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.
The Sky exhibition of images by two Tucson artists, Kate Breakey and Brett Starr, who recently discovered they had a mutual interest in the heavens. Each of them having looked upward, and felt compelled to make images of the sky, for years. For this exhibition they have gathered together their daytime and nighttime images-of clouds, rainbows, the sun and the moon, comets and cosmic events.
Most recently they collaborated to make deep sky images using an online telescope on the other side of the world. 'It was exciting and conceptually poetic to instruct a telescope that is 9,000 miles away to point at an object - a galaxy, or nebulae- on the other side of the universe, and make an image for us to contemplate and print. The incomprehension and wonder you feel is transforming - it puts time and life on earth into perspective, and that is always a good thing'
The Little Black Gallery and The Fahey/Klein Gallery are proud to present BOYS! BOYS! BOYS!, a group exhibition curated by The Fahey/Klein Gallery and The Little Black Gallery co-founder, Ghislain Pascal, to promote queer and gay photography.
"We are so proud to be bringing BOYS! BOYS! BOYS! to our friends in Los Angeles to celebrate Pride. It gives our photographers the opportunity to exhibit their work to a new audience alongside such amazing luminaries. We will continue to push the boundaries and build a great market for queer fine art photography." - Ghislain Pascal, co-founder of The Little Black Gallery.
This group exhibition will coincide with PRIDE Los Angeles, and the publication of the second issue of the bi-annual magazine: BOYS! BOYS! BOYS!. Originally a time to honor the 1969 Stonewall riots, PRIDE month has since come to commemorate so much more. BOYS! BOYS! BOYS! celebrates and honors the queer community by highlighting the artists whose work has come to define Fine Art Photography.
BOYS! BOYS! BOYS! is a project by The Little Black Gallery.
Please join us for this special memorial exhibition for acclaimed photographer, Ingeborg Gerdes (1938-2020). This retrospective exhibition, Out West, will include images from several of Gerdes’ series spanning a 50-year period including photographs from San Francisco in the 70s, Out West Across the Basin, Out West in Color, Eastern Washington, The Mission District, and Autobiography. This exhibition will travel to Blue Sky Gallery in Portland and is one of several shows to honor this great artist’s legacy on the anniversary of her passing.
Born and raised in Germany, Ingeborg Gerdes came to the United States in the mid-1960’s. She was living in Philadelphia when she saw a catalog from the San Francisco Art Institute, offering photography classes. She moved to the city and in 1970 received her graduate degree in photography from the San Francisco Art Institute, starting her new life as a photographer. From the beginning, her approach to photographing corresponded to her long-standing passion for traveling. She went back to Europe frequently as well as journeyed through countries in Asia and to Mexico. In 1982, on a road trip to Nevada she discovered the high desert and began to photograph in rural regions of the Western states. This work became a long-term project. She also continued to make work in the Bay Area where she lives while regularly returning to Germany, where she photographed in her home town and in Berlin. Ingeborg has exhibited her prints in numerous one-person and group exhibitions in galleries and institutions nationally and abroad. She has been awarded four National Endowment for the Arts fellowships and taught photography at the University of California, Santa Cruz. Her photographs are in the collection of the Smithsonian American Art Museum, San Francisco Museum of Modern Art, the Portland Art Museum, the Stanford Museum of Art and the Berkeley Art Museum, amongst others.
Ingeborg Gerdes passed away peacefully at her home in Emeryville, CA on June 20th, 2020. She will be remembered as a remarkably talented photographer, influential educator, and as a dear sister, aunt, colleague, and friend.
Karen Navarro's The Constructed Self is the Houston-based photographer and multimedia artist's first solo exhibition at Foto Relevance. A vivid and even more tactile expansion of the artist's earlier portfolio El Pertenecer en Tiempos Modernos (Belonging in Modern Times), Navarro's The Constructed Self realizes meditations on self-representation and identity through dynamic photosculpture configurations. Disrupting photography's traditional two-dimensional presentation, these colorful new works come assembled in a multitude of ways-some stacked and spinning, others paneled and puzzled together. These geometric complexities illustrate the abilities we all have to reorder and rearrange the many facets of our public-facing identities.
"These subjects will not be forgotten; they cannot be erased. They matter."
- Chester Higgins
Chester Higgins walked into the photographic studio of P.H. Polk in Alabama in 1967 to pick up a photograph for an advertisement in his Tuskegee University newspaper. He left with something entirely unexpected--the first awareness of a passion that would unfold throughout his life. Higgins caught a glimpse that day of photographs hanging behind Polk's studio curtains that he had taken during the 1930s of people in the rural South. The beauty, dignity and strength of character in those photographs captivated Higgins, and reminded him of the people he knew and had seen in his church and among farmers in rural Alabama where he grew up. The power of Polk's images inspired Higgins to ask the elder photographer several days later if he would teach him to use Polk's own camera. Surprised by the naïve and audacious request, Polk lent Higgins his camera for a few hours. This extraordinary gesture of generosity and the valuable information and insights he subsequently gave Higgins, started the young man on a long and extraordinary journey with photography.
Higgins bought his own camera the following year. It was the summer of 1968 at the height of the civil rights movement. At that time the media in Alabama was publishing photographs that depicted Black men as "vicious criminals," as Higgins described. Those images were very different than the ones Higgins made at the time that presented the protestors against Jim Crow laws as serious and decent men like himself. Looking to further his knowledge of photography, Higgins visited New York City during the summer of 1969, where he met the photographer Arthur Rothstein, who was the Director of Photography at Look Magazine then. Rothstein asked Higgins what message he wanted to convey in his photographs, and the young Higgins responded with a statement that has resounded throughout his work to the present:
"Our media show no positive images of decent black people…men and women who work hard, go to church, have respectful and loving relationships. We need images of black people that reflect the fullness of our lives."
After graduating from Tuskegee University in 1970, he moved to New York City where Rothstein guided him and introduced him to Cornell Capa, Gordon Parks and Romare Bearden. Higgins's relationship with these men was of great importance to him professionally and artistically.
Polk had told Higgins that, "there is no camera that can make a picture…, only your eyes can make a picture," and Parks had emphasized that, "great photographs are made with the heart, not necessarily with the eye." These two ideas have guided Higgins in his work throughout his life.
Higgins became a staff photographer for The New York Times in 1975, and worked as a news photographer there until 2014. After spending an eight-hour day working at the Times, he would then shoot for his own work. As he accumulated vacation time, he used it to travel. His first trip to Africa, however, had been in 1971, when he went to Senegal to shoot for an article in Essence Magazine. The following year he went to Ghana, and he returned to both Ghana and Senegal over the next several years. During his first trip to Africa, the goals for his photographic work expanded into:
"…a lifelong study of the mannerisms, culture, and traditions of my people--mirror images of the people of my childhood."
The exhibition Chester Higgins: The Indelible Spirit at the Bruce Silverstein Gallery charts the early course of Higgins's journey from the late 1960s through the 1990s with a selection of images that highlight his career from his beginnings as a talented student living in Alabama, through his early years in New York, and his travels to Senegal and Ghana.
Higgins photographs people of all generations--children looking tentatively out at the world; young adults full of strength and vitality; and elders, whose wisdom he evokes in quiet, peaceful circumstances. Whether at rest, work, or in social situations, alone, or with family, friends, and lovers, Higgins's work reflects his respect for moments of deep contemplation. Through light, composition and a superb attentiveness to the flow of life, he creates images in which the sheer beauty of light and form conjure the magical spirit of an individual or group.
Higgins often shoots into the light. In some cases the contrasts between light and form become silhouettes in which the details of his subject are obscured and the essence of the moment revealed. At other times Higgins focuses on the sculptural form of a figure, on its texture emphasized and enveloped in light and shadow. Whether taking a close up or distanced view, focusing on detail or general form, it is the energy and spirit in his photographs that are most distinctive. Higgins finds the moment that lies between the physical and the spiritual. This is the profound and sweet spot in his photographs, the moment when something unexplainable opens up--an indelible spirit in his work that cannot be erased.
- Carrie Springer, Curator
Pace Gallery is pleased to present Cumulus, a solo exhibition by interdisciplinary artist Nina Katchadourian featuring recent works and several major ongoing projects that have not been shown in New York since their first iteration. Known for her widely varied practice, which includes video, performance, sound, sculpture, and photography, Katchadourian presents four of her landmark projects: Paranormal Postcards; The Genealogy of the Supermarket; Sorted Books, featuring new installments to the series; and Accent Elimination, which was exhibited in the 2015 Venice Biennial as part of the Armenian Pavilion, winner of the Golden Lion for Best National Participation. The exhibition will also debut a suite of printmaking projects, including Lucy's Sampler, an homage to Katchadourian's Armenian adoptive grandmother. Together, the works on view examine themes of family, travel, displacement, portraiture, narration, and diaspora. In her signature style, Katchadourian continues to work with the apparently mundane, resulting in works that both subvert and activate the viewer's usual sense of their life and surroundings.
Grounding the exhibition is Paranormal Postcards (2001- ), an enormous wall installation consisting of hundreds of postcards that the artist has been collecting during her travels, museum visits, and stops at souvenir shops over the past two decades. Each postcard is stitched through with red sewing thread that connects elements within the image-a format that allows Katchadourian to draw out hidden affinities and suggested subtexts, which she further amplifies by grouping and connecting postcards using a network of dotted red lines applied to the wall. Like a giant chart that seems to explain the latent relationships or power structures embedded in the world, the array of postcards makes visible, as critic Jeffrey Kastner has written, "lines of force and sympathy between their improbable inhabitants, proposing a world connected in almost unlimited ways." In the context of the past year, the nostalgia for travel often associated with postcards takes on additional force. This is the first time Paranormal Postcards is being exhibited in New York since its initial presentation exactly 20 years ago, when it was a fraction of its current size.
The artist's longstanding interest in the seductive veracity of chart-like structures also animates The Genealogy of the Supermarket (2005- ). Interpolating the characters who appear on common supermarket products into a giant family tree of framed photographs installed on vibrant red wallpaper, the work takes literally the fantasy of kinship that many of these items exploit in their branding strategy. Every time it is exhibited, the artist incorporates new "family members" sourced from local supermarkets. As such, the piece becomes an indicator of large-scale demographic changes, visible both in the faces that appear on everyday products and among the consumers who purchase them. The Genealogy of the Supermarket has not been shown in New York since 2005, and a number of new "relatives" will make their first appearance at Pace.
Katchadourian worked with her own family in one of her best-known projects, the six-channel video Accent Elimination (2005). Katchadourian, who is first-generation American, worked with her Finland-Swedish mother, Armenian father, and a professional accent coach in order to teach her parents how to speak with a so-called "standard American accent," while Katchadourian attempted to master each of her parents' accents in turn. The piece shows them struggling to perform a scripted dialogue in their exchanged accents, revealing along the way the complicated origin stories of each parent, including the multiple displacements of her father's diasporic Armenian family.
Katchadourian's Armenian background is also the focus of a new work, Lucy's Sampler (2020). The engraving with letterpress text depicts an embroidery sampler made by Katchadourian's adoptive grandmother, Lucy, who was orphaned in the Armenian genocide around 1915 and later taken in by the artist's paternal grandparents. The sampler, made by Lucy at age 12 while she was still living in an orphanage, is one of the only extant artifacts from her childhood. Katchadourian reproduced an image of the sampler by placing a piece of Plexiglas on the artifact and tracing over each of Lucy's painstaking and carefully stitched marks with an engraving tool. This act of replication pays homage both to Lucy's skill and to her lifelong caretaking of others. Two additional printmaking series, Whisker Prints and Window-Seat Suprematism, both from 2013, will also be on view for the first time. Both are characteristic of Katchadourian's attraction to working with self-imposed constraints. To make the Whisker Prints, Katchadourian limited herself to seventeen cat whiskers, each time placing them in a different formation on a deep-blue inked plate. The resulting monoprints resemble spare, reduced line drawings of sea creatures that live at extreme depths, sensing their way through the darkness. The Window-Seat Suprematism etching series is based on photographs taken by Katchadourian when seated over the airplane wing, where the lines, rivets, and indicator arrows are used to compose images that recall Suprematist collage.
Katchadourian's longest ongoing project is Sorted Books, a photographic series that began in 1993. Pace will exhibit a new suite of images made in response to an invitation by the Isamu Noguchi Garden Museum to work with the sculptor's personal book collection. Katchadourian's process typically involves sorting through a collection of books, selecting particular titles, and arranging them into stacked groups so that the titles on the spines can be read in sequence as short sentences, phrases, or narratives. Past iterations of the project have made use of the Swedish playwright August Strindberg's personal library and writer William S. Burroughs's book collection. The book arrangements become a form of portraiture that reflects not only the well-known interests of an individual but also their surprising and sometimes contradictory obsessions, shedding a different light on the person's life and work.
This solo exhibition follows Pace's recent presentation of Katchadourian's Monument to the Unelected-a set of lawn signs created by the artist featuring the names of every candidate who ran for president of the United States and lost-which was also presented at seven other venues in the lead-up to, and immediately following, the 2020 presidential election. Katchadourian is currently working on a permanent public sound work commission for Skissernas Museum in Lund, Sweden. In February 2023, Katchadourian will have a solo exhibition at the Morgan Library and Museum, in which she will combine her work with objects drawn from the Morgan's diverse holdings.
The process of creating photographs is a contemplative one. It is an exploration of my feelings as much as it is an exploration of what I am seeing. The best images always happen when what I am feeling becomes one with what I am seeing. Chip Hooper
All About Photo is pleased to present Since Seeing You by Ruth Lauer-Manenti
Sandrine Hermand-Grisel, is the curator for this month's show.
Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of June 2021 and includes twenty photographs from the series Since Seeing You.
SINCE SEEING YOU
Since Seeing You is an observation of the lingering experience of the final week of my mother's life. She rarely let me photograph her, except in those last days when she changed her mind and without any hesitation, gave her permission and blessing. During that time there was a quality of acceptance and ease within and around her. After she passed the nurses seemed in a rush to cover her body and take her away. I wondered why. It seemed so natural that I would want to stay with her for a while. Since that final time, I have taken a lot of photographs in nature; immersed in its aliveness, decay and wild beauty. I feel her spirit in the tilting trees or when there is a light rain. At times, the memories of her gently fade out and blur, only to return as a wind that changes direction, in a wave of strong emotions.The pictures on view are a selection of what I hope to have published as a book. Because of the ephemeral feeling in the imagery, I imagine that the solidity of a book would balance this transient quality by giving it a structure and pace that would be tangible.
In this moment of great uncertainty and turmoil, these online Solo Exhibitions aim to continue to connect audiences and artists, building on our beliefs that access to art and culture is a right and not a privilege and that artists' voices should be heard. It is a platform to help photographers pursue their visions, their dreams and their projects.
With our new online showroom space, we've placed All About Photo's role as a supporter and amplifier of creative ideas.
