museum of Modern Art in 1979 and his first monograph published by Aperture in 1984.
Fink’s distinctive style, using a handheld flash separate from his camera, allows him to isolate his figures in space, setting his work apart while he explores his subjects with empathy. His work has been published in Vanity Fair, The New York Times Magazine, W, and GQ Magazine to name a few. He has spent over half a century as an influential teacher at institutions including Bard College, Yale University School of Art, Cooper Union, Parsons School of Design, and New York University. Fink will also have an exhibition along with Judith Joy Ross, entitled Timestamp at the Allentown Art Museum from December 15, 2022 - April 16, 2023.
Larry Fink has had solo exhibitions at the Museum of Modern Art, the Whitney Museum, the Philadelphia Museum of Art, the deCordova Sculpture Park and Museum, the Musee de l'Elysee in Switzerland, the Musee de la Photographie in Belgium, a 2019 retrospective exhibition at the Fotografia Europea in Italy, among others. He has been awarded two John Simon Guggenheim Fellowships (1976 and 1979), two National Endowment for the Arts, Individual Photography Fellowships, the International Center for Photography Infinity Award for Lifetime Fine Art Photography, was the recipient of the Lucie Award for Documentary Photography in 2017 and 2015, alongside many other prestigious awards and achievements.
Joseph Bellows Gallery is pleased to announce its upcoming exhibition, Steve Fitch: Drive-In Theaters. The show will open on January 14th, and continue through March 4th in the gallery's Atrium exhibition space. An opening reception will be held on Saturday, January 28th, from 11:00 am – 1:00 pm and is the first solo exhibition of the photographer's work presented by the gallery. Drive-In Theaters will showcase a remarkable selection of vintage and modern gelatin silver prints representing the architecture of these distinctly American movie-viewing monuments.
For more than forty years, Steve Fitch has been photographing the American West revealing its changing vernacular landscape and vanishing roadside attractions. After graduating from the University of California at Berkeley in 1971 with a bachelor's degree in anthropology, and while teaching photography at the ASUC Studio on the Berkeley campus, Fitch began work on a project photographing the vernacular roadside of the American highway. He received two National Endowment for the Arts Fellowships to aid in completing this project, one in 1973 and the second in 1975, and published the acclaimed monograph, Diesels, and Dinosaurs (1976). His serial photographs of the Drive-Ins, seen together, shape an intriguing typology of a disappearing architectural form. These cinematic landmarks are now mostly artifacts of a shifting cultural landscape; they are, however, perfectly preserved in Fitch's extraordinary photographs, which mostly picture their subject under the fluorescent glow of the Drive-In's signage.
Fitch received his master's degree in fine arts from the University of New Mexico in Albuquerque in 1978. After graduating, He accepted a teaching position at the University of Colorado in Boulder. In 1981, as a member of the "Marks and Measures" project, he began photographing prehistoric Native American pictograph and petroglyph sites in the American West, funded by the last National Endowment for the Arts Survey Grant in 1981. His work on the project, along with that of the other four project members, was published in a monograph, Marks in Place: Contemporary Responses to Rock Art, by the University of New Mexico Press in 1988.
In 1990, after teaching at Princeton University for four years in the Visual Arts Program, Fitch returned to New Mexico and began photographing the ongoing abandonment of the High Great Plains, receiving the Eliot Porter Fellowship from the New Mexico Council for Photography in 1999 to aid in the completion of this project. In 2003, a book of these photographs entitled Gone: Photographs of Abandonment on the High Plains, published by the University of New Mexico Press and the University of New Mexico Art Museum, was organized into a traveling exhibition. Fitch's work is in the collections of the Whitney Museum of American Art, San Francisco Museum of Modern Art, Museum of Modern Art, New York; J. Paul Getty Museum; Amon Carter Museum, Center for Creative Photography, California Museum of Photography, among others.
Monographs on Steve Fitch's work include Diesels and Dinosaurs (Long Run Press, 1976), Gone: Photographs of Abandonment on the High Plains (University of New Mexico Press, 2002), Motel Signs (Nazraeli Press, 2018), American Motels Signs (The Velvet Cell, 2016), Vanishing Vernacular: Western Landmarks (George F. Thompson, 2018), American Motels Signs II (The Velvet Cell, 2020).
CLAMP is pleased to announce “ARCHITETTURA,” a collection of photographs by artist Mickey Smith relating specifically to the practice of architecture. A presentation of selected works from the collection will be displayed on the gallery’s mezzanine through March 4, 2023, with an expansive solo exhibition of the larger series titled “VOLUME” planned for the main gallery in 2024 to coincide with the 20th-year anniversary of the beginning of the project.
“ARCHITETTURA” draws from Smith’s ongoing body of work “VOLUME,” which documents bound periodicals and journals in public libraries. In the images Smith does not alter reality through lighting or manipulation. The artist leaves the books as they are found and photographs them as they were seen in the library. The majority of bound periodicals and journals photographed over that time have since been deaccessioned, so Smith’s images now represent the sole record of their existence. Pulitzer Prize-winning author Louis Menand writes of the series: “One important thing about the images is their found-ness. The photographs are taken from life; they’re not made from props in a studio. The artist was on library safari.”
It is only through framing and angle, by deciding what is and is not included within the image itself, that Smith transforms these objects. By cutting off a word, or through repetition, Smith generates poems and lingual experiments that interact with the varying materials and colors of spines and bindings. Human interventions and indicators of age, like handwritten labeling, scuffs, and tears, act as punctuation marks to the isolated words, estranged from context, against a black abyss.
Maude Schuyler Clay: Portraits of a Place features nearly 100 photographic works by Clay of images that move across time. They are of objects and people informed by the past, belonging to Clay and her family and the larger community. Each image serves as a memory device that assists the viewer with recall. The works presented in this exhibition trace the disappearance of time within our present. Sumner, Mississippi, with its current population of under 500 inhabitants, is the setting for the majority of Clay’s images. The porch of Clay’s intergenerational home, built in 1911 by Clay’s great grandfather Joseph Albert May, offers an idyllic view of Cassidy Bayou, one of the longest bayous in the world. Images in the exhibition inform us of a people, their social placement, their fading architecture, and the freedom of existing in the shadows of historical constraints.
While visitors might be familiar with Clay’s images of Delta landscapes and Delta dogs in a distant fog, the majority of this exhibition, guest curated by Phoenix Savage, is a compilation of Clay’s family portraits represented in an intimate size to convey the relationship between the photographer and the subject. These portraits speak to the domestic realm that binds femininity to motherhood and home. In documenting her immediate family, Clay transcends the boundaries of domesticity and serves as a visual archivist, recording the daily life in a manner that brings awe and delight.
