Golden Hour

As one of the most multicultural countries in the world, Australia has inspired many artists to reexamine and navigate the country’s troubled colonial history in the context of questions about identity, belonging, and the continent’s increasingly fragile ecosystems. Under a Southern Star: Identity and Environment in Australian Photography showcases the work of twelve contemporary Australian artists together with earlier, iconic photographs related to Australia’s history. The juxtaposition of photographs across time illustrates changing views of cultural and national identity—most notably, the primacy of Aboriginal culture in the Australian experience. Comprising works employing a wide array of visually arresting photographic techniques— including Lumachrome glass printing and AI animation—the exhibition traces photography’s evolution as it explores themes such as migration, settler colonialism, landscape, environmental degradation, and portraiture. Art on Hulfish is made possible by the leadership support of Annette Merle-Smith and Princeton University. Generous support is also provided by William S. Fisher, Class of 1979, and Sakurako Fisher; J. Bryan King, Class of 1993; John Diekman, Class of 1965, and Susan Diekman; Julie and Kevin Callaghan, Class of 1983; Annie Robinson Woods, Class of 1988; Barbara and Gerald Essig; Rachelle Belfer Malkin, Class of 1986, and Anthony E. Malkin; the Curtis W. McGraw Foundation; Tom Tuttle, Class of 1988, and Mila Tuttle; Nancy A. Nasher, Class of 1976, and David J. Haemisegger, Class of 1976; the Len & Laura Berlik Foundation; Gene Locks, Class of 1959, and Sueyun Locks; and Palmer Square Management. Under a Southern Star: Identity and Environment in Australian Photography is curated by Deborah Klochko, former executive director and chief curator, Museum of Photographic Arts at San Diego Museum of Art; and Graham Howe, founder and CEO, Curatorial Exhibitions; with Ashley Lumb, independent curator. This exhibition was originated by the Museum of Photographic Arts at San Diego Museum of Art, with generous support from the Farrell Family Foundation and is toured by Curatorial Exhibitions, Pasadena, California. Image: Something More No. 1, 1989. Collection of the Museum of Photographic Arts. Gift of Olivia and Peter Farrell. © Tracey Moffatt

“I think of myself, standing in a world that is never standing still,” the artist Robert Frank once wrote. “I’m still in there fighting, alive because I believe in what I’m trying to do now.” Life Dances On: Robert Frank in Dialogue—the artist’s first solo exhibition at MoMA—provides a new perspective on his expansive body of work by exploring the six vibrant decades of Frank’s career following the 1958 publication of his landmark photobook, The Americans. Coinciding with the centennial of Frank’s birth, the exhibition will explore his restless experimentation across mediums including photography, film, and books, as well as his dialogues with other artists and his communities. It will include some 200 works made over 60 years until the artist’s death in 2019, many drawn from MoMA’s extensive collection, as well as materials that have never before been exhibited.. The exhibition borrows its title from Frank’s poignant 1980 film, in which the artist reflects on the individuals who have shaped his outlook. Like much of his work, the film is set in New York City and Cape Breton, Nova Scotia, where he and his wife, the artist June Leaf, moved in 1970. In the film, Leaf looks at the camera and asks Frank, “Why do you make these pictures?” In an introduction to the film’s screening, he answered: “Because I am alive.”. Organized by Lucy Gallun, Curator, with Kaitlin Booher, Beaumont and Nancy Newhall Curatorial Fellow, and Casey Li, 12 Month Intern, Department of Photography