During our pandemic closure, Windows on Latimer has featured a new site-specific commission each month since August 2020 in The Print Center's iconic bay window on Latimer Street. As we prepare to reopen in July, we are pleased to present the final installation by Hannah Price.
In this installation, Price triangulates photographs from her series: "Cursed by Night" (2012-2013) and "Semaphore" (2018) including an image of Philadelphia's City Hall as well as shadowy interior and exterior portraits. Price explores how society elides Black men with darkness, cursing them into its oblivion. "Semaphore" takes its title from a coded signal system of flag positions and examines the way identities are constructed through physical and material appearance. Price purposefully uses black-and-white photography to heighten the stark contrasts of politics and race in our everyday lives.
A tale of two Americas, told through iconic photographs from the 1930s, will be the subject of dual exhibitions at Howard Greenberg Gallery from March 19 through May 9, 2020. One Third of a Nation: The Photographs of the Farm Security Administration depicts the challenges impoverished families were enduring with photographs by Dorothea Lange, Walker Evans, and Gordon Parks, among others, while Lewis Hine: The WPA National Research Project Photographs, 1936-37 portrays the workers and the innovations that spurred the nation's economic growth. Together the exhibitions demonstrate the extraordinary power of photography to define an era and inspire social change.
As the consequences of the Great Depression, unemployment, poverty and the effects of the Dust Bowl ravaged the country in the 1930s, government programs such as the Farm Security Administration (FSA) were established. American photographers were employed to document the dire conditions. At the same time, Lewis Hine was hired by the Works Progress Administration's (WPA) National Research Project (NRP) to show the modernizing accomplishments of the nation's factories, in the years prior to WWII. His efforts focused on the country's reorganized workplace that fueled industrial growth and drove out the Depression. The powerful work of these photographers under President Franklin Delano Roosevelt's New Deal programs ushered in an unprecedented new era for the medium: across the entire nation photography was communicating what words could not.
Imbued in the nation's social consciousness, the images that illustrate the history of the Great Depression originated in presidential action. In his second inaugural address, Roosevelt poignantly stated, "I see one-third of a nation ill-housed, ill-clad, ill-nourished. The test of our progress is not whether we add more to the abundance of those who have much; it is whether we provide enough for those who have too little."
In establishing the Resettlement Administration in 1935 - later renamed the Farm Security Administration in 1937 - Roosevelt created a robust response to help America's poor farmers, sharecroppers, and migrant workers. Roy Stryker, an economist, was hired to document the situation and quickly developed an extraordinary roster of young photographers.
One Third of a Nation: The Photographs of the Farm Security Administration presents more than 50 photographs by Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Gordon Parks, David Robbins, Arthur Rothstein, Peter Sekaer, Ben Shahn, and Marion Post Wolcott. From 1935 to 1943, the photographers of the FSA shot nearly 80,000 photographs traveling the country on assignments that could last for months at a time. Their touching portraits of children, concerned parents, struggling workers, and difficult living situations are regarded as some of the finest examples of modern documentary photography. The images proved in no uncertain terms that the nation needed to act.
While the FSA photographers were working across the country, so too was Lewis Hine for a dynamic "think tank," which included several passionate young people, who would oversee assessing the economy's future. Established in 1935, the goal of the National Research Project was to investigate new industrial technologies and their effects on employment. As a pre-eminent pioneer of American photography, Hine was known for chronicling the unfair social conditions of his day, which led to the passage of the National Child Labor Law.
Eager to depict these new facets of technology, Hine set off to photograph factory workers in textiles, furniture, cabinet making, radio manufacturing, construction, and mining, among others, in New Hampshire, Massachusetts, New York, New Jersey, Pennsylvania, North Carolina, and West Virginia. Fueled by his belief that labor was the soul of America, Hines's portraits depict the dignity and industriousness of the worker, offering an evocative record of America's innovative response to the groundbreaking technologies of the time.
Lewis Hine: The WPA National Research Project Photographs, 1936-37 presents more than 70 images. It is the most comprehensive exhibition ever mounted of Hine's NRP photographs. The exhibition was inspired by the research of photographic historian Judith Mara Gutman. She writes in her 2017 book Lewis Hine: When Innovation Was King (Steidl/Howard Greenberg Library) that "Hine produced a cross-section of American working life….[and] imbued his photographs with a singular importance that elevated them beyond the generally accepted role of photographs as illustration to text."
More than 80 years later, the photographs from the New Deal programs of the FSA and NRP share a remarkable ability to capture the human spirit whether in spite of intolerable conditions, or in depicting ingenuity and dignity in the workaday world. Together these two exhibitions show how the medium of photography changed the trajectory of both social documentation and photographic history.
Rena Bransten Gallery presents When Nobody's Watching, a group exhibition of self-portraits by Faisal Abdu'Allah, John Bankston, Phoebe Beasley, Jonathan Calm, Gina Contreras, Tracey Emin, Rodney Ewing, Viola Frey, Rupert Garcia, Joseph Green, Doug Hall, Bovey Lee, David Linger, Hung Liu, Chip Lord, Vik Muniz, Tameka Jenean Norris Estate, Sidney Russell, Ron Moultrie Saunders, Kathy Sloane, Lava Thomas, Tara Tucker, John Waters, Lewis Watts, and Derek Weisberg. The exhibition will be on view in the gallery with an expanded iteration available to view online.
Paying homage to the time-honored tradition of self-portraiture, this collection of works shows a multiplicity of approaches to the genre–the images are sometimes confessional and profound, sometimes self-deprecating and humorous.
While most artists are no strangers to solitude and the inevitable self-reflection that solitude brings, there is a more practical consideration: artists often choose themselves as subject simply because they are the ones there. This past year has made even more pronounced the necessity of using what is within arm's reach, in the same way, that an artist's available physical space can dictate scale. While these works were not all made during quarantine, they are seen now through the lens of prolonged separation, as little windows opening to other people.
Hung Liu's large-scale painted portrait, Rat Year 2020: Last Dandelion, shows a close cropping of her masked face, placing us solidly in the present. An air of stoicism dominates her gaze - there are no-frills, and no explanations. Her signature dandelion dominates the other panel, reminding us of impermanence, and the cyclical nature of life. How will this painting be seen years in the future, with the pandemic (hopefully) a hazy memory?
David Linger's four-panel self-portrait is a black and white photograph printed on porcelain–an extremely archival yet fragile material. Linger has bifurcated his face and the variations between panels become a nod to the many selves we all hold inside. The printing process Lingeremploys is one that demands embracing imperfections as it is difficult and time-consuming, and the results hard to control. When considering this process in relation to self-portraiture, it becomes poetic; as we all fumble through life our best hope may be to remain open to unexpected outcomes.
Perrotin New York is pleased to present a project room by JR, which showcases a selection of photographs and short film from the artist's Tehachapi series.
JR is known for installing large-scale, public murals in collaboration with those portrayed, often with an emphasis on social justice. In October 2019, JR was given access to a maximum-security prison in California with the purpose of working with the incarcerated inhabitants on a collaborative art project. The artist worked with 48 currently or formerly incarcerated people, as well as correctional officers and individuals involved in the incarceration process. Together, they executed a large-scale wheat-paste portrait of the participants, stretched across the prison's main complex and visible from above Tehachapi.
In 2020, the artist returned to the prison for a second iteration of the project - together with the inmates, he wheat pasted on the courtyard's walls a photograph of the surrounding Tehachapi Mountains. Both projects remained intact for several days before the harsh elements of the Southern California desert caused the wheat-paste to disintegrate. What remains today is documentation of the projects and the stories of each participant.
Concurrently at Tribeca Film Festival, JR debuts a new documentary, titled Paper and Glue, which follows the artist through the creation of ambitious installations across the world. For each project, JR works with local residents in order to capture the heart and energy of their community, ultimately honoring their stories through powerful installations.
Guest Curated Exhibition by Elizabeth Flinsch.
Praxis celebrates pride month with FEMALIAChallenging Concepts of Gender and Femininity. Presenting 30 artists whose work explores ideas that challenge, criticize, redefines, and disrupts our concepts of female identity.
Opening Reception 6-8PM, Saturday June 19th, 2021
Come celebrate Pride Month & Juneteenth with Praxis Gallery!
Guest Curated Exhibition by Sandrine Hermand-Grisel
Praxis Gallery presents photographic art that demonstrate the fundamental qualities that make black and white & monochromatic photography an enduring, contemporary art form.
Opening Reception 6-8PM, Saturday June 19th, 2021
Come celebrate Pride Month & Juneteenth with Praxis Gallery!
For more than four decades, Dr. H. Russell Albright (1934-2017) had a profound impact on the New Orleans Museum of Art, as a donor and trustee. During the 1980s and 1990s, Dr. Albright built a substantial art collection with the intention that it would one day become a permanent part of the museum's collection. Dr. Albright collected African art, decorative arts, and modern art, but his greatest enthusiasm was for photography. His collection began with acquisitions of important early twentieth-century photographs, but soon shifted toward contemporary works, resulting in a collection with great range from beautiful prints by photographers such as Brassaï and Doris Ulmann to large-scale works by Cindy Sherman, Lorna Simpson, and Yasamusa Morimura, among many others.
While he gifted many works to the museum in his lifetime, Dr. Albright bequeathed his entire collection of almost four hundred works (three hundred fifty of which are photographs) to NOMA. This transformational gift now forms the core of the museum's modern and contemporary photography collection. Dr. Albright shaped the collection with a discerning aesthetic eye for both the image and object, selecting works that, as he put it, "I feel are important, that should be available to people in this community, and that should be preserved."
NOMA is pleased to exhibit a selection of photographs from the bequest of Dr. Albright in both the first-floor Great Hall and the second-floor A. Charlotte Mann and Joshua Mann Pailet Gallery. These installations represent the varied range of photography that Dr. Albright collected—in scale, subject, and perspective.
Along with his collection, Dr. Albright also bequeathed a fund to support the activities of the photography department. Both the collection and the fund will significantly support NOMA's presentation and interpretation of the history of photography in perpetuity.
Terry Evans: Stories of the American Prairies features thirty-three photographs by acclaimed Chicago-based photographer, Terry Evans. The exhibition is a love letter to America's Heartland documenting the ecological transformations of the mid-west from Texas to Canada. Evans's micro-to-macro perspectives examine the land from the ground and from the air (the latter not by drone). Her art comes out of a knowledge of the history of landscape photography, art history, the history of her region, and America's industrial development. And her vision is distinctly humanist, at once grassroots and universal. Evans's art and message (equal parts fable, history, and autobiography) are relevant to Gainesville, also a prairie land with rapid development. Her photographs speak to our collective health and well-being, fitting for our time.
Galerie XII Los Angeles is pleased to announce the solo exhibition of Mona Kuhn: Works, a stunning career retrospective of one of the most respected and widely exhibited contemporary art photographers at work in the world today. The exhibition, which runs from April 10 to May 29, 2021, coincides with the launch of Mona Kuhn's first monograph, "Works" (Thames & Hudson), an essential volume for anyone with an interest in the human form in contemporary art, which will be released in the US in April. The reader is provided with invaluable insights into Kuhn's creative process and the ways in which she works with her subjects and settings and achieves the visual signature of her imagery.
The scope of the work reflects the intricate nature of indigenous identity. Ten artists have created images that reveal expressions of pain, resiliency, resistance, healing, tradition, history and celebration.
The exhibition includes NatGeo photographer, Kiliii Yuyan's sweeping landscapes, internationally acclaimed artist Meryl McMaster's dream-like self-portraits, Projects 2020 award recipient Donna Garcia's historical recreations, and Sundance Film Festival invitee Shelley Niro's work focused on women and indigenous sovereignty. Canadian documentarian Pat Kane, Fine Art photographer Will Wilson and newcomers, Jeremy Dennis, the collaboration of Kali Spitzer & Bubzee and photojournalist Toni Cervantes round out the show.
Spirit: Focus on Indigenous Art, Artists and Issues is an initiative designed to educate the public, through lens-based art, regarding the true history of indigenous people and recruit advocates for indigenous issues everywhere, but with a specific focus on the US and Canada, where native lands and people аre still coming under attack everyday.
ClampArt is pleased to announce "Meryl Meisler | New York PARADISE LOST Bushwick Era Disco"-the artist's first solo show with the gallery. The exhibition coincides with the release of the artist's monograph of the same title from Parallel Pictures Press (Hardcover, 272 pages, 130 duotones, 132 color photos, $48). A complimentary show of related works will be mounted at The Center for Photography at Woodstock from July 3 - August 15, 2021.
Meryl Meisler's series "New York PARADISE LOST Bushwick Era Disco" is an intimate journey through the pandemonium and ecstasy of New York City from the 1970s to the early 1990s. Meisler documents a tumultuous time in the city's history marred by epidemics of crime, addiction, and AIDS, intensified by a paralyzing blackout and political and fiscal crises. Frequenting Manhattan's legendary discos that arose from the disorder, she captured hedonistic havens patronized by celebrities and revelers of the night. In contrast, daylight revealed the beauty of those who loved and thrived in burnt-out Bushwick, where Meisler worked as a public school art teacher and continuously documented her surroundings.
Meisler's effervescent photographs are a personal memoir-love letters filled with compassion, humor, and angst as well-kept secret for decades until she retired from teaching. Meisler was headed to Studio 54 the night of the '77 blackout, and the next day, she and the world first heard of Bushwick-a hellish neighborhood where fires and looting had erupted. Later in 2013, at BIZARRE (a Bushwick drag/burlesque nightclub), Meisler noticed a disco ball in the restroom along with another above the dance floor. This was an epiphany. Bushwick was now THE sizzling club scene, and in her mind the disparate worlds of Bushwick and disco collided becoming intertwined strands of NYC's story and her own journey. This is when Meisler realized her photographs of Manhattan nightlife and Bushwick daylight belonged together.
Meisler's two previous internationally acclaimed books, A Tale of Two Cities: Disco Era Bushwick (2014) and Purgatory & Paradise SASSY '70s Suburbia & The City (2015) were just the top of the iceberg. The artist continued to dig into her archive, finding hidden treasures. New York PARADISE LOST Bushwick Era Disco takes an unexpected turn from clandestine clubs to the classroom where students and staff create a safe space to learn despite societal ills of poverty and prejudice. Meisler's street photographs radiate with the joys of daily life in contrast to a background of hardship. The nightlife images expose the edgiest, darkest activities the artist has shared to date. Flash forward four decades, and Bushwick is a hub of new music, art, fashion, literature, nightlife, and creative thinking. However, many bemoan the gentifrication of neighborhoods like Bushwick. There is a nostalgia and sorrow for what is lost in the process of change.
Photographs have often been described as either windows to the world or mirrors of the world. In either case, most of our worlds have been somehow smaller and more contained throughout the last year. It has been a year governed by caution and care for our immediate world and ourselves.
Now that Spring has arrived and we are all venturing out more, we have curated the exhibition, "Exhale" to visually reengage with the spontaneous joys of life. We encourage everyone to take time to appreciate the beauty that surrounds us as well as to engage with a more diverse group of people.