Utilizing the instruments of photography, video, installation, and social practice, artist and educator Stephanie Syjuco interrogates the construction of American history and foregrounds its colonial practices. She is a tireless researcher of national archives who, through examination and appropriation, questions the neutrality of images and counters existing power structures. Dedicated to repositioning narratives and constructing new ones, Syjuco asks her viewers to shift their perspectives and critically engage in creative acts of inclusion.
White Balance/Color Cast derives from Syjuco’s established interest in photographic standards of imaging, color calibration charts, and photography’s suggestive powers. The commonly used term, white balance, refers to the process of removing an image’s color cast, shifting the image to what could be considered a more “neutral” or accurate representation. In Syjuco’s case, she uses these traditional imaging terms to question how photography and imaging standards—such as the quest for “correct” color—reflect deep seated biases, positioning whiteness as its center.
Born in the Philippines in 1974, Syjuco received a BFA from the San Francisco Art Institute in 1995 and an MFA from Stanford University in 2005. She is the recipient of a 2014 Guggenheim Fellowship Award, a 2009 Joan Mitchell Painters and Sculptors Award, and a 2020 Tiffany Foundation Award. Her work has been exhibited widely, including at MoMA/P.S.1, the Whitney Museum of American Art, The San Francisco Museum of Modern Art, the 2015 Asian Art Biennial (Taiwan), among many others. Syjuco’s work is represented in the Museum of Modern Art, the San Francisco Museum of Modern Art, the Fine Arts Museums of San Francisco, Smithsonian American Art Museum, Walker Arts Center, Berkeley Art Museum and Pacific Film Archive, among others. A dedicated educator, she is an Associate Professor in Sculpture at the University of California, Berkeley. She lives in Oakland, California and is represented by Catharine Clark Gallery in San Francisco and RYAN LEE Gallery in New York.
This exhibition is organized by the Anderson Collection at Stanford University. We gratefully acknowledge support from Pamela and David Hornik.
Image: Stephanie Syjuco, Cargo Cults: Head Bundle (Small), 2016. Pigmented inkjet print. Edition of 15 + 2AP; 21 x 16 inches framed. Courtesy of the artist, Catharine Clark Gallery, San Francisco, and RYAN LEE Gallery, New York.
Bruce Silverstein Gallery is pleased to present Shawn Walker: Lost & Found, an exhibition of rediscovered early exhibition prints by one of the founding members of the Kamoinge Workshop. These extraordinary photographs, created in the first decade of the artist’s sixty-year career, depict and immortalize members of the artist’s community who were all too often overlooked and unseen, serving as a window into the origins of the artist’s creative practice. Having rested dormant, safely stored, and forgotten in The Schomburg Center for Research in Black Culture archives for over a half-century and now reunited with the artist, many of the photographs exhibited in Lost and Found are being shown in public for the very first time. They are some of the few early prints still in the artist’s possession after his archive of over 100,000 images was acquired by the Library of Congress in 2019 in what would become the first photography archive of a black artist procured by the institution.
Shawn W. Walker (b. 1940) was born and raised in Harlem, New York, with parents originating in “The Jim Crow South.” Coming of age, he grew fond of photography through his uncle, an avid street photographer. Around 1960 Walker began to walk the streets of his Harlem neighborhood with his camera, documenting the life of a vibrant and diverse community. In 1963, a friend of Walker invited him to West 112 Street in Harlem to Al Fennar’s apartment where he met and joined the photographers who became The Kamoinge Workshop, a newly formed collective of local Black photographers who shared the common goal of raising the perception of the black community in America and abroad through positive imagery. The Kamoinge Workshop continues to be the longest-running photography collective in the world and has recently been featured in shows at the Virginia Museum of Fine Art, the Whitney, and the Getty. Walker remains an active member of the Workshop to this day.
Through Kamoinge, Walker was exposed to such artists as Louis Draper, Adger Cowans, Roy DeCarava, Al Fennar, and most importantly, Ray Frances, Walker received his true education, attending weekly critiques of photography and in-depth discussions and lessons in painting, filmmaking, literature, and jazz. He often worked two or three jobs to support himself during these early years, but in 1965, he joined as a founding member of the Third World Newsreel, alongside his other position as a staff photographer for the Harlem Daily. While on staff for the Newsreel, he was assigned a major three-month tour of Cuba where he would photograph everyday life, specifically creating a motion picture documenting the building of a new school. This trip, however successful, led Walker to be listed by the F.B.I. as an internal threat. Deciding to stay out of the United States, he was invited to Guyana to visit a friend. While in Guyana, he assimilated with a culture close to his own, stating, “when I traveled to photograph, I never felt inclined to visit Europe; I always felt connected to the people in Africa.” Works from Cuba and Guyana are on view in this exhibition.
Walker began photographing parades in New York City starting in 1960. Walker looked to these gatherings as an opportunity to explore, integrate, and learn about himself within other ancestral traditions. Like most Black Americans, Walker does not know his cultural roots; his family origins are lost to years of imperialism and slavery. Walker states, “I wanted to learn how these rituals come about and what they mean to that specific culture.” Walker’s images would reveal paradoxes and nuances of his subjects’ lives. He continues his Parade series today but on a limited basis.
It was during the late 1950s into the early 1960s when drugs began to devastate Walker’s community - “about 75% of the guys I grew up with died, got strung out, or ended up in prison - this was an intentional situation created to destroy us as a people.” Drug use and abuse completely changed the landscape of Walker’s neighborhood, and Walker fell prey to its allure. As Walker states, “most of the photos I took for my series on drugs were just quick snapshots of the people I was hanging out with at the time.” The resulting images have proven to be some of Walker’s most intimate and were subsequently featured in an Essence magazine exposé in 1970. Walker notes that he chose to follow his art and not the street. In the 1970s, he moved to 6th Avenue and 38th Street in an area where several other Kamoinge members had studios, and later, he moved to the Bronx for a short time. He moved back to Harlem in the early 1980s.
In 1980, Shawn Walker received his B.F.A. from Empire State College and taught photography at the City College of New York for nearly 40 years. Besides teaching at City College, Walker also taught at York, BMCC, Queensborough, and several other programs.
Shawn Walker’s photographs have been showcased extensively throughout the country in solo exhibitions and alongside other Kamoinge photographers. Working Together: Louis Draper and The Photographs of the Kamoinge Workshop traveled around the United States, beginning in Virginia and ending at The Getty.
Walker’s work has also been included in numerous publications such as Working Together: Louis Draper and the Kamoinge Workshop (Virginia Museum of Fine Arts, 2020); Timeless: Photographs by Kamoinge (Schiffer, 2015); The Self in Black and White: Race and Subjectivity in Postwar American Photography (Dartmouth, 2010); Committed to the Image: Contemporary Black Photographers (Brooklyn Museum of Art, 2001); Nueva Luz: A Photographic Journal, Volumes 5-8 (En Foco, 1997); Reflections in Black: A History of Black Photographers (W.W. Norton, 2000); and An Illustrated Bio-Bibliography of Black Photographers, 1940-1988 (Garland, 1989).