Gitterman Gallery is proud to present an exhibition of early work (1989-1997), from the secondary market, by the Guatemalan artist Luis González Palma (b. 1957). The exhibition will open on Saturday, November 16, 2024, from 11 a.m. till 6 p.m. and run through Saturday, January 11, 2025. The gallery is open Tuesdays through Saturdays from 11 a.m. till 6 p.m. and by appointment. Please check the website for updated hours since the gallery will be closed certain days around the holidays. During his early career, Luis González Palma made portraits of Guatemalan people of Mayan or mixed Mayan descent to honor their heritage and bring attention to the discrimination and exclusion they faced. In the process, he gained a greater understanding of his own mestizo ancestry. González Palma explains that “…having lived in a country ravaged by more than thirty years of armed conflict…[t]he subject of fear, loneliness, emptiness and absence are deeply embedded in my work.” (see interview with Alasdair Forester) González Palma uses Christian iconography as well as social and cultural symbolism to create his own lexicon which alludes to universal themes of life and death, fate, spirituality, and mysticism. Through the poignant gaze of his subjects, especially present in these works, González Palma engages the viewer as he honors Mayan identity and acknowledges the complex social history of Guatemala. He also implies that this is one history of many in which humans trespass against their fellow humans. Though González Palma photographed with black and white film and printed these images as gelatin silver prints, he used various additional processes and techniques including toning, collage, and painting with bitumen and asphaltum. Some are collaged with red ribbons to symbolize a bloodline; others have pages from biblical texts. Some have handling marks, and sometimes scratches, cuts and folds. The collage and handwork emphasize the physical dimension of each piece. They are not pristine photographic prints that suture us into a specific narrative but rather objects with textures from human touch that engage us as poetic evidence. Luis González Palma’s primary representative in the United States is JDC Fine Art. His work is included innumerous museum collections internationally and he has three monographs to date.

Holden Luntz Gallery is proud to present The Age of Elegance: 30 Years of Fashion and Beauty, an exhibition tracing the transformative evolution of fashion photography from the 1930s through the 1960s. Showcasing the works of celebrated photographers Frank Horvat, George Hoyningen-Huene, Horst P. Horst, Georges Dambier, Melvin Sokolsky, Norman Parkinson, and William Helburn, the exhibition illuminates the remarkable journey of fashion imagery from meticulously crafted studio portraits to spontaneous, vibrant on-location narratives. In the 1930s and 1940s, fashion photography was a controlled art form, confined to studios where pioneers like Horst P. Horst and George Hoyningen-Huene sculpted light and composition with architectural precision. Their landmark works—Horst’s Mainbocher Corset and Hoyningen-Huene’s Divers—transcend mere documentation, evoking the timeless elegance of classical art and haute couture. The mid-century marked a radical reimagining of the genre. By the 1950s and 1960s, photographers broke free from studio constraints, embracing dynamic, real-world settings that reflected society’s growing appetite for accessibility and spontaneity. Frank Horvat and William Helburn captured fashion amid urban landscapes, infusing their images with raw energy and contemporary spirit. Melvin Sokolsky pushed boundaries further, introducing surrealist elements that transformed fashion photography into a dreamlike, imaginative medium. This photographic revolution mirrored broader cultural shifts: advances in portable cameras and lighting technologies enabled unprecedented creative freedom, while changing social dynamics demanded imagery that spoke to a more diverse, dynamic audience. These visionary photographers didn’t just document fashion—they redefined it as a narrative art form capable of conveying emotion, aspiration, and cultural zeitgeist. The Age of Elegance: 30 Years of Fashion and Beauty invites viewers to traverse this pivotal chapter of visual history. From the sculptural sophistication of studio masterpieces to the kinetic energy of street-inspired compositions, the exhibition celebrates the artistic innovation that permanently altered our perception of fashion photography. Image: Swimwear by Izod (Divers) © George Hoyningen-Huene

The Gallery at Leica Store San Francisco is honored to present About Face, a journey into the soul of portraiture. In this group exhibition, 23 artists capture the delicate space between presence and absence, revealing the unspoken dialogue that unfolds in the quiet exchange of a glance. About Face explores the profound nature of the human gaze—an ordinary moment made extraordinary through the lens of Leica photographers. Each portrait, like a fleeting breath, holds stillness and intensity, bearing witness to the lives lived in the span of a single frame. Here, faces tell stories beyond words, where the personal becomes universal, and the subject invites us to pause, reflect, and see them in their essence. In this collection, time stretches, emotions deepen, and cultural landscapes emerge. The photographers transform everyday encounters into moments of truth, where vulnerability and strength coexist, and the camera becomes a tool for understanding, empathy, and revelation. About Face is an invitation to reflect on the intimacy of portraiture and the quiet power it holds in connecting us to one another, beyond the surface. Featured artists: Ash Alexander • Devin Allen • Nelson Chan • Jeremy Chiu Geloy Concepcion • DeAndre Forks • Shane Hallinan Virginia Hines • Austin Leong • Auston Marek • Adrian Martinez Barrett Moore • Mark Murrmann • Andrew Paynter • Tofe Salako Philip Sawyer • Brennan Smart • Patrick Stevens • Michael Soto Pablo Unzueta • Felix Uribe Jr. • Andrés Felipe Vargas • Katie Walsh