Photographers such as Edward and Brett Weston, Andre Lichtenberg, Horst P Horst, Stephen Wilkes and Herb Ritts have created bodies of work that center around the visual pleasure of capturing the world's natural beauty as well as the experiencing the joy of the human form. From the nature sanctuaries of the Falkland Islands to the Serengeti, or the beauty of the sunrises and sunsets of the English Chanel, nature gives us an almost infinite variety of forms, textures and colors to amaze and refresh our senses. We have always had a fascination with the human form and photographers have almost endlessly looked for ways to find an adequate expression of its lyricism.
Photographers like Frank Horvat, Bruce Weber and Arthur Elgort preferred shooting outdoors with natural light and freeing their work from the confines of the studio. Just as we are slowly resuming our appreciation of style and the rewards offered by cultural experiences, their work presents a fresh vitality that allows us to both exhale and look forward to a fuller engagement with the world. Their photography has always had an energy, lightness and purposeful informality that gives it a sense of spontaneity and excitement.
People are social creatures and as we are able to enlarge the scope of our lives and enjoy the company of friends we can look at the the photographs of Jim Lee, Lawrence Schiller and Harry Benson and their photographs reignite our interests that center around travel and entertainment, cultural history and bridge a connection to a larger world. These photographers have made pictures that center around aspects of life independent from our work and personal responsibilities.
When photographers engage with nature and broaden the scope of their vision to be more comprehensive, it is an act of liberating themselves from their predictable and well-worn studio. They venture out into the world to give us a way to expand our world from our daily predicable surroundings and reassure us that it's ok to dream about beauty, freedom and far away places. "Exhale" is an exhibition that encourages us to let go of our worries and preoccupations and breathe in a renewed appreciation of all the beauty, excitement and vitality that photography can capture
An icon of modern photography, Mary Ellen Mark (1940–2015) created compassionate and candid portraits of subjects living outside of mainstream society. From street children in Seattle to circus performers in India, Mark captured the lives and stories of individuals with empathy, humor, and candor. Through the lens of her camera, she cut through social and societal barriers to champion overlooked communities in the United States, India, Mexico, the former Soviet Union, and other countries.
Mary Ellen Mark: Girlhood examines Mark's depictions of girls and young women living in a variety of circumstances around the globe. While Mark photographed people from all walks of life, she was particularly interested in children. "I don't like to photograph children as children," Mark said. "I like to see them as adults, as who they really are. I'm always looking for the side of who they might become."
Made possible by a recent donation from the Photography Buyers Syndicate of more than 160 Mary Ellen Mark works, this presentation includes approximately 30 photographs that span the artist's 50-year career-from her earliest work in Turkey in the 1960s to images taken on Polaroid film in the early 2000s. Mary Ellen Mark: Girlhood highlights some of the artist's best-known series, including "Prom," "Streetwise," and "Twins," offering viewers an intriguing glimpse into the artist's wondrous and uncanny vision of girlhood.
An exhibition of works by Bruce Davidson from the permanent collection that explores historic context and viewer response as key factors in the evolution of meaning in photographs.
Photographer Bruce Davidson (b. 1933 Oak Park, Illinois) is known for his intimate and humanist approach to documentary photography. Through remembering the historical context in which he worked and the opposing views his work provoked, this exhibition explores how understanding and "reading" documentary photography has evolved over the past half century. Davidson never claimed to be driven by ideology or agenda; his art was born from his roving curiosity, a deep desire for human connection, and the willingness to be patient. But despite the artist's best intentions to simply immerse and observe, ideologies and agendas can manifest far beyond the frame when it comes to documenting the world, and it is within this resulting conversation that we can find meaning in images.
The exhibition features photographs from some of Davidson's best-known projects, including Brooklyn Gang, Time of Change, East 100th Street, and Subway.
Paris to Hollywood: The Fashion and Influence of Véronique and Gregory Peck presents 100 ensembles-by 17 different couturiers and designers from around the world-from the wardrobe of Parisian writer, philanthropist, and fashion influencer Véronique Peck.
A selection of haute couture, fashion sketches, photographs, film clips, family snapshots, and documents will be exhibited publicly for the first time, providing a unique look into the style of one of Hollywood's most beloved couples. Through more than four decades of material from the 1950s to the 1990s, the presentation provides an overview of how fashion changed as the roles of women in society evolved in the 20th century. In conjunction with the exhibition, Véronique and Gregory's daughter, Cecilia Peck Voll, has gifted the Denver Art Museum 20 of her mother's iconic looks for the museum's collection.
Paris to Hollywood is organized by the Denver Art Museum and curated by Florence Müller, the DAM's Avenir Foundation Curator of Textile Art and Fashion, and designed by architect Brian Dale and designer Meredith Dale, both co-founders of Sort Studio. Divided into nine sections organized thematically and chronologically, the exhibition displays iconic milestones in the history of fashion such as the mini dress and pantsuits of André Courrèges, whose futurist style was celebrated by the fashion magazines in 1965 as the "Courrèges bomb." Véronique is praised for introducing Courrèges to the U.S. in the 1960s.
A selection of dresses, demonstrating the meticulous artistic creativity that went into the creation of these garments, will reveal Véronique's talent for choosing the best designer pieces, emblematic of each season and occasion. Her wardrobe-which includes many unique samples from the fashion shows of Yves Saint Laurent and Givenchy-is a testament to the fact that leading designers viewed her as a fashion ambassador and influencer of her time. The first presentation of its kind, Paris to Hollywood also will include one of Gregory Peck's tuxedos, in addition to film clips and never-before-seen family photographs.
Sometimes indefinable, but always alluring, modern art in the United States spans a number of decades and includes several distinct styles. The first half of the twentieth century witnessed a dramatic shift in art-making in America. Industrial growth and social awareness, coupled with an economic downturn, helped shape a new and definitive American art during this time. Abstraction and the American Scene includes the work of Social Realists such as Jacob Lawrence, John Sloan and Reginald Marsh who highlighted, and at times parodied, the disconcerting realities of city life, even as others celebrated the promise and potential of this new, modern world. This exhibition features the vastness of the American landscape as captured in the photographs of Ansel Adams, in contrast to prints by Grant Wood and Thomas Hart Benton that celebrate the pastoral beauties of the Mid-West. Also highlighted are the work of artists influenced by Cubism and Fauvism, such as Alexander Archipenko and Marguerite Zorach. By reacting against and simultaneously embracing European movements, these artists celebrated uniquely American viewpoints, landscapes, and experiences.
Not only are individual studies, drawings, prints, and photographs featured, but also works from publications and government projects. These latter works—which were widely publicized—increasingly shaped public opinion in the twentieth century. Dorothea Lange's iconic images emphasize the personal loss and injustices of the Great Depression and World War II while Alfred Stieglitz's quarterly publication Camera Work, produced between 1903-1917, underscores photography's role in the fine arts. The exhibition also includes limited edition prints published and sold by Associated American Artists, which helped to make art ownership more accessible.
Celebrating rarely seen and light-sensitive works from the MFA's collection, this second iteration of our Explore the Vaults series examines imagery produced predominately between 1900 and 1950—a period that witnessed radical changes that shaped not only art, but the very understanding of what it was to be American.
Light Work's galleries are currently closed to the general public as part of our ongoing effort to stop the spread of COVID-19. We encourage patrons to visit our exhibitions and events online and to check out our catalog of artist videos.
Best of Show: Kai Nguyen
Honorable Mention: Zoe Davis, Molly Gibbs, Laura Oliverio
Light Work presents the 2021 Newhouse Photography Annual, featuring work by photography students in S.I. Newhouse School of Public Communications at Syracuse University. This exhibition comprises more than 30 thematically diverse photographs by Newhouse's Multimedia Photography students. The exhibition represents various approaches to photographic practice and technique and showcases the range of images that today's students are producing. Selected works will be on view in the Hallway Gallery at Light Work from March 22 - July 23, 2021.
The exhibiting artists are Nina Bridges, Gabrielle Cavallaro, Zoe Davis, Renee Deemer, Madeline Foreman, Hannah Frankel, Max Freund, Molly Gibbs, Daniel Lyon, Lauren Miller, Thi Phuong-Anh Nguyen, Laura Oliverio, Katherine Reahl, Thomas Shaw, and Codie Yan.
S.I. Newhouse School of Public Communications students are a vital part of the photography community on the Syracuse University campus. The Light Work staff and community congratulate all the students for their accomplishments and wish them bright futures in the field of photography.
Michael Kamber has worked as a journalist for more than 25 years. Between 2002 and 2012, Kamber worked for The New York Times, covering international conflicts including those in Afghanistan, Congo, Iraq, Liberia, Somalia, and Sudan. He has also worked as a writer and videographer for the Times, which twice nominated his work for the Pulitzer Prize. Nearly every major news magazine in the United States and Europe has published his photos, as well as many newspapers. In 2011, Kamber founded the Bronx Documentary Center, a space dedicated to education and social change through photography and film.
In Light Work's early days, during the 1970s and 80s, many artists arrived for their month-long residency with no specific plans for using their time. With only a camera and a vague idea of exploring, they walked the streets of Syracuse, open to the synchronicity of what might happen. Incredible photographs ensued and the artists often called them gifts. Grateful to land in the right place at the right time, they discovered images on their contact sheets that startled and delighted them. But they also saw photography as more than random luck. It was both a collaboration and a conversation. They saw themselves as witnesses.
Over the same decades, Meryl Meisler was photographing her life in and around New York City with the same sense of exploration and possibility as those pioneering Light Work AIRs. Retiring from decades as a public-school art teacher, Meisler began to unearth and rethink her own archive. Part-time capsule of the 70s and 80s and part memoir, The Best of Time, Worst of Times is an invitation to join her for a wild ride—disco nights, punk bars, strip clubs, Fire Island, family, friends and neighbors, and suburban Long Island. Her exuberant celebration of human connection is particularly poignant now, when we can take none of these gatherings for granted. Meisler clearly celebrates with her subjects. These are her people: she is not an outsider but a participant. She depicts our own shared humanity, humor, and joy.
As a freespirited and daring young man in the early 1930s, Theodore Fonville Winans drove the backroads and navigated the bayous of south Louisiana in a secondhand boat he christened the Pintail. During his travels, Winans documented many fascinating aspects of Louisiana culture. including the Acadian fishing community of Grand Isle, the Crowley rice festival, an annual fox hunt in Feliciana Parish, the interior of the Avery Island salt mine, prisoners at Angola State Penitentiary, and Governor Huey P. Long, who was also known to visit remote areas of the state. Winans remarked about this time in his life, "I didn't take the pictures deliberately. I just took them for fun. None was on assignment. I wasn't a freelancer. I just took my camera and got pictures when I saw something interesting." A gifted, amiable, and inquisitive photographer, Winans had an intuitive eye for composition and an innate ability to connect with his subjects, revealing both their personality and a sense of place.
Upon getting married in 1936, Winans and his bride, Helen Collins, settled in Baton Rouge and raised three children. Initially, he worked as a state photographer specializing in portraits of elected officials during the tenure of Governor Earl K. Long. In 1940, he opened his own studio on Laurel Street and became a wedding and portrait photographer. Winans became known for the friendly thoroughness of his approach. He would follow the bride throughout the day, capturing her preparations and emotions as well as the ceremony itself. Winans' studio remained open as generations of Baton Rouge brides selected Winans to document their special day.
Winans achieved an engaging blend of intimacy and revelation not just in his wedding photographs, but in most of his work. And although color photography became more available and popular during the course of his career, he stuck with the familiarity of black and white. An alert and sensitive chronicler of his times, Fonville Winans created a magnificent monochromatic record of a colorful and complex culture.
Adams's Manzanar photographs, created in 1943, are a departure from his signature style of landscape photography and serve as documentation of the Japanese relocation camp in California. The series was originally shown in the exhibition BORN FREE AND EQUAL: An Exhibition of Ansel Adams Photographs, organized by the Fresno Metropolitan Museum of Art, History and Science in 1984. The photographs document a dark period for America and serve as a reminder "about an unfortunate moment in our country's history that must be better understood. It also should serve as a warning as to what can occur when emotion and fear overwhelm clarity and courage."
Also included in the exhibition are more than twenty-five various photographs, documents, and works of art that further record this era.
The exhibition is presented in memory of Shizuo Tsujihara and is on loan from Photographic Traveling Exhibits.
JANET BORDEN, INC. is pleased to announce C O L O R, a new exhibition of color photographs by a variety of gallery artists. There are certain qualities unique to color photography, and each of these artists is addressing at least one. The color makes these photographs particularly enticing, and different from other work.
Starting with Hanno Otten's spectacular large Colorblock, each image is dependent on the impact of the color. Generally, photographs are selected for their information, their message, their narrative; Otten's light studies (Lichtbilde) are abstract large swaths of color delivering a punchy impression without a story.
Jan Groover's extraordinary still life has a Morandi-like simplicity, primarily due to its colors. Groover has painted the bottles a matte gray to diffuse the color. The composition also has a Morandi-like complexity, with implied planes making various bottles more prominent. This is extremely rare and difficult in photography, yet Groover makes it appear simple.
Alfred Leslie's masterful pixel study of a woman's head is an amazement of color and surface. Winokur's Glass of Water is a powerful image of deadpan simplicity in blue. No metaphor here. Fred Cray's Untitled #C is a kaleidoscopic view of Deno's Wonder Wheel at Coney Island. The layered yellow color adds to the appeal of this somewhat hallucinogenic view.
This UNF Gallery exhibition features the work of Priya Kambli. Born in India, Kambli moved to the United States in 1993 at the age of eighteen, a few years after the death of her parents, to pursue her education. Carefully stowed within her single, small suitcase was a cache of family photographs which became the basis of Kambli's creative work-a growing body of images exploring migration, transience, and cultural identity. Her lyrical photographic compositions are not only a rich synthesis of light, pattern, and texture, but also a moving testament to the tangible, archival nature of photography.
For nearly all of photography's one hundred eighty-year history, women have shaped the development of the art form and experimented with every aspect of the medium.
Conceived in conjunction with the centennial of the passage of the Nineteenth Amendment, which granted suffrage for some women, this exhibition showcases more than one hundred photographs from the High's collection, many of them never before on view, and charts the medium's history from the dawn of the modern period to the present through the work of women photographers.
Organized roughly chronologically, each section emphasizes a distinct arena in which women contributed and often led the way. Among the artists featured are pioneers of the medium such as Anna Atkins as well as more recent innovators and avid experimenters, including Betty Hahn, Barbara Kasten, and Meghann Riepenhoff. The exhibition also celebrates the achievements of numerous professional photographers, including Berenice Abbott, Margaret Bourke-White, and Marion Post Wolcott, who worked in photojournalism, advertising, and documentary modes and promoted photography as a discipline.
The exhibition also highlights photographers who photograph other women, children, and families, among them Sally Mann, Nan Goldin, and Diane Arbus, and those who interrogate ideals of femininity through self-portraiture. Also on view will be works by contemporary photographers who challenge social constructions of gender, sexuality, and identity, including Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems.