Shawn Walker’s work is a part of numerous public collections, including the Brooklyn Museum of Art, Brooklyn, NY; Harlem Arts Collection, New York, NY; James Van Der Zee Institute, New York, NY.; Museum of Modern Art, New York, NY; Museum of Modern Art, San Francisco, CA; National Afro-American Museum, Wilberforce, OH; New York Public Library, Main Branch, New York, NY; The Schomburg Center for Research in Black Culture; The Studio Museum, New York, NY; Whitney Museum of American Art, New York, NY; The Getty, Los Angeles, CA; Virginia Museum of Fine Arts, Richmond, VA; and the William Patterson Foundation. Walker’s archive is held by the Library of Congress in Washington, D.C.
Nailya Alexander Gallery is pleased to present the online exhibition “Alexey Titarenko: The City of Dreamers,” featuring a selection of photographs of New York City, as part of an ongoing series the artist has been working on for the last twenty years. A dreamer since childhood, Titarenko came to New York from St. Petersburg in the early 2000s, found a deep affinity with the city, and made it his home. For him, the soul of New York is its people, who juggle life in a high-paced environment, busy with their daily tasks while delighting in the excitement and fulfillment that is unique to their chosen city.
Sean Corcoran, the Senior Curator of Prints and Photographs at the Museum of the City of New York, writes in Titarenko’s monograph The City is a Novel (Damiani, 2015), “To the casual observer, the city can feel cold and impersonal. However, from his (Titarenko) home in Harlem, the photographer’s meanderings revealed neighborhoods and a more intimate city whose citizens pursued their personal orbits.”
The works in “The City of Dreamers” are distinguished by Titarenko’s signature style of applying long exposure to street photography, which introduces an element of time into the two-dimensional print. The movement of cars, tree branches, and silhouettes, whether couples or an elderly woman waking a dog, are depicted against a backdrop of both turn-of-the-century façades and the multivalent, overlapping signage of the modern era. The effect of long exposure also allows Titarenko to highlight solitary figures among the crowds of pedestrians, as in 58th Street, 2012. In this image, a crowd surging across 5th Avenue softens into a blur; while the viewer’s eye is drawn to a taxicab, a street lamp, an American flag, a traffic light, and the dynamic play of the sunlight through the branches of a tree. In the lower right corner, a single figure sits in contemplation, his posture reminiscent of Rodin's famous sculpture Le Penseur (The Thinker).
In his photographs of the Flatiron building, from 2003, Titarenko creates a poetic, Whistler-like palette; the prints glow with soft twilight and imbue magic to golden street lights. These photographs echo with the famous image of the landmark building by Edward Steichen. Titarenko also highlights the rapid changes in the city over the years by drawing our attention to one of the city’s old fire alarm boxes, which were installed around a century ago to allow passers-by to alert the city to fires. Titarenko’s signature gold toning imparts to this antiquated, often overlooked object an aura of dignity, even grandeur. His photograph Morningside Park, 2015, is unique in this series in that it captures the city in a state of nature, with no buildings, streets, or vehicles visible. The only signs of the surrounding bustle of urban life are a couple and the many footprints on the snowy path at the center of the image.
A master in the darkroom, Titarenko constantly experiments with his craft and crafts each print by hand, producing a rich, subtle range of tones that renders each print unique. The prints from his New York series are labor-intensive and notable for such complicated techniques as application of partial bleaching by brush on the wet print; selective sepia, selenium, and gold toning; and the use of the nineteenth-century Sabattier effect, also known as pseudo-solarization. Titarenko’s masterful printmaking also helps to highlight his longtime interest in water and its relationship to the city, bringing out the texture and reflective quality of snow and rain and infusing each image with moisture and light.
As Corcoran writes, “… His images reflect his attempt to reach a deeper understanding of place through the effects of history. It should not be surprising, then, that Titarenko’s vision of New York resonates with the work of Alvin Langdon Coburn and Alfred Stieglitz—men who strived to embody the dynamism of the city and its people in photographs at the turn of the twentieth century. As Titarenko’s relationship with New York grows and changes, so too will the photographs he creates. It is the nature of his working method."
Titarenko’s work has been shown in solo and group exhibitions in galleries and museums worldwide. In addition to “The City of Dreamers,” he is the subject of the solo exhibition “Alexey Titarenko: A Tale of Two Cities,” which opens at the C. Grimaldis Gallery in Baltimore on January 26 and runs through March 4. The show features Titarenko’s photographs from St. Petersburg and Havana.
Titarenko’s work can be found in such museum collections as the J. Paul Getty Museum, Los Angeles; the Museum of Fine Arts, Boston; the Museum of Fine Arts, Houston; the Baltimore Museum of Art; the Philadelphia Museum of Art; the Columbus Museum of Art; the George Eastman House, Rochester; the European House of Photography, Paris; the Musée de l'Élysée, Lausanne; the Musée Réattu, Arles; the Yale University Art Gallery, New Haven; the Zimmerli Art Museum at Rutgers University, New Brunswick, NJ; the Bibliothèque Nationale, Paris; the Centre National de l'Audiovisuel, Dudelange, Luxemburg; and the Museum of the City of New York, which has the largest collection of Titarenko’s New York photographs.
Jackson Fine Art is honored to kick off our 2023 programming with Steve Schapiro:
Warhol & Ali, an
exhibition celebrating the life and work of an artist whose six decades of work produced images as
visually moving as they are culturally significant. A masterful observer of the human condition, Schapiro
portrays these larger-than-life American icons with the startling intimacy and unique wit characteristic of
his work.
When Schapiro passed in January of 2022, he was at work on his twelfth monograph, the Taschen
collection
Andy Warhol & Friends, bringing together for the first time some of the most recognizable
images of Andy Warhol ever taken. Their collaboration began in 1965, when Warhol had effectively
renounced his career as a painter and was in the process of reinventing himself as an avant-garde
filmmaker and — perhaps more significantly — a public persona rivaling even the most accomplished of
his traditional “art.” Serendipitously, it was Steve who was present to bear witness to the advent of Andy
Warhol the character; in addition to capturing a leather-jacketed iconoclast, stony behind dark glasses,
the photographer offers us glimpses of the person behind the persona.
This same ability to candidly depict even the most image-conscious of subjects was evident two years
prior, when Schapiro traveled to Louisville, Kentucky on assignment from Sports Illustrated to capture the
then-Cassius Clay. At 21, the boxer we now know as Muhammad Ali was a star on the rise, and
Schapiro’s images offer a glimpse of a community hero — at home with his family, at play with
neighborhood kids, and (in a story now mythical) on the day that he first met a 6 ½ year-old Lonnie
Williams, the future Mrs. Muhammad Ali.