Photography has dramatically altered our access to, understanding of, and impact on the natural world. Through programming that includes the exhibition Widening the Lens: Photography, Ecology, and the Contemporary Landscape, a podcast series, and publication, Widening the Lens examines inherited narratives about people and ecology to offer audiences multiple points of entry into landscape photography. Widening the Lens: Photography, Ecology, and the Contemporary Landscape is organized by Dan Leers, curator of photography, with Keenan Saiz, Hillman Photography Initiative project curatorial assistant.

A voracious photographer who shot hundreds of thousands of pictures over his lifetime, Garry Winogrand (1928–1984) was a pivotal figure in twentieth-century American photography. Winogrand used his lightweight Leica camera athletically, moving in and out of crowds—from Manhattan streets to Texas football fields—as he honed an impulsive yet sophisticated sense of composition. With their wide-angle views and off-kilter perspectives, his photographs convey the energy and upheaval of the 1960s and 1970s, bringing disparate figures, glances, and incidents together within the frame. The photographs in this gallery come from some of Winogrand’s most significant projects, from pictures made on road trips across the US and in New York City’s zoos, to scenes of protest, and an abiding (and controversial) interest in photographing women. While Winogrand was criticized for his preoccupation with the female form during the height of the women’s movement, he also celebrated the newfound freedoms women enjoyed in the public sphere, even as they were subjected to male gazes like his own.

Gordon Parks: Camera Portraits looks at a celebrated American photographer and how he forged a new mode of portraiture after World War II. Parks blended a documentary photographer’s desire to place his subjects where they lived and worked with a studio photographer’s attention to dress, character, and expression. In doing so, he believed he could create portraits of individuals that addressed their cultural significance. He applied this approach to such American icons as boxer Muhammad Ali and conductor Leonard Bernstein, as well as to a Harlem gang leader and to a Detroit couple, revealing the humanity and cultural dignity of each person. This exhibition, drawn primarily from the Corcoran Collection, presents some 25 portraits Parks made between 1941 and 1970. Explore Parks's innovations in portraiture through some of his best-known photographs. Learn how his portraits speak to larger stories of the civil rights movement, the African American experience, and American culture. Image: Gordon Parks, Husband and Wife, Sunday Morning, Detroit, Michigan (Bert Collins and Pauline Terry), 1950, printed later, gelatin silver print, Corcoran Collection (The Gordon Parks Collection), 2016.117.150