This exhibition surveys the life's work of Lewis Wickes Hine (1874-1940), the father of American documentary photography. Consisting entirely of 65 rare vintage prints, it covers the three overarching themes of Hine's three-decade career-the immigrant experience, child labor, and the American worker-and culminates in his magnificent studies of the construction of the Empire State Building.
Our Strength Is Our People coincides with the complementary exhibition, Old World/New Soil: Foreign-Born American Artists from the Asheville Art Museum Collection.
Our Strength Is Our People is organized by art2art Circulating Exhibitions, LLC. All works are from the private collection of Michael Mattis and Judith Hochberg.
We are excited to announce the first ever West Coast exhibition of Master Italian photographer Gianni Berengo Gardin's work. Gianni Berengo Gardin is an Italian photographer who has worked for Le Figaro and Time Magazine. Considered an artistic heir to Henri Cartier-Bresson, like Bresson he has long used and admired Leica rangefinders. His work has been published in more than 200 photographic books and shown in the most prestigious galleries and museums around the world, including the Museum of Modern Art in New York. Now in his 90's, Gardin boasts a personal archive of more than a million pictures.
This month we are pleased to open the first Los Angeles exhibition of the master set of Paul Fusco's iconic "RFK Funeral Train" photographs.
In the years since they were taken these photographs have become an iconic series in photography. While in some ways they represent the end of the dreams of the sixties, at the same time they celebrate the idealism and diversity of America.
Hastily arranged, Robert Kennedy's funeral train took place on June 8th - a sweltering early summer day. Paul Fusco, then on staff for LOOK Magazine, was given a place on the train taking RFK's body from New York to Washington, where he was to buried at Arlington next to his brother. Along the tracks hundreds of thousands of mourners came out to pay their final respects and for the eight hours it took for the train to make the usually four-hour journey Fusco never put down his camera except to reload film shooting approximately 2,000 pictures.
The resulting images are one of the most powerful and affecting series of photographs ever taken. Shot on Kodachrome film - a film with a particularly vibrant palette favored at the time by photojournalists - Fusco's pictures blend the spontaneous look of snapshots with artistic precision of the decisive moment.
Each photograph carries its own weight and tells its own story, but cumulatively the series is an epic vision of America.
John Edmonds: A Sidelong Glance is presented as part of the inaugural UOVO Prize for an emerging Brooklyn artist. John Edmonds is best known for his use of photography and video to create sensitive portraits and still lifes that center Black queer experiences and reimagine art historical precedents. This is the artist's first solo museum exhibition and features new and recent photographic portraits and still lifes of Central and West African sculptures alongside friends and acquaintances from Edmonds's creative community in New York. These works explore the intersections of representation, modernity, and identity in the African diaspora.
For this exhibition, Edmonds was invited to engage directly with our Arts of Africa collection, photographing select objects donated to the Museum in 2015 by the estate of the late African American novelist Ralph Ellison. The presentation of the collection objects, along with Edmonds's excerpts from scholarly texts on Baule art, considers the distinct role that individuals and institutions-from collectors to art historians to art museums-play in the bestowal of meaning, authenticity, and value. While Edmonds's work recognizes the persistence of power imbalances, it offers new aesthetic and conceptual possibilities.
John Edmonds: A Sidelong Glance draws its title from an essay by scholar Krista Thompson that looks at perspectives on Black diaspora art history, and how they have shifted from examining relationships with Africa to questioning forms of representation in Western cultures.
Edmonds is the inaugural recipient of the UOVO Prize for an emerging Brooklyn artist. As the awardee, he receives a solo exhibition at the Brooklyn Museum, a commission for a 50x50-foot art installation on the façade of the new UOVO: BROOKLYN art storage and services facility, and a $25,000 unrestricted cash grant. The mural is on view through spring 2021.
John Edmonds: A Sidelong Glance is curated by Drew Sawyer, Philip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum, and Ashley James, former Assistant Curator, Contemporary Art, Brooklyn Museum (currently Associate Curator, Contemporary Art, Solomon R. Guggenheim Museum).
Keith de Lellis Gallery celebrates the 90th anniversary of New York City's magnificent Art Deco skyscraper in its summer exhibition. After demolishing the famous original Waldorf Astoria Hotel on Fifth Avenue in 1929, the Bethlehem Engineering Corporation took on the world's most ambitious building project to date: the construction of the Empire State Building, the first 100+ story building. The Chrysler Building, with 77 stories, briefly held the title of the world's tallest building before being unseated by the Empire State a mere 11 months later. Dwarfing all surrounding buildings, the Empire State stands at 1,454 feet tall. Construction began on March 17th, 1930 and was completed in record time, opening on May 1, 1931. As a tourist attraction, the site found immediate success, collecting a ten-cent fee for a bird's eye view of New York City from telescopes atop the observatory.
The record-breaking height was said to serve a special purpose: for its tower to act as a mooring mast for dirigibles, positioning the building and its developers at the cutting edge of air travel in its infancy. In reality, the ambitious docking station plan was not at all practical: “the notion that passengers would be able to descend an airport-style ramp from a moving airship to the tip of the tallest building in the world, even in excellent conditions, beggars belief.” (Christopher Gray, New York Times, Sept. 23, 2010). The gallery exhibition features an impressive image of the dirigible Los Angeles docked at the tip of the Empire State Building (1931), but this scene did not come to pass, and is in fact a composite photograph. The tower would ultimately be used for radio and television broadcasting.
A day of note in the building's early history is July 28th, 1945, when an aircraft collided with the 78th floor, resulting in a four-alarm fire and fourteen deaths. The U.S. Army B-25 bomber was en route to Newark, New Jersey when the pilot was disoriented by dense fog conditions. A group of five photographs show a street view of the smoking building, the plane wreckage, and spectator reactions to the crash - the latter captured by infamous street photographer Weegee.
A mere two years after its unveiling, the building was featured in its first of many films: King Kong (1933), sealing its position as a cultural monument. In 1964, Andy Warhol set his lens on the structure to create an eight-hour slow motion silent film. Shot facing southeast from the 41st floor of the Time-Life Building, the film simply documents a fixed view of the Empire State from 8:06PM to 2:42AM the night of July 24-25, 1964. Due to its length and experimental nature, the film was met with mixed reviews.
As the most photographed building in the world (Cornell University, 2011), there are countless images of the Empire State Building's recognizable façade. Selected exhibition photographs range from aerial surveys to street views, distorted reflections to detailed studies, and news photographs to artistic compositions, capturing the seminal building from every perspective.
Through photographs, the prism of time is illuminated and breaks to clarity. We see the components and how they fit together. They take us on unexpected paths, they bring us to other lives we could know if life were to turn another way; they foster empathy. They allow us to recognize that life is not a story that flows to a neat finale; it warps and branches, spirals and twists, appearing and disappearing from our awareness.
This exhibition presents photography attuned to this consciousness, photography from the world, from life as it is-in all its complicated wonder-in the twenty-first-century United States: from Vanessa Winship's peripatetic vision in she dances on Jackson through Curran Hatleberg's gatherings of humankind in Lost Coast; Richard Choi's meditation on the differences between the flow of life and our memory of it in What Remains; RaMell Ross's images of quotidian life from South County; Gregory Halpern's luminous Californian journey in ZZYZX; Piergiorgio Casotti and Emanuele Brutti's Index G work on the delicate balance between economic theory and lived fact; Kristine Potter's re-examination of the Western myth of manifest destiny in Manifest; or Stanley Wolukau-Wanambwa's braiding the power of images with the forces of history in All My Gone Life.
This photography is postdocumentary. No editorializing or reductive narrative is imposed. That there is no story is the story. For these artists, all is in play and everything matters-here is a freedom, hard won, sometimes confusing, but nonetheless genuine: a consciousness of life and its song. The world's infinite consanguinity lies here: each of us and all of this exist in the fulsome now.
Birds all fly in the same direction while bears and bobcats gaze at us from their home in the woods. Tom Uttech is known for combining real and imagined elements inspired by nature in his captivating artwork. Tom Uttech: Origin will feature Kisibakwad, the beloved painting from the Figge collection, alongside a selection of large-scale photographs by the artist from the collection of the Museum of Wisconsin Art. The exhibition explores the origin of Uttech's work -his relationship with the natural world and specifically with the North Woods, a place he has been fascinated with for decades and describes as "a land of glacial lakes, boreal plants and animals..."
'This is the day the Lord has made; let us rejoice and be glad.' - Psalm 118:24 NIV
Throughout American history, the Black church has been a pillar of the community, a place for worship and organizing, a provider of spiritual and political leadership, and a target for terrorism and bombings. Above all, the Black church has endured, remaining resilient through both victories and losses.
This Is the Day brings together 24 artistic representations of Black faith and spirituality, including the work of Bruce Davidson, Faith Ringgold, and Arkansas-based photographer Aaron Turner, that illuminate the resilience of the Black church and the community it has served for more than 300 years. From depictions of joy to quiet moments of prayer to images of departure through funerals and terrorism, this focus exhibition displays the church's significant role in Black history and culture that still endures today.
EXPOSURE 2021 celebrates 25 years of the Photographic Resource Center's annual national juried exhibition. The exhibition will be installed at the Mary Cosgrove Dolphin Gallery at Worcester State University (Ghosh Science & Technology Center, 486 Chandler St, Worcester, MA 01602) and will be on-view July 9 - August 20, 2021 with an online reception July 13, 2021, at 7pm. To commemorate 25 years of EXPOSURE, the PRC Curator and Board of Directors will be selecting three of this year's exhibiting photographers to receive the first annual PRC Choice Awards. The $1000 in awards will be announced at the Online Reception on July 13th. RSVP for this free event on the PRC website, prcboston.org/exposure-2021.
Beginning with almost 200 submissions, EXPOSURE 2021 juror Kris Graves, artist and editor at Kris Graves Projects, selected 14 photographers: Becky Behar, Diane Bennett, Diana Cheren Nygren, Kristen Joy Emack, Michael Joseph, Tira Khan, Elizabeth Libert, and Cindy Weisbart from Massachusetts, Hannah Altman from Rhode Island, Lee Day from New York, Jo Ann Chaus from New Jersey, Katie Golobic from Iowa, Norman Aragones, and David Gardner from California.
There is strong figurative representation in this year's collection of images. Kristen Joy Emack, Katie Golobic, and Elizabeth Libert capture intimate moments of family life showing children comfortable both in their surroundings and in front of the camera. Street photography is represented with work by Norman Aragones, and Diane Bennett who provide glimpses of the action and reactions surrounding the main event. Hannah Altman, Becky Behar, and Jo Ann Chaus tell cryptic stories through their cinematic compositions. Contributing documentary work to the exhibition are Cindy Weisbart and Tira Kahn, capturing people immersed in their element, Michael Joseph's stark and direct portraits from Commercial Street, and David Gardner's visual investigations of environmental demise in the American West. Rounding out the strong group are images employing digital technology in their creation, from Lee Day who captures movement with an iPhone, to Diana Cheren Nygren creating digital collages to bring a family's past together with their present.
Robert Mann Gallery is pleased to announce Cig Harvey: Blue Violet, the artist's third solo exhibition at the gallery. Harvey's work is rich with the emotion and awe she is able to elicit through her depictions of the natural world and the magic within it. Her photographs, abundant with color, implied texture, and even scent, explore the five senses, bringing the viewer to the brink of saturation. This collection of photographs is both emotional and celebratory, filled with intense color, light and shadows.
The series, infused with flowers, speaks to the procession of seasons and transitional times. In the image, Scout & The Disco Ball, Harvey plays with dramatic, yet somehow gentle, atmospheric light. The lights from the disco ball appear to dance against the rustic wood walls. Poppies (floating) plays with the delicate line between life and decay. The viewer witnesses the vibrancy of the red and white poppies floating in the river, but is extremely aware of their fragility.
This exhibition opens in conjunction with the release of Harvey's highly anticipated new monograph, Blue Violet. Blue Violet is part art book, part botanical guide, part historical encyclopedia, and part poetry collection all coming together in one rich volume. The artist will be present to sign books on May 6th, please contact the gallery to schedule your visit.
Cig Harvey's work is included in permanent collections of major institutions including, the Museum of Fine Arts, Houston, Texas; the International Museum of Photography and Film at the George Eastman House, Rochester, New York; the Museum of Fine Arts, Boston; and the Farnsworth Art Museum, Rockland, Maine. Harvey was named one of the 2021 recipients of the Farnsworth's Maine in America Award and was named the 2018 Prix Virginia Laureate, an international photography award based out of Paris, among many other honors. Harvey has published three previous sold out monographs (Schilt Publishing) the first of which: You Look At Me Like An Emergency (Schilt Publishing, 2012), was accompanied by a solo museum show at the Stenersen Museum in Oslo, Norway in Spring 2012. The artist lives and works in rural Maine.
In coordination with the busiest month in Santa Fe, August 2021, known worldwide for
the celebration of Native American art markets all throughout our city, Obscura Gallery
presents the photographic exhibition, Future Intercept, with gallery artist Douglas Miles.
San Carlos Apache-Akimel O'odham artist Douglas Miles's artistic work is rooted in
Apache history and deeply engaged with the world of contemporary pop culture. His
latest photographic composite series, Future Intercept, transverses through time,
rejecting western exotic, white gaze, stereotypes of Native people in America as a way
to re-imagine the future of Indigenous and Native communities. Through the exploration
of Futurism, we are presented with a narrative that looks back on a distraught past to
reconstruct and foretell an impending future. By bending and folding the past and future
as it collides, Miles photographic work speaks on lineage and legacy within a community
whose roots are deeply embedded across the Americas. The exhibition reception with
the artist takes place on Friday, August 20, 5-7pm at Obscura Gallery.
Douglas Miles (b. 1963) is a multi-faceted artist working as a designer, filmmaker,
muralist and photographer who blends Native history with political resistance. His work
encourages reflection on how art can foster community-building and promote pride and
well-being, especially among young Native people.
Miles developed and founded Apache Skateboards in 2002, a program designed to
support the athleticism of skateboarding that emulates the strength, endurance and
tenacity of warriors. Since its original inception, the program has expanded to include the arts, education, political awareness and empowerment by connecting mainstream
skateboard culture with contemporary Native life. Many of the skateboard designs depict
Apache warriors and the youth of the San Carlos Apache reservation on skateboard
Miles enjoys collaboration with other artists in almost all forms of his work and ha
worked with such artists as actor and author Ethan Hawke and artist Greg Ruth on a
New York Times bestseller graphic novel, Indeh: A Story of the Apache Wars. He's also
collaborated with actress and artist LivÁndrea Knoki on a selection of photographs with
text and image, shown virtually in 2020 at Obscura Gallery.