An opening reception will be held on the evening of Friday, January 20th from 6 to 8pm. On Saturday,
January 21st at 11am, we’ll host an intimate conversation with Maura Smith, Steve’s widow and the
executor of his artistic legacy.
Organized by Carnegie Museum of Art, this exhibition debuts a recent body of work by New York-based artist Elle Pérez.
Including 13 photographs created between 2019 and 2021, Devotions explores relationship building, creating space to reflect on how we navigate ourselves in relation to others and the world. Pérez’s carefully sequenced images dwell in moments of grief and care, pain and pleasure, desire and self-exploration. Amidst recurring motifs of water, touch, and BDSM are also striking choices in proximity, scale, color, and light.
The works will be presented at the BMA as an immersive experience, connecting the John Waters Rotunda and adjacent galleries.
This exhibition is organized by the Carnegie Museum of Art. It is curated in Baltimore by Cecilia Wichmann, Associate Curator of Contemporary Art.
This exhibition is supported by the Art Fund established with exchange funds from gifts of Dr. and Mrs. Edgar F. Berman, Equitable Bank, N.A., Geoffrey Gates, Sandra O. Moose, National Endowment for the Arts, Lawrence Rubin, Philip M. Stern, and Alan J. Zakon.
The Center for Photography at Woodstock (CPW) is pleased to present Race, Love, and Labor (an excerpt), a group exhibition of artists who completed Woodstock AIR, CPW’s acclaimed Artist-in-Residency. This is a re-presentation of the landmark exhibition first organized by noted art historian Dr. Sarah Elizabeth Lewis for the Samuel Dorsky Museum of Art at SUNY New Paltz in 2014. This abbreviated version of the original show provides new historical context and cultural meaning for ten significant American photographers. It will be on view at CPW, 474 Broadway, Kingston, from January 14 to March 19, 2023.
Race, Love, and Labor (an excerpt) springs from the idea that throughout history, photography’s aims have been twinned and contradictory: to separate and control people, and to assert self-determination and self-expression. The labor in its title speaks to the latter—to how the work of creating photographs is an undertaking of rebirth and of claiming agency in the context of violence or threat.
Why re-present a selection from this exhibition, and why now? Since the debut of this exhibition in 2014, social upheavals have rent the fabric of American culture, adding fresh urgency to the artworks’ original meaning. The Black Lives Matter movement; the struggles against violence toward LGBTQ trans people; anti-immigration prejudices and assaults against Asian people; and the mass confrontation with death, isolation, and economic destabilization brought on by the pandemic have dramatically reshaped social conditions in the United States. For this reason, Race, Love, and Labor (an excerpt) invites further scrutiny and reconsideration of the original project.
Woodstock AIR, the CPW residency from which the show’s artists are drawn, aims to elevate voices from marginalized communities. For the past 23 years, Woodstock AIR has offered BIPOC artists time and space to develop their art-making free of distractions. The ten artists in this exhibition are Endia Beal, William Cordova, LaToya Ruby Frazier, Tommy Kha, Deana Lawson, Pixy Liao, Dawit Petros, Paul Mpagi Sepuya, Xaviera Simmons, and Joanna Tam.
“What unites these images,” notes Dr. Lewis, “is an animating sense of what it means to live in this lineage of photography’s paradox—to reduce and to exult. These photographs, the gift of a moment in time through a unique residency, show us where a future path may lead.”
Transformations: A Gender Exploration by Mariette Pathy Allen with selections from Transformations: Crossdressers and Those Who Love Them and Fantasy & Flowers series.
In 1978 New Orleans, Mariette Pathy Allen stumbled upon the mostly closeted world of men looking to express their “feminine sides.” With her camera, she set out to document and “de-freakify” the liberating world of crossdressing. She realized the potential to offer a different view of the LGBTQ+ community around the world through photography.
Pathy Allen’s work has contributed to numerous publications and lectures, both academic and cultural, regarding gender variance and gender consciousness around the globe. Her collection of works exploring this misunderstood community led to the publication of her first book, Transformations: Crossdressers and Those Who Love Them, in 1989. Pathy Allen’s work is currently being archived by Duke University’s rare book and Manuscripts Library, and the Sallie Bingham Center for Women’s Studies.
Gitterman Gallery is proud to exhibit vintage black and white photographs by Roger Mayne (1929–2014), opening Tuesday, January 17th and running through Saturday, March 25th, 2023.
This exhibition features some of the most famous images from Roger Mayne's seminal body of work on the streets of West London and similar working-class neighborhoods of Britain in the 1950s and early 1960s that made him one of the most important post-war British photographers..
The majority of prints in the exhibition comes from Ann’s Box, a selection of prints that Roger set aside for this wife Ann Jellicoe (1927–2017) and their family. The selection began when I first visited Roger after the introduction and recommendation of his London dealer, Zelda Cheatle, who closed her gallery in London in 2005. We decided to set aside some of the last vintage prints of his most noted works. —Tom Gitterman.
Roger Mayne first became interested in photography while studying chemistry at Balliol College, Oxford University from 1947-51. In 1953 he developed an interest in the St. Ives School, which embraced the abstract avant-garde movement, and became friendly with the painters Terry Frost, Patrick Heron and Roger Hilton. Mayne consciously printed with high contrast and favored large prints [for the time] and tight graphic compositions to emphasize the formal qualities in his work and have a dialogue with the painting of the time..
Mayne's photographs evoke a particular moment in post-war Britain when hardships brought on by the war and rationing were still present. Mayne's photographs reflect the positive community life in the streets that would soon be coming to an end with the rebuilding and modernization of many working-class neighborhoods. His images of these communities and the people: teddy boys, jiving girls and kids playing in the street, preserve the spirit of these neighborhoods. By 1959 Mayne’s images were so indicative of this period that Vogue used them to illustrate teenage styles. Colin MacInnes used one of his images on the cover of Absolute Beginners, a novel told in the first person by a teenage freelance photographer living in West London that commented on the youth culture of the time. Mayne’s photographs were subsequently used in the 1986 film of Absolute Beginners by Julien Temple as both the protagonist’s images and inspiration for the cinematography and costume design..
Mayne worked as a freelance photographer and his photographs were reproduced regularly in magazines and newspapers. His work was included in group exhibitions in the 1950s at the Combined Societies, a progressive group of local photographic societies in Britain that broke away from the Royal Photographic Society. His work was also included in Otto Steinert’s Subjektive Fotografie in Germany, a series of group exhibitions and books of international photography that emphasized personal expression and the aesthetic potential of the medium. Mayne had solo exhibitions in 1956 at the George Eastman House in Rochester, N.Y. and at the Institute of Contemporary Arts in London. As early as 1956-57 the Museum of Modern Art, New York and the Art Institute of Chicago acquired his work..
Mayne’s work has been collected by numerous institutions including: Art Institute of Chicago; Arts Council of Great Britain; Bibiliothèque Nationale; Denver Art Museum; George Eastman Museum; J. Paul Getty Museum; Los Angeles County Museum of Art; Metropolitan Museum of Art; Milwaukee Museum of Art; Museum of Fine Arts, Houston; Museum Folkwang; Museum of Modern Art, New York; National Portrait Gallery, London; National Gallery of Australia; National Gallery of Canada; National Gallery of Victoria; The Nelson-Atkins Museum of Art; Scottish National Gallery; Princeton University Art Museum; Tate Britain; and the Victoria and Albert Museum..
Though his talent as a photographer was recognized early in his career, it was his solo exhibition at The Victoria and Albert Museum in 1986 and the subsequent use of his images on album covers and concert backdrops for the musician Morrissey in the 1990s that renewed interest in his work. Most recently, Mayne’s work was recently featured in Postwar and Modern, New Art in Britain 1945-1965 at the Barbican, London in 2022; Roger Mayne at The Photographers’ Gallery, London in 2017; Roger Mayne: Aspects of a Great Photographer at the Victoria Gallery, Bath in 2013; How We Are: Photographing Britain at the Tate Britain in 2007; Making History at the Tate Liverpool in 2006 and Art of the ‘60s at the Tate Britain in 2004. This is the fifth exhibition of Roger Mayne’s work at Gitterman Gallery.
Peter Fetterman Gallery is proud to share our first exhibition of the new year, "A Beautiful World: The Power of Nature” opening January 14th, 2023. An opening reception will be held at the gallery on Saturday January 14th from 3:00 – 6:00 PM.
Landscapes have inspired some of history’s most striking photographs. Peter Fetterman Gallery curates a collection of photographs focused on the beauty and power of the natural landscape. An homage to our planet, and a call to protect its great vistas, the exhibition is released online in two parts.
The exhibition features 19th and 20th and 21st Century works including Ansel Adams, Wynn Bullock, Paul Caponigro, Jeffrey Conley, Gregory Conniff, George Fiske, Martine Franck, Flor Garduño, Henry Gilpin, Michael Kenna, Andre Kertész, Kurt Markus, Don McCullin, Ryan McIntosh, Sebastião Salgado, Pentti Sammallahti, Charles Scowen, John Szarkowski, Isaiah West Taber, George Tice, Brett Weston and Don Worth.
From early 20th century gems to contemporary photography today this body of photographic work captures the imagination of each photographer and their shared respect for our beautiful world.
Tierra Entre Medio is a multi-generational exhibition that foregrounds four Chicana photographers working in Southern California. It features new works by Christina Fernandez installed alongside works by Arlene Mejorado, Lizette Olivas, and Aydinaneth Ortiz. Organized by Fernandez, the exhibition bridges myriad concerns inherent to her own work, highlighting practices that consider the regional, cultural, and topographical diversities that span Southern California Latinx communities. Beyond demonstrating the socio-cultural and physical nuances of landscapes between the border and inland Southern California, the exhibition will provide a framework through which to consider how environments shape the perspectives and experiences of working class, migrant, and diasporic communities.
About the Artists
Christina Fernandez (b. 1965) is a Los Angeles-based photographer whose practice explores issues related to migration, labor, gender, Mexican American identity, and the unique capacities of the photographic medium. She earned her BA at UCLA in 1989, and her MFA at the CalArts in 1996. She is associate professor at Cerritos College, Norwalk, where she has been on faculty since 2001.
Arlene Mejorado (b. Los Angeles) is a Los Angeles-based multidisciplinary artist whose practice spans analog and digital photography, video, and installation. Mejorado’s work employs documentary forms, visual media, everyday materials, and repurposed documents to counter cultural erasure and personal, collective, diasporic, and migrant experiences and stories. She earned her BA in Latin American Studies from the University of Texas, Austin, and is currently an MFA candidate in Visual Arts at UCSD.
Lizette Olivas (b. 1986, El Monte, CA) is a San Bernardino-based photographer whose work chronicles the quotidian moments of inland Southern California through a blend of portraiture and landscape photography that is at once urban and rural. She earned her BA in Art at UCLA in 2014.
Aydinaneth Ortiz is a Southern California-based photographer who utilizes documentary, landscape, and portrait genres to examine the intersections among the urban environment, familial relationships, mental illness, drug addiction, and immigration. She earned her BA in Art at UCLA, and her MFA in Photography at CalArts. She is assistant professor of Photography at Cypress College.
Culver Center of the Arts
Image: Christina Fernandez, Burn Area I, 2021 (detail). Courtesy of the artist and Gallery Luisotti, Los Angeles.
Horst P. Horst is one of the most influential photographers of the 20th century. Known primarily for his fashion photography and portraiture, Horst assimilated tenets of surrealism and classicism into his unique compositions, creating striking, unforgettable images like the iconic Mainbocher Corset (1939). With his first Vogue cover in 1935, Horst redefined the possibilities of fashion photography, inspiring a shift from hand-drawn illustrations to the full embrace of film by elite fashion magazines. Essence of the Times features 80 prints that chart the breadth of Horst’s career from his early dreamy, surrealist still lifes for Vogue to his suggestive palladium prints from the 1980s. His skill is also displayed in a series of portraits of fashionable figures from Marlene Dietrich and Diana Vreeland to Elsa Schiaparelli and Patrick Kelly.
Since the invention of the camera, photographers have enthralled viewers by interpreting the natural world. Viewfinders: Photographers Fame Nature explores artists’ varied responses to the relationship between nature and humans. These lens-based works reveal the divergent ways in which nature continues to fuel documentation of the human experience and imagination—from images symbolizing the untamed power of nature to those where the landscape has been abused for human consumption. It traces the lure of photography through five themes culminating in contemporary times where every person with a smartphone has the power to “frame nature.”
Guest Curator Susan Van Scoy, Ph.D., Associate Professor of Art History, St. Joseph’s University, has selected black and white, color, and digital photography, photomontage, and video, dating from the late 19th century to the present from the Museum’s permanent collection. Legendary American photographic artists such as Edward Steichen, Larry Fink, and Berenice Abbott are represented, as are newly acquired photographs by Kenji Nakahashi and Jeremy Dennis. Dr. Van Scoy also selected a substantial number of works by notable Long Island image makers. More than 70 works will be grouped thematically into five sections: Picturesque, Wild Nature, Denatured, Abstract, and Imaginative Nature.
Picturesque is the most popular type of landscape photography and follows a formula used in early 17th century paintings. We expect a pretty landscape to include a central shimmering body of water, framed by trees. Later, landscape architects followed the formula in designing New York’s Central Park, and Huntington’s Caumsett Historic Park Preserve, and photographers followed in capturing the images. Caumsett Park was a favorite of photographers N. Jay Jaffee and Neil Scholl whose work is featured in Viewfinders.