Miles' work has been exhibited at Princeton University; Columbia University; Eiteljorg
Museum of American Indians and Western Art, Indianapolis; the Peabody Essex
Museum; Salem, Massachusetts; the Santa Cruz Museum of Art and History; and the
Institute of American Indian Arts Museum in Santa Fe. In 2017 he was a resident artist
at the San Francisco De Young Museum. The series, "The Blessing" was on view during a solo exhibition at the Arizona Capitol Museum in 2018.
Peggy Levison Nolan (b.1944) raised her seven children as a single mother in the Miami area, mostly in Naranja and Hollywood, Florida. With ardent dedication and unflinching adaptability, Nolan raised her family in a working-class neighborhood, alongside other families who became a source of support and occasionally served as her muses. Her work embodies intimacy; this body of photography Blueprint for a Good Life depicts fleeting moments in time. Nolan's photographs are personal, and yet they tap into our collective nostalgia of family, young love, and boundless joy while recording a family's resiliency amidst economic and social challenges.
Nolan found photography later in life, but she has been inseparable from her cameras ever since. She recalls, "When my youngest was about three, my dad gave me an old Nikon [camera] and said, 'Make pictures of the grandchildren.' And I got hooked. I got so hooked I can't even describe it to you. One roll of film got me." While Nolan's more recent work encompasses color photography, for this earlier body of work from the 1980s and 1990s, she worked exclusively with black and white film.
Inspired by the domestic space, Nolan photographed her seven children and aspects of their life as a large, boisterous family. Nolan recounts that over time, her children eventually forgot she was documenting their every move, nap, and relationship. Nolan, steeped in the history of photography, draws on street photography with her candid and organic approach.
This exhibition marks the artist's first solo exhibition at a museum.
Nolan attended Syracuse University during the 1960s and completed her BFA at Florida International University in 1990 and her MFA in 2001. She received the adjunct faculty award of the year in 2019 from FIU. She lives in Hollywood, Florida.
Birds will be the first North American exhibition of legendary fashion photographer Paolo Roversi. Presented at Dallas Contemporary, the exhibition will feature over 40 of Roversi's photographic works and will focus on his longstanding collaboration with the fashion brand Comme des Garçons and its founder Rei Kawakubo.
Titled Birds to highlight Roversi's use of movement in photography, the exhibition will examine how the Italian photographer has created a unique visual style in which models pose in abstract, mobile ways, often evoking birds landing or taking off. At Dallas Contemporary, visitors will encounter colored walls with groupings of photographs in varying sizes when entering the Museum's galleries and will be able to explore Roversi's work through one unifying theme in the exhibition- mobility- to foster new connections and interpretations around his oeuvre.
"My collaboration with Rei Kawakubo goes back a long time and each time working with her is a new inspiring adventure," says Roversi in regard to the upcoming exhibition. "As Dallas Contemporary is bringing all arts- including fashion- closer, it seemed a good opportunity to show my work together with hers." Birds will showcase known photographs by Roversi, as well as works that have never been seen before. On display will be photographs spanning the four-decade creative relationship Roversi and Kawakubo have developed and exploring how these two fashion trailblazers have exchanged ideas and creative philosophies throughout their impressive careers.
Adrienne Raquel's ONYX ventures beyond the societal stigma often associated with exotic dancing, and depicts a captivating narrative of femininity, sisterhood, self-transformation, and strength among the performers. Through portraiture and environmental vignettes, the dancers are photographed in their most vulnerable yet powerful moments - both on and beyond the performance stage.
ONYX is a completely new photography series created by NYC-based photographer and art director Adrienne Raquel and commissioned by Fotografiska New York. In this alluring and provocative photographic exploration of the famed Club Onyx in Houston, TX, Raquel pushes past the polish and controlled sets of her commercial work, and captures exotic dancers in a more candid and intimate environment. With her signature attention to detail, portrayal of glamour and ability to capture radiant beauty in her subjects, Raquel highlights the nuances of Southern strip club culture while focusing on the relationship dynamics amongst the dancers.
Catherine Edelman Gallery is pleased to present MARINA BLACK: UNSEEN, the artists' first solo gallery exhibition in the United States. The show opens June 4 and runs through August 28, 2021. There will be an in-person public reception on Friday, June 4, from 5:00 - 7:30 p.m. Maska are required to enter the gallery. The gallery with be open to the public on June 5, and June 8 -12, from 10:00 to 5:30 pm. Thereafter, we will be open by appointment.
There are many photographers whose work reveals its intent upon first viewing. Then there are photographers like Marina Black, whose images reveal themselves slowly, allowing the viewer multiple interpretations. Black cites Goya's The Disasters of War as one of her main influences, which many have interpreted as a protest against violence and the public who remain complicit. Her series Hasard Anticipé (anticipated chance) casts children as the subjects through which fear, joy, trauma and innocence is addressed. In Blacks world, the sanitized assumptions of childhood are replaced by the reality that innocence can be lost when children are not protected. As she states: "I am interested in investigating the complexities of the childhood world, and how susceptible children can be to mental and physical injuries. While there might be joy in childhood, there are also bullies, strangers, loneliness and conflicts that need to be negotiated." In Hasard Anticipé, Marina Black presents photographs of daily activities - dancing, a soccer game, children swimming - that seem ordinary until wires, ropes and other objects obscure reality and the identity of those pictured. Black invites the viewer to construct their own narratives, while suggesting that innocence is something to attain, and should not be taken for granted.
In her newest series, Palimpsests, Black creates fictional histories for unnamed people. As she says: "I have been slipping in and out of multiple characters, where my invented protagonists are closer to characters of a novel, I call the Unlikely Archive. They live through diverse historical periods and traverse vast geographies. Their faces and stories reflect the stories of those who have gone before, resulting in multilayered fictions. Slipping into my characters' mind, I work on their behalf, from making history to being caught in it." Once again, Black provides hints into a photograph's meaning, while the viewer fills in the events. Together, Hasard Anticipé and Palimpsests ask more questions than are answered, offering meanings that change based on our own past.
For our spring/summer 2021 season, Themes+Projects presents Traces by Camila Magrane. Traces explores the relationship between the past and the present with a focus on the process of transformation as the connecting thread. In total this exhibition contains 19 new works that are comprised of digital collages and Polaroids.
Through the use of a smart device and Virtual Mutations app, you are able to gain an enhanced experience when viewing the pieces. The art pieces are accompanied by animations and video clips seen solely through the use of an augmented reality app (Virtual Mutations).
In the world that Martine Gutierrez photographs, she exists as the cynosure of global desire. The artist's self-produced (and wholly independent) art publication, Indigenous Woman (2018), places variations of her image and body at the center of countless mise-en-scène, as she disrupts, subverts, and reappropriates the rarified space of cisgendered identity and whiteness—no longer unquestioned ideals for principal bodies in popular culture and iconography.
Through fashion spreads, product advertisements, and original text, Indigenous Woman deploys fluidity to reveal how deeply racism, colorism, sexism, transphobia and other biases are embedded and ubiquitous. Selections from the full 124-page Indigenous Woman body of work have been exhibited all over the world, including the 58th Venice Biennale.
"Mine is a practice of full autonomy. All photography, modeling, styling, makeup, hair, lighting, graphic design, and product design, I have created myself." - Martine Gutierrez, text from Indigenous Woman
This exhibition of Gutierrez's photographs, presented in the Print Study Room of the MoCP galleries, represents selections from the Indigenous Woman larger body of work. Later this summer, Martine Gutierrez at the Museum of Contemporary Photography will coincide with the artist's Public Art Fund exhibition of a new series of photographs on 350 JCDecaux bus shelters across Chicago and New York City, opening in August 2021.
"We are conditioned to assume that physical appearance is, in fact, identity, which is often not the case. As mixed transwomen, we're often seen as male when we feel female, or have been assumed to be from another culture because our ethnicities are ambiguous. None of us fit neatly into one category." - Martine Gutierrez
Martine Gutierrez at the Museum of Contemporary Photography Chicago is organized by Asha Iman Veal, Curatorial Fellow at the MoCP.
Much Unseen is Also Here, an initiative of Toward Common Cause, brings together the works of two major artists who both consider the theater of the landscape, monumentality, cultural history, and representation.
Probing monuments and identity, An-My Lê and Shahzia Sikander explore history's embeddedness in our present. Lê's Silent General (2015 - ongoing) presents large-scale views of places and people in the contemporary American landscape, while Sikander's uses sculpture, drawings, and animation to examine representations of intersectional femininity that is prompted by questions of who monuments historically depict.
Much Unseen is Also Here is a collaboration between the Smart Museum of Art at the University of Chicago and the Museum of Contemporary Photography at Columbia College Chicago. The exhibition is part of Toward Common Cause: Art, Social Change, and The MacArthur Fellows Program at 40 initiative, organized by the Smart Museum of Art in collaboration with exhibition, programmatic, and research partners across Chicago.
The MoCP is supported by Columbia College Chicago, the MoCP Advisory Board, the Museum Council, individuals, and private and corporate foundations. The 2020-2021 exhibition season is sponsored by the Illinois Arts Council Agency, the City of Chicago's Department of Cultural Affairs and Special Events (DCASE), the Efroymson Family Fund, and the Philip and Edith Leonian Foundation.
Muhammad Ali versus Joe Frazier was billed as the "Fight of the Century" and, in preparation for the March 8, 1971 bout, Ali spent time in Miami Beach training at the famed 5th Street Gym. One-of-a-kind photos chronicling his preparations is now be on display at HistoryMiami Museum in a new exhibition titled Muhammad Ali in Miami: Training for the "Fight of the Century." The images will be displayed through August 29 within a new photography gallery dedicated to exhibiting selections from the museum's extensive image collection.
With the support of the Knight Foundation, HistoryMiami Museum recently acquired the "ALI/MIA" portfolio of 20 silver gelatin photographs selected and handmade by photographer and Miami resident Andrew Kaufman. Seventeen of the images document Ali's time training for the fight. Three additional images taken in 1981 capture Ali's final fight, "Drama in Bahama," against Trevor Berbick. The photographs were taken by Pulitzer Prize-winning photographer Larry Spitzer and Jebb Harris of the Louisville's Courier-Journal, who covered the Kentucky native for more than a decade. Kaufman's portfolio is a portion of the work featured in the book Picture: Muhammad Ali, published by PSG.
"These photos captured a historic moment for Ali. He was just returning to boxing after his conviction for refusing to register for the draft in 1967 had been overturned," HistoryMiami Museum Executive Director Jorge Zamanillo said. "These photos show him preparing to return to the biggest stage in sports at that time, and we hope everyone will visit the museum to view an incredible and rarely seen collection of images."
"ALI/MIA" will launch a new gallery space dedicated to exhibiting highlights from the museum's collection of more than two million historical images. Selections will be displayed on a rotating basis. The institution's image collection documents South Florida history from the late 1800s to the present. Notable strengths include photojournalism, aerial photography, street scenes, architectural photography, and images of everyday life.
"We want to make sure the incredible photography that lives in our collection is widely accessible, so we created a special space to help us share it with the community," said Michael Knoll, the museum's director of curatorial affairs/chief curator. "We're proud to open this new gallery by featuring ‘ALI/MIA,' and we look forward to presenting more highlights from our collection within this space in the years to come."
Public Domain: Photography and the Preservation of Public Lands presents works drawn from the Asheville Art Museum's Collection by artists looking both regionally and nationally at lands that are either state or federally managed or have become so. This exhibition will be on view in the Asheville Art Museum's Van Winkle Law Firm Gallery May 19 through August 30, 2021.
"The Asheville Art Museum's growing collection of photography features a variety of artworks that consider humankind's impact on our environment and world," said Hilary Schroeder, assistant curator. "The imagery featured in Public Domain reminds us of the critical role that artists play in environmental activism and preservation, affecting change at a range of levels".
Through images capturing the beauty, changes, and even devastation to the American landscape, photographers have played a vital role in advocating for the preservation of nature via the establishment and maintenance of state parks, national parks and monuments, and other federally protected lands. From George Masa and Timothy McCoy's photographs of Great Smoky Mountains National Park to a selection of works from Robert Glenn Ketchum's Overlooked in America: The Success and Failure of Federal Land Management series, these artworks provoke contemplation of both nature's beauty and a calling to protect it. This year marks the 75th anniversary of the Bureau of Land Management whose mission is to sustain the health, diversity, and productivity of the public lands for the use and enjoyment of present and future generations.
Photographers include Robert Glenn Ketchum, George Masa, Timothy McCoy, Benjamin Porter, Sally Gall, and more.
This exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder, assistant curator. Learn more at ashevilleart.org.
Intersections gives a very small taste of the wonderful photographs that are part of a recent gift from Henry V. Heuser, Jr. Work by Michael Burns, Keith Carter, Mark Klett, and David Plowden examine nature and the landscape mediated by the impact of human existence. Imagery ranges from the contours of cultivated fields, to the engineering marvels of bridges spanning rivers, children interacting with the natural world, and serene landscapes of the American West, marked by contemporary life.
Near and Far celebrates the wonder and scope of recent donations of photography to the Museum, some bringing us in contact with a wider world, some with connections close to home, many offering joy. Work ranges from a portrait of anti-apartheid leader Nelson Mandela on his first day of freedom after twenty-seven years in jail, to lovers in Paris, to demonstrators at the Women's March in Washington, D.C. in January 2017. Photographs by Kristin Capp, Larry Fink, Cal Kowal, and Peter Turnley are featured.
Roland L. Freeman's photographic career began when he borrowed a friend's camera to capture the events surrounding the August 28, 1963, March on Washington D.C. In 1968, he documented the civil unrest in Washington D.C. following the assassination of Dr. Martin Luther King Jr. A month later, Freeman was photographing the Southern Christian Leadership Conference's Poor People's Campaign "Mule Train" March on Washington. Freeman documented the entire Mule Train caravan on its month-long journey from Marks, Mississippi to Washington D.C. Since then, Freeman has spent over four decades documenting ethnic communities, folk traditions and rituals throughout the South. Freeman's photographs have been exhibited in museums and galleries throughout the world and his many books of photography include: "A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories" (1996), "The Arabbers of Baltimore" (1989), and "The Mule Train: A Journey of Hope Remembered" (1998).
Freeman draws inspiration from a life growing up in both rural Maryland and urban Baltimore. At an early age, he met author and folklorist Zora Neale Hurston, whose writings would later inform Freeman's narrative style of visual storytelling. His passion for photographing the human condition was inspired by studying the photographs of Gordon Parks and other Depression-era Farm Security Administration photographers. A major influence on Freeman's many long-term documentary projects was Roy DeCarava, who documented New York's Harlem Renaissance of the late 1940s-1950s.
In 1997, The Center for the Study of Southern Culture at The University of Mississippi in conjunction with Diogenes Editions published - Roland L. Freeman - Portfolio. The portfolio highlights more than thirty years of Freeman's photographic documentation of Black communities throughout the American South. In the words of the former Director of The Center for the Study of the American South, William Ferris:
"What makes Freeman's work so important to collectors and scholars alike is that it crosses three disciples: documentary photography, visual folklore, and visual anthropology."