Wild Nature is in many ways the opposite of the picturesque. It features vast, rugged natural scenes emphasizing the power of nature. At photography’s infancy, photographers flocked to places such as Niagara Falls to create sublime views that contributed to American nationalist iconography as well as a robust tourist industry. The hunger for sublime views and the thrill of adventure continues today with extreme travel reality shows, adventure programs, and photography on social media.
Denatured reveals what happens when humans try to control or degrade the land causing the natural qualities of a landscape to be removed or permanently altered. Photographs in this section feature urban congestion, industrialization, and attempts to control nature.
Abstract landscapes discarded the standard compositional formats and narrative in place of close-up, cropped, dynamic perspectives without any reference to human touch --as seen in William Eggleston’s “Jamaica Botanical Series,” with close-ups of palms and ferns. The results were that nature became more about a spectacular “image.”
Imaginative Nature is the most ecologically minded landscape category in the exhibition. Here, artists create cut-and-paste collages, recycle found objects, reverse tones, and rely on reflective surfaces to create new, energetic landscapes that bring out the magical, whimsical quality of the natural world. For example, Barbara Roux creates mise-en-scènes in wooded areas with frames or mirrors placed against a leafy ground. The use of framed mirrors reflects the scene back to the viewer and connects them to nature, underlining human’s direct effect on the natural world.
Image: Kenji Nakahashi, Trimming, 1987. Chromogenic color print. Anonymous gift in memory of Kenji Nakahashi
How does one move through life with the scars of the past? When I was ten, my mother died unexpectedly from a heart attack. I couldn’t understand where she went or when she would return. Just as I began to comprehend this loss, my father died. I was without support from my family and community. I was lost.
Without a Map re-imagines this time that’s deeply rooted in my memories. Visiting my childhood home, synagogue and family plot provided an entry into this personal retelling. Working with family photos, creating new images from my past and turning the camera on myself, I found the means to evoke, reinterpret and address unanswered questions born from early imprints that were buried long ago.
About Marsha Guggenheim
Marsha Guggenheim is a San Francisco fine art photographer and 2021 and 2022 Critical Mass finalist. Storytelling is a guiding influence in her work. Marsha is deeply interested in photographing people and draws on her diverse city to capture their stories. Complementing her street photography, Marsha spent years working as a photographer with formerly homeless women. This work resulted in the monograph, “Facing Forward,” highlighting these hard-working, proud women through portraits and stories of their life experiences. Currently, Marsha is working on a personal series, “Without a Map.” Through the use of family photos, creating pictures from her memories and by turning the camera on herself, she has found the means to evoke, reinterpret and address unanswered questions that were buried long ago. Marsha’s work has been shown in over 50 galleries and exhibitions. She has been published in both domestic and international publications and is included in numerous private collections.
Ties that Bind stitches together three unique visions looking at the idea of family and the rewriting of history, myth and personal narratives. These artists work with images and objects, including various materials, with the addition of stitching on found images, personal family photos. Each artist finds ways to change the script, rewrite what has been lost and gain clarity of vision.
We are pleased to bring together three artists each looking at family ties in unique ways.
French Moroccan photographer Carolle Bénitah, who worked for ten years as a fashion designer before turning to photography in 2001, explores memory, family and the passage of time. Often pairing old family snapshots with handmade accents, such as embroidery, beading and ink drawings, Bénitah seeks to reinterpret her own history as daughter, wife, and mother.
The work of Carolle Bénitah has been published in magazines such as Leica World, Shots Magazine, Photos Nouvelles, Spot, Center for Photography Houston, Foto Noviny, and Lens Culture, among others. Carolle Bénitah was born in Casablanca (Morocco) and graduated from the Ecole de la Chambre Syndicale de la Couture Parisienne (Paris). Her series Photos-Souvenirs was also selected to exhibit in FotoFest’s 2014 Discoveries of the Meeting Place showcase of past Biennial portfolio reviews. We thank Corinne Tapia and Sous Les Etoiles Gallery for working with the museum to showcase Carolle’s works.
Astrid Reischwitz is a lens-based artist whose work explores storytelling from a personal perspective. Using keepsakes from family life, old photographs, and storytelling strategies, she builds a visual world of memory, identity, place, and home. Her current focus is the exploration of personal and collective memory influenced by her upbringing in Germany.
Reischwitz has exhibited at national and international museums and galleries including Newport Art Museum, Griffin Museum of Photography, Danforth Art Museum, Photographic Resource Center, The Center for Fine Art Photography (CO), Rhode Island Center for Photographic Arts, Center for Photographic Art (CA), FotoNostrum, Dina Mitrani Gallery and Gallery Kayafas.
She has received multiple awards, including the 2020 Griffin Award at the Griffin Museum of Photography and the Multimedia Award at the 2020 San Francisco Bay International Photo Awards. Her series “Spin Club Tapestry” was selected as a Juror’s Pick at the 2021 LensCulture Art Photography Awards and is the Series Winner at the 2021 Siena International Photo Awards. She was a Photolucida Critical Mass Top 50 photographer in 2021, 2020, 2019, and 2016; and is a Mass Cultural Council 2021 Artist Fellowship Finalist in Photography.
Her work was featured in Fraction Magazine, Lenscratch, LensCulture, What Will You Rembember?, Wired Japan, Il Post Italy, P3 Portugal, Aint-Bad Magazine, The Boston Globe, NRC Handelsblad Amsterdam, as well as other media outlets.
JP Terlizzi is a New York City photographer whose contemporary practice explores themes of memory, relationship, and identity. His images are rooted in the personal and heavily influenced around the notion of home, legacy, and family. He is curious how the past relates and intersects with the present and how the present enlivens the past, shaping one’s identity.
Born and raised in the farmlands of Central New Jersey, JP earned a BFA in Communication Design at Kutztown University of PA with a background in graphic design and advertising. He has studied photography at both the International Center of Photography in New York and Maine Media College in Rockport, ME.
JP’s work has been exhibited widely in galleries including shows at The Center for Fine Art Photography, Vicki Myhren Gallery at the University of Denver, The Grin Museum, Tilt Gallery, Panopticon Gallery, Candela Gallery, The Los Angeles Center of Photography, University Gallery at Cal Poly, and The Berlin Foto Biennale, Berlin, Germany, among others.
His solo exhibits include shows at Foto Relevance Gallery (August, 2020) The Rhode Island Center for Photographic Arts, Cameraworks Gallery in Portland, OR and Soho Photo Gallery in Manhattan.
After 40-plus years working in commercial photography around the world, Montana photographer Jeff Corwin turned to fine art and found inspiration in landscape. Of the 17 pieces in “Landscapes of the American West,” most feature rural views of Montana, including areas near Sourdough, Dillon, Livingston and Wilsall. Two images are of Eastern Washington.