Roland Freeman is one of the 20th century's most important documentarians of Black American culture. The twelve photographs contained within the Roland L. Freeman - Portfolio were culled from hundreds of published and unpublished photographs made by the photographer from 1969-1985. These photographs speak to the cultural diversity and regional traditions of Black American life, from the rural countryside to the urban city centers of the South.
Forty-five editions of the Roland L. Freeman - Portfolio were produced. The Roland L. Freeman - Portfolio includes introductory text from William Ferris, Director of the Center for the Study of Southern Culture, as well as essays by Tom Rankin, Associate Professor of Art and Southern Studies, University of Mississippi, and D. Gorton of Diogenes Editions.
Revelations II: Recent Photography Acquisitions presents a sweeping survey of documentary and fine-art photographic traditions practiced in the American South from the early 20th century to the present. Acquired by the Ogden Museum of Southern Art over the past decade, these photographs represent diverse perspectives and experiments within the medium, and reflect the depth and complexity of the region.
Revelations II highlights an array of photographic processes and techniques made by twenty-five photographers working within the traditional art genres of landscape, portraiture and still-life. In recent years, emerging and underrepresented photographers have been a focus of the Museum's photography exhibitions, programming and acquisitions. These emerging voices join established masters within the Ogden's collection to illustrate the rich tradition of photography in the South.
Since Roger Ogden's original donation of over 600 works of art in 2003, the Museum's permanent collection of paintings, drawings, prints, sculpture and photographs has grown to more than 4,000 works - all acquired through the generosity of artists, patrons and collectors. Today, Ogden Museum's permanent collection of more than 1,500 photographs represents one of the most important and comprehensive collections of photography made in the American South.
The Tampa Museum of Art's holdings in photography represents the largest collecting areas of the permanent collection. The collection now comprises more than 950 photographs and illustrates a range of processing techniques and approaches to the medium. Her World in Focus: Women Photographers from the Permanent Collection highlights important women photographers in the Museum's collection. From the candid street photography of Dianora Niccolini to Jan Groover's influential still life photographs, and Cindy Sherman's iconic portraiture, the exhibition highlights key genres of post-war photography. Personal identity and reflections on place appear in the works by artists such as Maria Martinez-Cañas. The exhibition will also include the work of Berenice Abbott, Barbara Ess, Maria Friberg, Penelope Umbrico, and others.
Pixy Liao is exemplary of a new generation of photographic artists experimenting with the possibilities of portraiture in depicting modern partnership. Her works emerge from personal experiences and her own intimate spaces, challenging conventional socio-cultural ideas of gender constructions and questions of nationality in a globalized world.
Your Gaze Belongs to Me is part of an ongoing, long-term project called Experimental Relationship. The project began when Liao, a Shanghai native, met a Japanese musician in 2006 while studying at university in Tennessee. This first museum solo exhibition of Pixy Liao's work is arranged thematically, and includes more than 50 works from two series, Experimental Relationship, and the outgrowth series For Your Eyes Only, as well as individual video and sculptural works that Liao is showing together for the first time.
In the last five years, the San José Museum of Art has experienced tremendous growth and its permanent collection has evolved into one of increasingly greater inclusivity and relevancy. Propelled by the generosity of artists, gallerists, collectors, Museum patrons, and members of the Museum's Acquisitions Committee and Council of 100, SJMA now boasts many artworks by the most innovative artists working today. As the only collecting art institution and the only museum in the City dedicated exclusively to acquiring the art of our times, its permanent collection of more than 2,600 artworks serve as a valuable resource and public legacy for the community.
South East North West celebrates SJMA's 50th anniversary with a dynamic presentation of paintings, sculptures, photographs, works on paper, and new media recently acquired by the Museum. Reflecting the rich cultural diversity and innovative spirit that define San José and Silicon Valley, the exhibition showcases the work of internationally acclaimed artists, including those working in California and the Bay Area, and emerging artists garnering critical recognition. A number of artists in the exhibition-including Diana Al-Hadid, Rina Banerjee, Victor Cartagena, Dinh Q. Lê, Louise Nevelson, and The Propeller Group (Matt Lucero, Tuan Andrew Nguyen, and Phunam)-will be familiar to SJMA's audiences, as they have recently been featured in solo exhibitions at the Museum.
Many artists in the exhibition offer provocative and poetic responses to often-polarizing cultural, political, and social issues. Mona Hatoum evokes the agony of exile in her work Drowning Sorrows (2001-02), which is composed of severed clear glass bottles arranged in a circular formation on the floor. Andrea Bowers, Chitra Ganesh, and Lara Schnitger address ongoing struggles for gender equality and women's rights to imagine a more just world. In his painting Trauma Eve with Virus Bombs (2001), David Huffman reimagines African American stereotypes in order to reclaim them from prevailing narratives of the black experience.
In our twenty-first century digital age, artists such as Petra Cortright, Hayal Pozanti, and Margo Wolowiec push the boundaries of representation and contemporary image making using new media technologies. In contrast, artists such as Tacita Dean and Tony Feher show us that the simplest elements-whether images of clouds for Dean or blue painter's tape for Feher-can prove to be profoundly pleasurable to the senses. Other artists featured in the exhibition include Firelei Báez, Tony Berlant, Alexander Calder, Tiffany Chung, Russell Crotty, Jay DeFeo, Genevieve Gaignard, Kojo Griffin, Robert Hudson, Yojiro Imasaka, Jitish Kallat, Hung Liu, Frank Lobdell, Vanessa Marsh, Annu Palakunnathu Matthew, Robert Minervini, Richard Misrach, Ruben Ochoa, Nathan Oliveira, Josephine Taylor, William T. Wiley, and Imin Yeh.
Adopting the title of a monumental, two-panel mixed-media work by Diana Al-Hadid to symbolize the breadth and depth of the collection, South East North West testifies to SJMA's adventurousness and ambition of becoming a borderless museum for the future.
Denali has long captivated photographers, including explorer Bradford Washburn (1911-2007), who pioneered aerial photography while surveying the mountain in the 1930s, and renowned landscape photographer Ansel Adams (1902-1984), who snapped one of the most iconic images of the mountain in 1948. Contemporary Alaska photographer Charles Mason captures present-day Denali National Park through images made with a 19th-century photographic technique called the collodion process. Using his Westfalia van as a traveling darkroom, Mason prepares and develops images in the field on glass plates (also known as wet plate photography). He values the technique for its unpredictability - how anomalies in exposure and development often create unexpected dramatic and compelling visual images. The large-scale images he produced for this exhibition offer a new way to see this iconic landscape.
This exhibition is presented as part of the Patricia B. Wolf Solo Exhibition Series with support from the Alaska State Council on the Arts and the National Endowment for the Arts.
This exhibition will feature masterworks from the photography collection that were made by artists whose careers and personal lives were sidelined, ignored, or impacted by their gender, race, sexuality, or nationality. From Margins to Mainstays will illustrate how the canon of photography has changed since the medium first began being shown in museums in the 1940s, with particular emphasis on rectifying the small percentage of women and artists of color historically acquired by and displayed in public collections. The exhibition will include works by Berenice Abbott, Lotte Jacobi, Carrie Mae Weems, Lee Miller, Cornelius Marion Battey, James Van Der Zee, and Manuel Álvarez Bravo.
Jeff Whetstone's photographs and videos explore the micro- and macro-economies and ecologies along the Mississippi River's batture near New Orleans, Louisiana. "Batture" is the French-creole term for the thin strip of weeds, trees, and mud between the water's edge of the Mississippi River and the tall, hardened levees that contain its floods.
Bremner Benedict's project is an artistic investigation, part art, part research, into the springs of the Sonoran, Chihuahaun, Mojave, Great Basin deserts and the Colorado Plateau. The critical importance of these waters and their ecologies in the face of climate change and population pressures is under-recognized making their survival precarious. By visually interpreting the science her intent is to raise public awareness to the potential of water scarcity.
Since the mid-1970s, Dawoud Bey (b. 1953) has worked to expand upon what photography can and should be. Insisting that it is an ethical practice requiring collaboration with his subjects, he creates poignant meditations on visibility, power, and race. Bey chronicles communities and histories that have been largely underrepresented or even unseen, and his work lends renewed urgency to an enduring conversation about what it means to represent America with a camera.
Spanning from his earliest street portraits in Harlem to his most recent series imagining an escape from slavery on the Underground Railroad, Dawoud Bey: An American Project attests to the artist's profound engagement with the Black subject. He is deeply committed to the craft of photography, drawing on the medium's specific tools, processes, and materials to amplify the formal, aesthetic, and conceptual goals of each body of work. Bey views photography not only as a form of personal expression but as an act of political responsibility, emphasizing the necessary and ongoing work of artists and institutions to break down obstacles to access, convene communities, and open dialogues.
Dawoud Bey: An American Project is co-organized by the Whitney Museum of American Art and the San Francisco Museum of Modern Art. The exhibition is co-curated by Elisabeth Sherman, assistant curator at the Whitney, and Corey Keller, curator of photography at SFMOMA.
The Asheville Art Museum is organizing a group of three exhibitions drawn from the Musem's Collection in conjunction with the 2021 Summer Olympics in Tokyo. They will be on view in the Explore Asheville Exhibition Hall from July 9 through October 4, 2021.
"With these three exhibitions, the Asheville Art Museum is looking froward to bringing the Olympics to Asheville," says Whitney Richardson, associate curator. "Athletes, sports fanatics, and those who enjoy art that captures the human athletic form will, I hope, all find something valuable in visiting these exhibitions. Some of the artworks are by renowned artists and some depict world-famous athletes, but it all speaks to the importance of the Olympics-and sports in general-in our lives and how we honor our athletes."
Golden Hour: Olympians Photographed by Walter Iooss Jr. highlights dozens of photographer Walter Iooss Jr.'s images from the Museum's Collection. Over his 60-year career, Iooss (Temple, TX 1943-Present NY) has captured portraits of hundreds of celebrated American athletes in action, and a select few as they prepared for the 1984 Summer Olympics in Los Angeles. He began his career shooting for Sports Illustrated and has contributed to the magazine for more than 50 years.
Artistic Tribute: Representation of the Athlete pays homage to the historic Olympic tradition of including the arts as a competition. Until 1948, the modern Olympics included artistic representations of the athletes in painting and sculpture, among other media, as the ancient Olympics had done. This exhibition features artworks from the Museum's Collection that follow this custom by artists including Robert Rauschenberg (Port Arthur, TX 1925-2008 Captiva, FL), Dox Thrash (Griffin, GA 1893-1965 Philadelphia, PA), Gerald van de Wiele (Detroit, MI 1932-Present New York, NY), Ward H. Nichols (Welch, WV 1930-Present NC), Marvin Lipofsky (Elgin, IL 1938-2016 Berkeley, CA), David Levinthal (San Francisco, CA 1949-Present New York, NY), and more.
Precious Medals: Gold, Silver & Bronze highlights works from the Museum's Collection including glass, ceramic, fashion, and sculpture that use the same metals that are given to the top three placing athletes in an Olympic competition. The precious nature of these three metals is examined in relation to the artworks shown. Artists featured in this exhibition include Virginia Scotchie (Portsmouth, VA 1955-Present Columbia, SC), Mark Stanitz (1949-Present Northern California), William Waldo Dodge Jr. (Washington, D.C. 1895-1971 Asheville, NC), Richard Ritter (Detroit, MI 1940-Present Bakersville, NC), Jan Williams (Bucks County, PA-Present Bakersville, NC), and more.
These three exhibitions are organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator.
Fotografiska New York is proud to present Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020, a photographic exhibition by British artist and photographer Miles Aldridge.
Opening on Friday, May 7th at Fotografiska New York, the exhibition will be Aldridge's first museum retrospective in the US, comprising 64 works spanning the artist's career. The show draws on Aldridge's highly composed and cinematically inspired tableaus, including his 2015 project (after Cattelan) in which the artist Maurizio Cattelan invited Aldridge to respond to his sculptures over the course of one night together in a Paris museum. Aldridge's unique style is also applied to portraiture and his subjects include Marina Abramović, Gilbert and George, Sophie Turner, Viola Davis, Michael Fassbender, Donatella Versace and David Lynch.
An exhilarating ride through Aldridge's universe, the show reflects on three strands of his colorful cosmos. Virgin Mary references the religious paintings by artists such as Caravaggio, who like Aldridge represent experiences in an artificial, almost cinematic manner through their use of dramatic lighting, costuming and staging. Supermarkets are a metaphor the consumer society; the hope of self-improvement through retail therapy. Lastly, Popcorn is a nod to the influence of cinema in Aldridge's work and the many auteur directors such as Hitchcock, Lynch and Fellini, who serve as a source of inspiration for his style and approach. With so many diverse influences coming from the history of cinema, when everything was still shot on analogue film, Aldridge likewise prefers to shoot on film rather than digital. Every print in the exhibition was captured on Kodak Colour Negative.
A recurring theme throughout Aldridge's oeuvre is the false promise of luxury. Psychedelic interiors are furnished with the trappings of mid-century suburban comfort: gleaming kitchen appliances, candy colored telephones, and well-groomed pets denote success. The images of domesticity are often undercut with a bittersweet edge; a personal reflection of Aldridge's childhood memories of his mother after a shattering divorce.
Aldridge's work conflates historic and modern motifs and makes subtle reference to the art historical canon. Only rarely does he allow the real world to encroach upon the imagined realm. Through his lens, even reality appears artificial.
Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020 is curated by Nadine Barth, barthouse Berlin, in collaboration with Johan Vikner, Director of Global Exhibitions at Fotografiska International. This installment marks the second iteration of the show which debuted at Fotografiska Stockholm in September 2020 and ran till March 2021. The exhibition has been made in close collaboration with the artist and his galleries; Fahey Klein Gallery, Los Angeles, Lyndsey Ingram Gallery, London, Christophe Guye Gallerie, Zurich, Reflex Gallery, Amsterdam, and Casterline Goodman Gallery, Aspen.
En Foco's fellowship recipients continue the work of the twelve Puerto Rican photographers of the 1973 Dos Mundos exhibition by offering fresh visions of existing discriminatory mainstream cultural perspectives and policies. Evolving to contemporary circumstances and inequities exacerbated by the pandemic, they maintain their commitments to their communities and individual photographic processes. Many of them are also leaders, nurturing other artists of color across the diaspora, in the South, the Bronx, classrooms, and beyond. Dos Mundos: (Re)Constructing Narratives features artists that center stories at the fringe of public attention: hidden sanctuaries, subcultures, painful identities, far-away homes, spirituality, transcendence, broken promises, and all too easily ignored social ecologies.Cinthya Santos Briones, Danny Peralta, Damarys Alvarez, Aaron Turner, Antonio Pulgarin, Tau Battice, Laylah Amatullah Barrayn, Erika Morillo, Daesha Harris, Roger Richardson, Yu-Chen Chiu, Anthony Hamboussi
The Bruce Museum will present the exhibition, Patrick Nagatani: Chain Reaction, on view from May 1, 2021 through August 1, 2021. The exhibition will feature the entire Nuclear Enchantment series, a powerful body of work made between 1988 and 1993, which deals with the history of nuclear weapons development in New Mexico, as well as the effects of this industry on the people and places there. As a Japanese-American, this was a particularly resonant subject for Nagatani, whose parents were both put in internment camps during WWII, and whose father's family hailed from outside of Hiroshima. Originally planned for August 2020, the exhibition was intended to coincide with the 75thanniversary of the U.S. bombings of the Japanese cities of Hiroshima and Nagasaki, but was delayed due to the Covid-19 pandemic.
Consisting of 40 photographs, the series presents a politicized intervention as Nagatani constructs multilayered and wildly imaginative images that unsettle our understanding of this complex time and place in U.S. history. The jarring juxtaposition of ancient symbols and figures from Japanese and Native American culture alongside uranium mining facilities and contaminated deposit sites creates a visual discord that speaks to this complexity. At once harrowing and humorous, these artworks participate in the ever-relevant debate weighing the benefits of scientific and technological progress against the preservation of cultural history and the natural world. The exhibition will also feature artifacts from the Bruce Museum historical collection, including Native American objects, as well as a Soviet-issued gas mask and Geiger counter, echoing the dissonance that the photographs create, and enhancing the exhibition experience for museum visitors.
The exhibition is curated by Stephanie Guyet, an independent curator and former Zvi Grunberg Resident Fellow for the Bruce Museum.
The Bruce Museum is grateful for exhibition support from the Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts.
Obscura Gallery proudly presents a photographic exhibition by Lebanese-born American
artist Rania Matar entitled SHE which focuses on young women in the US and the Middle
East who are leaving the cocoon of home and entering adulthood, highlighting how
female subjectivity develops in parallel forms across cultural lines. The Obscura Gallery
exhibition is in conjunction with the Radius Books release of the same name and
celebrates an opening reception with the artist on Wednesday, August 25 at Obscura
Gallery from 5-7pm.
As a Lebanese-born American artist and mother, Rania Matar's cross-cultural
experiences inform her art. She has dedicated her art work to exploring issues of personal
and collective identity through photographs of female adolescence and womanhood-
both in the United States where she lives, and in the Middle East where she is from.
In 2017, Rania was awarded a residency at Kenyon College, Ohio for academic year.
Never having been to the Midwest or having seen the landscape and the particularities
of the winter there, she found herself inspired by this new landscape she was
discovering-and the young women she saw moving through it.
Matar's career had already been devoted to photographing young women, mainly her
daughters, in the transition between girlhood and womanhood-and in Ohio during the
residency, unsure of what form her work would take, she began a series of portraits of
young women she'd recently met. The series, now having come to be known as She, then
continued after Matar left Ohio and traveled back to Lebanon, and throughout the U.S.
Together with the women she photographs, Matar's images are a window into a
precipitous moment in the lives of young women from around the world. Focusing on
women in their late teens and early twenties who are leaving the cocoon of home,
entering adulthood and facing a new reality, the project highlights how female
subjectivity develops in parallel forms across cultural lines.
Each young woman being photographed becomes an active participant in the imagemaking
process, presiding over the environment and making it her own. Matar portrays
the raw beauty of her subjects-their age, individuality, physicality, and mystery-and
photographs them the way she, a woman and a mother, sees them: beautiful, alive.
Hindsight presents a case for the decisive impact of women upon the history of documentary photography through a selection of prints drawn from Mia's collection as well as that of Dan Shogren and Susan Meyer. Centering the work of six American photographers - Margaret Bourke-White, Esther Bubley, Imogen Cunningham, Dorothea Lange, Genevieve Naylor, and Marion Post Wolcott - the exhibition showcases images that were created for a diverse range of projects, from governmental commissions to editorial assignments. Meant to communicate with audiences increasingly attuned to global social and political movements, these photographs provide insight into lives both everyday and extraordinary: the routines of working people in Brazil; the impact of industrialization upon rural Americans; Black Americans' experiences of racial segregation and economic inequality; the nonviolent political resistance of Mahatma Gandhi against British colonial rule. In these ways, Hindsight reveals each photographer's power in the making of historical memory.
The New Woman of the 1920s was a powerful expression of modernity, a global phenomenon that embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, this groundbreaking exhibition explores the work of the diverse "new" women who embraced photography as a mode of professional and artistic expression from the 1920s through the 1950s. During this tumultuous period shaped by two world wars, women stood at the forefront of experimentation with the camera, and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.
The exhibition is the first to take an international approach to the subject, highlighting female photographers' innovative work in studio portraiture, fashion and advertising, artistic experimentation, street photography, ethnography, and photojournalism. Among the photographers featured are Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Florestine Perrault Collins, Imogen Cunningham, Madame d'Ora, Florence Henri, Elizaveta Ignatovich, Consuelo Kanaga, Germaine Krull, Dorothea Lange, Dora Maar, Tina Modotti, Niu Weiyu, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla. Inspired by the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.
Vibrant portraiture set inside a world of bold colors, varied textures, and frenzied patterns commands attention in VOGUE, The Arab Issue. Hassan Hajjaj's photography challenges the viewer through an eclectic confrontation of styles, and invites them to re-examine cultural stereotypes and cliches. Alive with color and patterns, this immersive exhibition brings together five important series developed over the past three decades.
From the beginnings of the medium in the 19th century to today, photography has been inextricably linked to time. The photographer's art has been easily conflated with memory and to a moment frozen outside of the temporal flow. But for many artists, the ability to collaborate with time has provided them with new ways to find expression through photography. When? A Brief History of the Relationship between Time and Photography features works by artists from the 19th century to the present including Eadweard Muybridge, Harold Edgerton, Takahiro Sato, Nicholas Kahn & Richard Selesnick, and Jason Salavon.
Generations before statehood and earlier even than the Klondike gold rush of the 1890s, Black men and women arrived in Alaska and have since participated in politics, economic development and culture. They patrolled the seas, built the roads, served in the military and public life, opened businesses, fought injustice, created art and forged communities. This exhibition, told through archival photos and collected materials, showcases the richness and resilience of Black lives in Alaska.
Hal Fischer (United States, b. 1950) is a gay conceptual photographer and an alumnus (BFA '73) of the University of Illinois Urbana-Champaign. Hal Fischer Photographs: Seriality, Sexuality, Semiotics presents a first full retrospective of his work, showcasing all his photographic series, which were created in San Francisco during the late 1970s—the heyday of gay liberation.
This exhibition highlights 50 years of photographic expression by a diverse roster of artists working within, against, and beyond the history of the medium: Nona Faustine, Martine Gutierrez, Deana Lawson, An-My Lê, Rania Matar, Lorraine O'Grady, Adrian Piper, Selma Fernandez Richter, Martha Rosler, Nona Faustine, Mickalene Thomas, Carrie Mae Weems, and Carmen Winant.
Spanning the past half-century in modern and contemporary photography, these photographs contend with many of the period's defining issues, especially within the United States. They meditate on the intersection of personal and political histories, freshly interrogate matters of national identity and belonging, reflect on cycles of trauma and healing, and imagine worlds beyond the inequalities of our time.
The work of the Armenian-Iranian photographer Antoin Sevruguin (ca. 1851–1933) captures changing life in Iran, as documented in a wide range of subjects, at the end of the nineteenth century as the country stood at the cusp of modernity. In contrast to his Western contemporaries who in the Orientalist tradition focused primarily on documenting traditional Iran and the ruins of its glorious past, Sevruguin sought to capture this shift to the modern age. His innovative use of light, shadow, and perspective also set him apart and brought a sense of individuality and humanity to his work.
Sevruguin, like other Qajar photographers, used the albumen process, a method of producing a photographic paper print first invented in 1847 and which became widespread in the second half of the 19th century. The OI's collection was acquired by the then Haskell Oriental Museum of the University of Chicago in 1901 from a former Protestant missionary in Iran, Mary Clarke. A selection of the original prints is displayed alongside printed reproductions and digital projections. The exhibit also celebrates the conservation of the full collection of original prints, thanks to generous funding by the American Institute of Iranian Studies.
This retrospective exhibition will survey the career of Marion Palfi (1907-1978), who produced an important visual document of 20th-century American injustice. Freedom Must Be Lived: Marion Palfi's America, 1940-1978 features more than 100 photographic prints and numerous archival materials, including photobooks, magazine spreads, research journals, and grant applications, drawn exclusively from the Center for Creative Photography's vast Marion Palfi Archive. Many of these prints and materials have never before been exhibited or published and will offer an unprecedented opportunity to draw new insights into the work.
Palfi's philosophy of using photography to influence social change shaped her vision and distinguished her career. A German immigrant to the United States during World War II, Palfi arrived in Los Angeles to find a reality far from the myth of the American Dream. Outraged at the economic, racial, and social inequalities she encountered, she spent more than three decades traveling throughout the United States documenting various communities to expose the links between racism and poverty. As a self-described "social research photographer," Palfi aspired for her photographs to live in the world and effect social change. Her work was featured in numerous American periodicals, including Ebony and The New York Times. Sponsors for her work included the Council Against Intolerance in America, the NAACP, and the New York State Committee on Discrimination in Housing.
Rising sea levels affect us all. In Rising Tide: Visualizing the Human Costs of the Climate Crisis, Dutch documentary photographer Kadir van Lohuizen illustrates the dramatic consequences of climate change across the world through photographs, video, drone images, and sound. Experience the effects of rising sea levels in Greenland, Bangladesh, Papua New Guinea, Kiribati, Fiji, Amsterdam, Panama, Miami, and our own neighborhoods here in New York City.
In our image-saturated and media-obsessed world, what stories remain untold? Employing images, lights, and mirrors, Alfredo Jaar (Chilean, b. 1956) asks us to acknowledge subjects who are often under-recognized. Projects range in scope and subject: as one artwork focuses on an Ethiopian refugee amid the Eastern Sudan crisis, another observes remarkable but overlooked women including human rights lawyer Shada Nasser, author and activist Nawal El Saadawi, and politician Camila Vallejo. Featuring a selection of key works and installations that span three decades, The Structure of Images showcases Jaar's critical approach to addressing injustice in our world.
The exhibition is organized by Isabel Casso, Marjorie Susman Curatorial Fellow. It is presented in the Cohen and Stone Family Galleries on the museum's fourth floor.
To celebrate the bicentennial of the country's founding, in 1976 the National Endowment for the Arts (NEA) launched a multi-year program of photography surveys in communities across the United States. These surveys created a new visual record of a changing nation. Survey projects included preserving or working with historical collections; however, most were commissions of new work by an emerging generation of documentarians, many of whom became prominent figures of American photography. Of the more than seventy projects funded by the NEA, the East Baltimore Survey was unique for having been conceived, led, and carried out by women photographers-Elinor Cahn, Joan Clark Netherwood, and Linda Rich. With significant support from the community, it was also one of the most highly acclaimed at a national level.
In her application to the NEA for support, project leader Linda Rich wrote that "Today, while many urban communities seem to be fighting a losing battle against physical, emotional, and spiritual decay, East Baltimore continues to grow and change, preserving its culture, integrity, and humanity." Rich, Netherwood, and Cahn approached local clergy, and were invited to attend bingo luncheons, exercise classes, first communions, and sauerbraten suppers. In time they were welcomed into the homes and private lives of the neighborhood of East Baltimore. They photographed a cross-section of its residences and businesses, celebrating its traditions while also acknowledging its many challenges. The tension between ethnicity and Americanness was a sustained theme of the Survey, as was its recognition of residents' fight for their community's survival, insisting on basic social services and defending against efforts to divide it politically or economically.
In 1983, 1,500 photographs by NEA grant recipients were received by SAAM in a transfer that inaugurated its photography collection. A second transfer of 500 prints took place in 2010. Thirteen of the completed photography surveys, including the East Baltimore Survey, were among the material received by SAAM. Welcome Home: A Portrait of East Baltimore, 1975-1980 is the first presentation of those photographs. In addition, while preparing for the exhibition shortly before her death, Joan Netherwood recovered a complete "community exhibition" of the East Baltimore Survey. These were small-scale exhibitions held in churches and community centers, where the photographers showed their progress and their subjects brought pot-luck dinners and stood beside their portraits. They were "trust-raising" events In a community renowned for its suspicion of outsiders. The thirty recovered prints were donated by Netherwood to SAAM, and they are the featured centerpiece of Welcome Home. The exhibition is organized by John Jacob, McEvoy Family Curator for Photography at SAAM, with Vitoria Bitencourt, curatorial assistant.
The iconic New Woman-modern, independent, stylish, creative, and confident-was a revolutionary model for women across the globe. Featuring more than 120 international photographers, The New Woman Behind the Camera explores the diverse "new women" who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. This groundbreaking exhibition will reveal the significant impact women have had on the history of modern photography.
Women actively participated in the development of photography soon after its inception in the 19th century. Yet it was in the 1920s, after the seismic disruptions of World War I, that women entered the field of photography in force. Aided by advances in technology and mass communications, along with growing access to training and acceptance of their presence in the workplace, women around the world made an indelible mark on the growth and diversification of the medium. They brought innovation to a range of photographic disciplines, from avant-garde experimentation and commercial studio practice to social documentary, photojournalism, ethnography, and the recording of sports, dance, and fashion.
A global phenomenon, the New Woman of the 1920s embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Her image-a woman with bobbed hair, stylish dress, and a confident stride -was a staple of newspapers and magazines first in Europe and the United States and soon in China, Japan, India, Australia, and elsewhere. A symbol of the pursuit of liberation from traditional gender roles, the New Woman in her many guises represented women who faced a mix of opportunities and obstacles that varied from country to country. The camera became a powerful means for female photographers to assert their self-determination and redefine their position in society. Producing compelling portraits, including self-portraits featuring the artist with her camera, they established their roles as professionals and artists.
Commercial studio photography was an important pathway for many women to forge a professional career and to earn their own income. Running successful businesses in small towns and major cities from Buenos Aires to Berlin and Istanbul, women reinvigorated the genre of portraiture. In the studio, both sitters and photographers navigated gender, race, and cultural difference; those run by women presented a different dynamic. For example, Black women operated studios in Chicago, New Orleans, and elsewhere in the United States, where they not only preserved likenesses and memories, but also constructed a counternarrative to racist images then circulating in the mass media.
The availability of smaller, lightweight cameras and the increasing freedom to move about cities on their own spurred a number of women photographers to explore the diversity of the urban experience beyond the studio walls. Using their creative vision to capture the vibrant modern world around them, women living and working in Bombay (now Mumbai), London, New York, Paris, São Paulo, Tokyo, and beyond photographed soaring architecture and spontaneous encounters on the street.
Creative formal approaches-photomontage, photograms, sharp contrasts of light and shadow, unconventional cropping, extreme close-ups, and dizzying camera angles-came to define photography during this period. Women incorporated these cutting-edge techniques to produce works that conveyed the movement and energy of modern life. Although often overshadowed by their male partners and colleagues, women photographers were integral in shaping an avant-garde visual language that promoted new ways of seeing and experiencing the world.