A vacation near Ennis planted the seed for Corwin’s move to east of Bozeman. Now he lives in Cardwell, where he’s building a house. Even so, Corwin says, “I go out and shoot every day.”
His work speaks to the quieter country. “I tend towards the emptiness of landscapes, not the glory of mountains and meadow and late afternoon light,” he says. “I don’t seek out that emptiness, but after so many years, just react to it.”
From a pillowlike snowfield constrained only by a fence in Bozeman, to the lush green leadup to a low butte in Rapelje, Corwin finds much to focus on and frame in his Montana journey.
This dynamic installation of the photography collection unearths new narratives of influence, innovation, and belonging from the medium’s invention to the present day.
Rather than following a linear chronology, Sightlines explores a series of stories and perspectives, spotlighting recent additions to the collection throughout. Some galleries focus on an individual artist or series, like Louis Carlos Bernal’s vibrant color photographs of Chicanx families in the Southwest, or Dorothea Lange and Pirkle Jones’ poignant documentation of the demise of a small town in Napa County. Others consider the evolution of a single theme across the history of the medium, such as studio portraiture or the relationship between the body and landscape. The exhibition culminates with a generous selection of works made without a camera, probing the question of what constitutes a photograph.
With this exhortation, delivered many times, Richard Benson (1943–2017) encouraged his students to explore one of photography’s core functions: recording things and events in the world. He wanted them to step out of their own mindsets and grapple with the many challenges—material, physical, and conceptual—encountered when making anything. It is precisely how Benson approached his own art.
This exhibition surveys nearly fifty years of Benson’s photography, a wide-ranging body of work that reflects his humility and boundless curiosity about the world and his tireless exploration of how to make photographs. In addition, the exhibition includes a selection of artworks by ten artists who studied and worked with Benson at Yale University, where he was a professor and later Dean of the Art School. These works illustrate Benson’s impact on generations of photographers by examining points of overlap and difference between his works and those of diverse artists he influenced.
Richard Benson: The World Is Smarter Than You Are was organized by the Philadelphia Museum of Art.
The exhibition was made possible thanks to the promised gift to the Philadelphia Museum of Art from William M. and Elizabeth Kahane of a collection of 180 works by Richard Benson.
Support for the accompanying publication was provided by Lynne and Harold Honickman, Phillip and Edith Leonian Foundation, Barbara M. Benson, Randi and Bob Fisher, Furthermore: a program of the J. M. Kaplan Fund, William M. and Elizabeth Kahane, and an anonymous donor.
The exhibition was curated by Peter Barberie, Brodsky Curator of Photographs, Alfred Stieglitz Center, Philadelphia Museum Art.
The sixties were a long time coming. The sixties keep coming back.
For many parts of Africa, to refer to the 1960s is to gesture broadly toward a time of great transformation: the postcolonial turn. That decade’s beginning marks a wave of national independence movements coming to fruition in all parts of the continent with far-reaching consequences around the globe. However, that era of sweeping change is bound up in a chain of events long preceding that watershed decade, with ramifications that reach potently into our present. And any discussions merely offering a colonial/postcolonial dichotomy or framed exclusively through the nation-state betray the far more complex collective and individual experiences of that time and the visual representations taking place within it.
This exhibition addresses photography in the context of Africa’s long 1960s—amid resistance, revolution, new nationalist and transnational movements, and the stuff of daily life therein. Focusing on Ghana, Mali, and South Africa, this exhibition features photographic prints, reprints, books, magazines, posters, and other material means through which photography’s relationships to real people and events were articulated, produced, and circulated. And it looks to contemporary works that engage and reflect on those material histories and might prompt us to ask: did the sixties ever end?
Bridging the division often made between studio photography and reportage—even as many photographers worked across such categories in their practices—not all realisms brings studio and street together. This project explores documentary visions cultivated through international circulation of print media and transnational dialogues, and examines the multiple lives of single images made by photographers including Ernest Cole, Malick Sidibé, James Barnor, Peter Magubane, Paul Strand, Henri Cartier-Bresson, and more.
Image: Malick Sidibé, Happy Club (Christmas Eve) (Nuit de Noël [Happy Club]), 1963, Gelatin silver print. Smart Museum of Art, The University of Chicago, Gift of the Estate of Lester and Betty Guttman, 2014.720. Courtesy of Jack Shainman Gallery, New York
Oakland-based artist Sadie Barnette uncovers and reanimates stories of resistance, resilience, and love through an ongoing retelling of her family’s history. SPACE/TIME, a site-specific commission developed in dialogue with Afterimages: Echoes of the 1960s from the Fisher and SFMOMA Collections, celebrates life against the backdrop of political turmoil and everyday moments from the 1960s to today, highlighting intergenerational legacies and collective possibilities.
Just as personal and political events collide and coexist in life, Barnette’s mural juxtaposes cellphone snapshots of birthday parties and weddings with large-scale images of her father in his army uniform in 1966, before he left for Vietnam, and in 1968, as a Black Panther after he returned. Barnette also revisits her own visual language, reusing images that recur in her work, such as pictures of a Martin Luther King Jr. Drive street sign, her aunt’s living room, and sparkly musical equipment. These references appear alongside self-portraits, items from her studio—including a jewel-encrusted calculator and a Hello Kitty Fizzy Pop—and her frequently used adornments: spray paint, glitter, and rhinestones. Drawings with the phrases “Right Here,” “Right Now,” “Everything,” and “Forever” consider the elasticity of time, while the tinted window featuring the words “Space” and “Time” envelops the surrounding architecture with Barnette’s signature pink. By bringing together cosmic imagery and a picture of her father in a swirling pink void, Barnette collapses the expansive arc of time that connects generations and dimensions.
Photographer Marcia Resnick earned recognition as part of the legendary Downtown New York art scene of the 1970s and 1980s with portraits of major cultural figures such as Jean-Michel Basquiat, John Belushi, and Susan Sontag.
Marcia Resnick was one of the most ambitious and innovative American photographers of the 1970s. Combining social critique with poignant, often humorous performance, her photographs explore—in a conceptual vernacular—aesthetic, social, and political issues at once timely and timeless. A part of the now-mythic creative community in Downtown New York, she created work that challenged traditional ideas about what a photograph could be. This exhibition brings together for the first time her extraordinary photographs from this period.
This exhibition was organized by the Bowdoin College Museum of Art, the Minneapolis Institute of Art, and the George Eastman Museum.
One of the typical measures of success for artists is the ability to quit their day jobs and focus full time on making art. Yet these roles are not always an impediment to an artist’s career. This exhibition illuminates how day jobs can spur creative growth by providing artists with unexpected new materials and methods, working knowledge of a specific industry that becomes an area of artistic interest or critique, or a predictable structure that opens space for unpredictable ideas. As artist and lawyer Ragen Moss states:
Typologies of thought are more interrelated than bulky categories like ‘lawyer’ or ‘artist’ allow... Creativity is not displaced byother manners of thinking; but rather, creativity runs alongside, with, into, and sometimes from other manners of thinking.