Beginning in the 1920s, new concepts concerning health and sexuality, along with changing attitudes about movement and dress, emphasized the human body as a central site of experiencing modernity. Women photographers produced incisive visions of liberated modern bodies, from pioneering photographs of the nude to exuberant pictures of sport and dance. Photographs of joyous play and gymnastic exercise, as well as images of dancers in motion, celebrate the body as artistic medium.
During this modern period, numerous women pursued professional photographic careers and traveled extensively for the first time. Many took photographs that documented their experiences abroad in Africa, China, Afghanistan, and elsewhere, while others engaged in more formal ethnographic projects. Some women with access to domains that were off limits to their male counterparts produced intimate portraits of female subjects. While gender may have afforded these photographers special connections to certain communities, it did not exempt some, especially those from Europe and the United States, from producing stereotypical views that reinforced hierarchical concepts of race and ethnocentrism.
Images splashed across the pages of popular fashion and lifestyle magazines vividly defined the New Woman. The unprecedented demand for fashion and advertising photographs between the world wars provided exceptional employment opportunities for fashion reporters, models, and photographers alike, allowing women to emerge as active agents in the profession. Cultivating the tastes of newly empowered female consumers, fashion and advertising photography provided a space where women could experiment with pictures intended for a predominantly female readership.
Galvanized by the effects of a global economic crisis and the growing political and social unrest that began in the 1930s, numerous women photographers produced arresting images of the human condition. Whether working for government agencies or independently, women contributed to the visual record of the Depression and the events leading up to World War II. From images of breadlines and worker demonstrations to forced migration and internment, women photographers helped to expose dire conditions and shaped what would become known as social documentary photography.
The rise of the picture press established photojournalism as a dominant form of visual expression during a period shaped by two world wars. Women photographers conveyed an inclusive view of worldwide economic depression, struggles for decolonization in Africa, and the rise of fascism and communism in Europe and the Soviet Union. They often received the "soft assignments" of photographing women and children, families, and the home front, but some women risked their lives close to the front lines. Images of concentration camps and victory parades made way for the complexities of the postwar era, as seen in pictures of daily life in US-occupied Japan and the newly formed People’s Republic of China.
The photographers whose works are in The New Woman Behind the Camera represent just some of the many women around the world who were at the forefront of experimenting with the camera. They produced invaluable visual testimony that reflected both their personal experiences and the extraordinary social and political transformations of the early 20th century. Together, they changed the history of modern photography.
Structure of Nature | Nature of Structure is a retrospective of the work of Jacksonville artist Doug Eng, which will take place July 9, 2021- January 30, 2022. Through his art and advocacy, Eng highlights the need to preserve our endangered wetlands and forests in Northeast Florida, drawing parallels with our search for a common identity as human beings. Bringing together important projects from throughout his career, this retrospective includes bodies of work such as Streaming South, My Real Florida, Decoding the Infinite Forest, and The Forest Reframed, as well as Eng's most recent project, The Drowned Forest of Ocklawaha
Through a large donation of Cuban art in 2017, an earlier donation of Latin American art in 2011, and significant gifts through acquisition funds, Jorge M. and Darlene Pérez have added more than 500 works of modern and contemporary art to PAMM's permanent collection. Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection celebrates their most recent acquisitions, which consists of a sizable selection of international African and African Diaspora artists. Inspired by his upbringing in a number of Latin American countries, Pérez began collecting the work of Cuban and Afro-Latino artists several years ago. Recently he has expanded that focus to include artists of the full African diaspora. Allied with Power shows the result of these years of dedicated effort and exploration.
The exhibition highlights artists whose works embody the possibilities and complexities of our contemporary moment. Allied with Power showcases a wide range of practices and thematics, including abstraction, representation, politics, spirituality, and race. Collapsing national borders, the artists in the exhibition ally with power, representing a kaleidoscope of voices that declare their authority.
For more than a decade, Mimi Cherono Ng'ok has worked to understand how natural environments, botanical cultures, and human subjects coexist and evolve together. Working with an analog camera, she travels extensively across the tropical climates of the Global South constructing a visual archive of images that document her daily experiences and aid her in processing emotions and memories.
For her first solo museum exhibition in the United States, Cherono Ng'ok presents photographs and a film made across Africa, the Caribbean, and South America, all as part of an ongoing inquiry into the rich and diverse botanical cultures of the tropics. She tracked flowers and floral imagery across varied contexts—enshrouding the exterior of homes, emblazoned on bedspreads, encountered in nighttime flower markets—and a range of hidden associations. Some of the plants she pictures have been used as love potions or medicines, while others have been moved around the globe as part of histories of imperial or colonial expansion. Omitting frames, titles, or any indication of place allows Cherono Ng'ok to offer viewers an experience that is immediate, intimate, and vulnerable. To expose photographic prints in this way approximates the fragile and impermanent character of their depicted contents.
Cherono Ng'ok's first film, which she produced in 2020, debuts in this exhibition. Shot on 16mm black-and-white reversal film, the work concentrates on a thicket of plantain trees the artist encountered in the coastal town of La Romana in the Dominican Republic. Lacking sound or storyline, the film is a meditation on mourning that reflects the artist's own personal and profound experiences of familial loss, and the transitory nature of human and vegetal life more broadly. With stark effects of light and shadow, abrupt transitions and stationary perspective, the film shows fronds fluttering in response to gusty winds. The result is at once ethereal and mysteriously tranquil, capturing the sensitive outlook of an artist whose work is spurred by steady movement and all the introspection and memories that this entails.
The exhibition, Shadow to Substance (title taken from Sojourner Truth), is curated by Kimberly Williams, University of Florida Doctoral Candidate in English; Dr. Porchia Moore, University of Florida Assistant Professor, Museum Studies and Dr. Carol McCusker, Harn Curator of Photography. Shadow to Substance creates a chronological arc from the past to the present into the future using historical photographs from the Harn and Smathers Library collections and through the lens of Black photographers working today. It pictures histories of enslavement, Jim Crow Florida, the Great Migration, the Civil Rights Movement and Black Lives Matter. But it does so through images that expand ideas around healing, myth, intimacy, joy, resistance and rebirth. The exhibition, and its attending programs, will create a space for visitors to see and identify with uplifting narratives shaped by an invigorated portrait of Black life.
This exhibition is made possible by generous support from Dr. R. James Toussaint and Mrs. Sara Toussaint.
During the Civil War era, numerous women rose to national prominence - from First Lady Mary Todd Lincoln to the actress and Union spy Pauline Cushman. This intimate exhibition includes portraits of these and other intriguing women who captivated the public while becoming sought-after subjects for Mathew Brady's camera.
Ann Shumard, the National Portrait Gallery’s senior curator of photographs, is the curator of this exhibition.
Photography helps us make meaning of our complex world. Our camera records things as they are. We read our personal photographs as visual diaries, conjuring up the missing pieces of the stories outside the frame. We can hear, taste, smell, and see the moment. Transported back in time- maybe a day, a month, a year, a lifetime.
Taken by people to be shared with people, photographs contain clues and details that reveal the compelling stories of our shared human experience. A photograph may be a portrait or a still life of a single object at a specific moment in time. Some photographs convey unspoken messages that inform and influence how we understand our world.
Photography is a visual art. Images, symbols, and hieroglyphs have been used throughout history as a way to express ideas, feelings, facts, and communicate ideals of beauty. Art also serves as a mechanism for change.
The National Civil Rights Museum welcomes thousands of visitors a year each carrying an identity influenced by self and society. They bring their assumptions about the Civil Rights Movement. The courtyard is the first place where they confront those assumptions and begin to reconcile them with an alternate perspective of history. A picture tells a thousand words.
As a sacred place, the plaza holds the weight of our shared mourning. As a portal, the plaza offers each visitor a pathway to greater self-knowledge and agency.
For fine art photographer David Katzenstein, photography is an act of discovery and a demonstration of joy. Over the past 40 years, David has travelled around the world creating narrative imagery focused on our shared human experience. Katzentstein imbues his work with sensitivity and understanding of art, history, and cultural awareness.
The collection of photographs featured in Outside The Lorraine Motel: A Contemporary Pilgrimage is part of David Katzenstein's larger body of work where each photograph shimmers with color and sound. While exploring the photographs in the exhibition, you are invited to reflect on how this experience has impacted your understanding of the Civil Rights Movement and todays' human rights issues.
This exhibition features photographs donated by Parks to Kansas State University (K-State) in Manhattan, Kansas, in 1973. It was the first time that the artist personally curated a set of photographs to donate to a public institution, a kind of self-portrait directed towards the home crowd. The exhibition title includes the first line of a poem written by Parks in 1984, commissioned by and published in the Manhattan Mercury. K-State's New Prairie Press will publish an accompanying open-access digital catalogue with new research on Parks and Kansas.
Image: Uncle James Parks, 1950, printed in 2017, gelatin silver print, 14 x 11 in., gift of Gordon Parks and the Gordon Parks Foundation, 2017.448
Any prominent work of architecture is likely to be seen more widely through photographs than in person. These images have a profound influence on how a given building is perceived. A professional architectural photographer plays an important role in interpreting the designer's work, making critical decisions about which aspects of the building to emphasize and which to suppress-or even exclude.
When widely disseminated, professional photographs help to shape public impressions of the building's architectural character. An extraordinary image of an iconic building may assume iconic status in its own right.
Photographer Alan Karchmer has risen to prominence in his field thanks to his skill in conveying architects' ideas and intentions. Having earned a Master of Architecture himself, Karchmer uses his knowledge of the design process, coupled with his own artistic vision, to express the essence of a building. He is, quintessentially, "The Architects' Photographer."
This exhibition presents a cross-section of Karchmer's professional photographs, coupled with personal photos and artifacts that shed light on his work. While the exhibition features numerous large-format images of remarkable beauty, it also includes didactic displays examining the technical and creative processes underlying such images. It thus illuminates why certain images are so successful in expressing both the physical and emotional aspects of architecture.
By displaying multiple images of specific buildings, the exhibition also examines how a series of photographs can be used to create a visual narrative conveying a cohesive sense of design, place, and experience. The exhibition sheds light on the important but sometimes elusive role of artistic interpretation, tracing how the photographer's own vision complements that of the architect, yielding final images that ultimately reflect a blend of the two. It also explores how changing technologies-especially the transition from analog to digital cameras-have influenced architectural photography.
American photographer Gillian Laub (b. 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. Her work frequently addresses the experiences of adolescents and young adults in transition who struggle to understand their present moment and collective past.
In 2002, Laub was sent on a magazine assignment to Mount Vernon, Georgia, to document the lives of teenagers in the American South. The Montgomery County residents Laub encountered were warm and polite, both proud of their history and protective of their neighbors. To the photographer, Mount Vernon, a town nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. Yet this idyllic town was also held hostage by a dark past, manifesting in the racial tensions that scar much of American history. Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside-high school homecomings and proms-were still racially segregated.
Laub photographed Montgomery County over the following decade, returning even in the face of growing-and eventually violent-resistance on the part of some community members. In 2009, a few months after Barack Obama's first inauguration, Laub's photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of the photographic image served as the catalyst and, for a moment, progress seemed inevitable.
Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man-whose segregated high school homecoming Laub had photographed-was shot and killed by a sixty-two-year-old white man. At first, the murder seemed to confirm every assumption about the legacy of inequality and prejudice that the community was struggling to shake. But the truth was more nuanced than a quick headline could telegraph. Disturbed by the entrenched racism and discrimination that she encountered, Laub recognized that a larger story needed to be told. Her project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront painful realities.
Relying on her incisive and empathic eye as a photographer, she explored the history of Montgomery County and recorded the stories and lives of its youth. What emerged over the next decade-during which the country witnessed the rise of citizen journalism and a conflagration of racially motivated violence, re-elected its first African American president, and experienced the formation of the Black Lives Matter movement-was a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.
In Southern Rites, Laub engages her skills as a photographer, filmmaker, storyteller, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness. Through her lens and the voices of her subjects we encounter that which some of us do not want to witness, but what is vital for us to see. Southern Rites is a specific story about young people in the twenty-first century from the American South, but it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?
Southern Rites is organized by the International Center of Photography and ICP curator Maya Benton.
This summer, we will be especially happy to welcome you to Arles for the Rencontres de la photographie. More than ever, we need to get together and celebrate culture. The 51st edition did not take place in 2020, a year without festivals. In 2021, we will offer you the 52nd, a balance between key shows that could not be held last year and exciting new proposals. This is a transitional year between two directors: we welcomed Christoph Wiesner as the new head of the festival in September 2020.
Easton Nights is the solo show featuring a selection of works of the American photographer Peter Ydeen curated by Camilla Boemio. The images were selected with the aim of showcasing the myriad facets of Ydeen!s nocturnal narrative. Ydeen is well known for depicting urban landscapes whose complexities are described by the beauty of the mundane world.
50 years ago, the biggest rock band in the world, the Rolling Stones, landed in the south of France. Following various tax woes in England, Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Mick Taylor decided to come and seek shelter in France. The young photographer Dominique Tarlé who had known the band for a few years in London and on tour, came to join his favorite musicians in order to immortalize them in this new environment...
The 10th Carmignac Photojournalism Award is dedicated to the Amazon and the issues related to its deforestation. It is chaired by Yolanda Kakabadse, Minister of the Environment of Ecuador between 1998 and 2000 and President of WWF from 2010 to 2017. The Award was awarded to Tommaso Protti.
All About Photo is pleased to present Since Seeing You by Ruth Lauer-Manenti. Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the entire month of June 2021 and includes twenty photographs from the series Since Seeing You.
L'OEil Urbain Festival explores themes related to new urban realities. This photographic festival - including the ninth edition will be held from May 27 to July 4, 2021 - has become an unmissable event on in France
Belfast Photo Festival, Northern Ireland's premier visual arts festival, will take over art galleries and public spaces throughout Belfast this June with a host of timely exhibitions exploring the role of photography in imagining new visions of the future.
FIFTY ONE TOO is pleased to present a series of 9 platinum prints by the influential American photographer, filmmaker, graphic designer and painter William Klein (born in 1928 in the US, lives and works in Paris, France). The exhibition features some of the most well known images that this 'enfant terrible of photography' made in commission for Vogue magazine in the 1950s and 60s and that are now considered a milestone in fashion photography. The platinum printing process - known for its exceptional quality, durability and beauty - gives these legendary photographs an unprecedented depth, sharpness and tonal range, spectacular to discover in person.
The Griffin Museum of Photography in Winchester, Massachusetts is pleased to have guest curator Donna Garcia showcase the artists of Spirit: Focus on Indigenous Art, Artists, and Issues with photographs from Tonita Cervantes, Jeremy Dennis, Pat Kane, Meryl McMaster, Shelley Niro, a collaboration between Kali Spitzer & Bubzee, Will Wilson, Kiliii Yuyan, and Donna Garcia herself.