Day Jobs, the first major exhibition to examine the overlooked impact of day jobs on the visual arts, is dedicated to demystifying artistic production and upending the stubborn myth of the artist sequestered in their studio, waiting for inspiration to strike. The exhibition will make clear that much of what has determined the course of modern and contemporary art history are unexpected moments spurred by pragmatic choices rather than dramatic epiphanies. Conceived as a corrective to the field of art history, the exhibition also encourages us to more openly acknowledge the precarious and generative ways that economic and creative pursuits are intertwined.
The exhibition will feature work produced in the United States after World War II by artists who have been employed in a host of part- and full-time roles: dishwasher, furniture maker, graphic designer, hairstylist, ICU nurse, lawyer, and nanny–and in several cases, as employees of large companies such as Condé Nast, Ford Motors, H-E-B Grocery, and IKEA. The exhibition will include approximately 75 works in a broad range of media by emerging and established artists such as Emma Amos, Genesis Belanger, Larry Bell, Mark Bradford, Lenka Clayton, Jeffrey Gibson, Ramiro Gomez (now Jay Lynn Gomez), Tishan Hsu, VLM (Virginia Lee Montgomery), Ragen Moss, Howardena Pindell, Chuck Ramirez, Robert Ryman, and Fred Wilson, among many others. The exhibition will be accompanied by a catalogue featuring artist essays commissioned for the book, as well as a podcast, giving artists agency in telling their stories about the compelling intersections between their day jobs and creative practices.
Organized by Veronica Roberts, Curator of Modern and Contemporary Art, with Lynne Maphies, Former Curatorial Assistant, Blanton Museum of Art
Evelyn Hofer (American, born Germany, 1922-2009) was a highly innovative photographer whose prolific career spanned five decades. Despite her extraordinary output, she was underrecognized during her lifetime and was notably referred to by New York Times art critic Hilton Kramer as “the most famous unknown photographer in America.” She made her greatest impact through a series of photobooks, published throughout the 1960s, devoted to European and American cities, including Florence, London, New York, Washington, DC, and Dublin, and a book focused on the country of Spain. Comprising more than one hundred vintage prints in both black and white and color, Eyes on the City, the artist’s first major museum exhibition in the United States in over fifty years, is organized around those publications. The photographs to be featured combine landscapes and architectural views with portraiture, conveying the unique character and personality of these urban capitals during a period of intense structural, social, and economic transformations after World War II.
American photographer Gillian Laub (b. New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness.
In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated.
Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation's history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable.
Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter Movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.
Southern Rites is a specific story about twenty-first century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?
Southern Rites is curated by Maya Benton and organized by the International Center of Photography.
HackelBury Fine Art, London is pleased to present Unique Works, a solo exhibition of work by Nadezda Nikolova in which the artist seeks to capture a singular sense of oneness and universal connectivity in her work through multi-layered compositions.
Bruce Silverstein Gallery is pleased to present Shawn Walker: Lost & Found, an exhibition of rediscovered early exhibition prints by one of the founding members of the Kamoinge Workshop. These extraordinary photographs, created in the first decade of the artist’s sixty-year career, depict and immortalize members of the artist’s community who were all too often overlooked and unseen, serving as a window into the origins of the artist’s creative practice. Having rested dormant, safely stored, and forgotten in The Schomburg Center for Research in Black Culture archives for over a half-century and now reunited with the artist, many of the photographs exhibited in Lost and Found are being shown in public for the very first time. They are some of the few early prints still in the artist’s possession after his archive of over 100,000 images was acquired by the Library of Congress in 2019 in what would become the first photography archive of a black artist procured by the institution.
The Center for Photography at Woodstock (CPW) is pleased to present Race, Love, and Labor (an excerpt), a group exhibition of artists who completed Woodstock AIR, CPW’s acclaimed Artist-in-Residency. This is a re-presentation of the landmark exhibition first organized by noted art historian Dr. Sarah Elizabeth Lewis for the Samuel Dorsky Museum of Art at SUNY New Paltz in 2014. This abbreviated version of the original show provides new historical context and cultural meaning for ten significant American photographers. It will be on view at CPW, 474 Broadway, Kingston, from January 14 to March 19, 2023.
All About Photo is pleased to present 'Bombay Beach' by Bram Coppens. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of January 2023 and includes 17 photographs from the series 'Bombay Beach'
Photographic Arts Council Los Angeles is pleased to announce the inaugural opening of Photo Forward Los Angeles, taking place on Saturday, February 18, through Sunday, February 19, 2023. Produced by the Photographic Arts Council Los Angeles (PAC LA), a non-profit organization, the presentation of a new art fair in Los Angeles is consistent with PAC LA's mission to further an evolving and public conversation about photography and lens-based arts. This free art fair will feature both vintage and contemporary works, offering an expansive exhibition of photography, books, and ephemera, presented by exhibitors established in their field.
All About Photo is pleased to present 'This Is Water' by American photographer Ann Prochilo. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of December 2022.
The exhibition Charles Muir Lovell Archives will open at the Second Story Gallery, Sat., Dec. 10, 2021, with a free public reception from 6 to 9 p.m., as part of PhotoNOLA. The cooperative gallery, which is open daily from 9 a.m. to 6 p.m., is located in the New Orleans Healing Center, 2372 St. Claude Ave., in the St. Claude Arts District, downriver from the French Quarter. The exhibition will run through Sat., Jan. 7, 2023. Admission is free and open to the public.
The 8th Jimei x Arles International Photo Festival will kick off in Xiamen on 25 November 2022, and continue to showcase new international photography works! The 8th Jimei x Arles will present thirty exhibitions, featuring works by more than one hundred artists from France, Thailand, Brazil, the United States and mainland China: Six Exhibitions from Arles selected from 2022 Les Rencontres d’Arles, ten Discovery Awards exhibitions focusing on outstanding young Chinese artist photographers, three Greetings from Thailand exhibitions, one China Pulse exhibition showing the exploration and development of Chinese higher art colleges in photography, three Crossover Photography exhibitions, one Tribute exhibition, one Collector’s Tale exhibition, two Local Action exhibitions, one Jimei x Arles Group Exhibition of the Finalists’ Proposals for Curatorial Award for Photography and Moving Image, one photography exhibition THE HORIZON, and one Jimei x Arles Photobook Exhibition.
THE GRIFFIN MUSEUM OF PHOTOGRAPHY is pleased to showcase works from across the genre of photography with its exhibition, Critical Eye | Photographic Collections before the Digital Age. This wide-ranging exhibition features the works of ten New England based collectors. Ten visions spanning the medium through the twenty and twenty-first century.
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