Marian Goodman Gallery is delighted to present the United States premiere of Animitas (Chili), 2014, a video installation by the late French artist Christian Boltanski, who the gallery began working with in 1987. The video notably documents the first incarnation of Boltanski’s Animitas series, which began as a conceptual monument installed in the Atacama Desert in 2014. This original installation featured 800 small bronze bells on individual stems that were arranged to represent the position of the stars on the night of the artist’s birth. The location of Chile was chosen by Boltanski as he originally drew inspiration from the local animitas or “little souls”—small, makeshift altars created to worship the departed along roadsides throughout the country; Boltanski also uses the form to commemorate those killed under the Pinochet regime. As the bells chime with the desert winds, Boltanski envisioned that we could hear “the music of the stars and the voices of the floating souls,” a moving, ancestral soundtrack of lost spirits, which continues to play on in the remote location of Talabre, Chile today. The video Animitas (Chili) was filmed on-site in a single shot from sunrise to sunset and is presented along a large bed of living hay, petals, and flowers that will naturally decay throughout the exhibition. Viewers are invited to meditate on the ghostly “voices” heard in the original work that contemplate the universal themes of the brevity of human life, the passage of time, and the intimate experience of loss. Widely considered to be one of France’s most influential contemporary artists, Boltanski endeavored to create borderless works of art that could be understood by individuals of every global context. In line with this, Boltanski, who considered himself a “sentimental minimalist,” created for Animitas a landscape of delicate bells destined to succumb to their natural surroundings, which will eventually be memorialized in the video alone, further allowing them to live on as a symbol of the precarious nature of human existence. Christian Boltanski (1944-2021) was born in Paris during World War II to a Jewish father and a Catholic mother. He spent his childhood hearing stories of the Holocaust, which deeply influenced him. A self-taught artist, he began modeling clay and painting before developing his more conceptual work in the late 1960s. Since his first solo exhibition in Paris in 1968, his oeuvre has been widely shown internationally. In 2011 he represented France at the 54th Venice Biennale. This exhibition of Animitas (Chili) was organized with the Christian Boltanski Endowment Fund, founded in September 2023 with the aim of conserving, promoting and presenting the artist's work. Recent solo shows have been held at Busan Museum of Art, Korea (2021); Centre Pompidou, Paris, France (2019); Espace Louis Vuitton, Tokyo, Japan (2019); The National Museum of Art, Osaka, Japan and the National Art Center, Tokyo, Japan (2019); The Israel Museum, Jerusalem (2018); The Power Station of Art, Shanghai, China (2018); Museo Nacional de Bellas Artes, Buenos Aires, Argentina (2017); Museo d'Arte Moderna di Bologna, Italy (2017); The Museum of Contemporary Art of Monterrey, Mexico (2016); Instituto Valenciano Arte Moderno (IVAM), Spain (2016); Mac's Grand Hornu, Belgium (2015); and Museo Nacional de Bellas Artes, Santiago, Chile (2014). Boltanski was honored with several awards over his lifetime, including the Praemium Imperiale Award (2006) and the Kaiser Ring Award (2001). He participated in Documenta (1977 and 1972) and numerous Venice Biennales (2015, 1995, 1993, 1980 and 1975). In October 2021, a few months after he passed away, three prestigious French institutions in Paris; the Palace of Versailles, the Musée du Louvre; the Centre Pompidou, with the Opéra Comique, organized a joint homage to the artist.

Drawn from the Allen’s collection, this exhibition spans more than 150 years. Although far from comprehensive, the loosely chronological presentation encompasses key practitioners and decisive moments in the history of photography. From the mid-19th century to the first decades of the 20th, there was widespread debate as to whether photography should be considered a fine art rather than a mechanical trade. The exhibition opens with practitioners who took advantage of this ambiguity to enter the field and make crucial discoveries, largely through portraiture. Works on view from the 1920s to the 1950s show how photographers used the unique characteristics of the medium to document the quintessentially modernist processes of urbanization, infrastructure, and scientific discovery. The second half of the exhibition focuses on strategies of appropriation and collage from the post-World War II period to the present, foregrounding the effects of mass media. Alongside these concerns, photographers developed conceptual modes of portraiture to address identity-based issues. This is the second installment of the multi-year series Femme ’n isms, which highlights women-identified artists in the Allen’s collection and expands art-historical notions of the feminine through the intersections of gender, race, and class. The exhibition includes works by Berenice Abbott, Laura Aguilar, Margaret Bourke-White, Claude Cahun, Julia Margaret Cameron, Nan Goldin, Dorothea Lange, Barbara Norfleet, Cindy Sherman, Iiu Susiraja, Carrie Mae Weems, and others.

Bruce Silverstein Gallery proudly presents Sound & Sight: Pete Turner’s Jazz Album Covers, an exhibition celebrating Turner’s profound impact on the visual culture of Jazz. Pete Turner’s vibrant colors and dreamlike compositions have graced the pages of magazines, including Esquire, Look, and Sports Illustrated; however, his work may be most recognizable to a different audience—those with a passion for jazz. Spanning five decades and over seventy covers, Turner’s pioneering approach infused jazz album covers with conceptual depth and dynamic energy. By mirroring the improvisational and emotive nature of jazz, Turner bridged sound and vision. His Surrealist predilection and unparalleled ability to translate the essence of music into striking visual compositions redefined the role of the album cover in the art world and reshaped how music is experienced. Sound & Sight: Pete Turner’s Jazz Album Covers invites audiences to immerse themselves in the fusion of sound and sight that characterized his work. As you explore his work, ask yourself: can you see the sound? Can you feel the color of jazz? Before the late 1940s and early 1950s, there was a lack of visual identity in record covers, which reflected how the music industry operated. Vinyl covers were formulaic, with record labels taking precedence over artistic expression; most covers merely showcased the label’s name, logo, or insignia. Regardless of genre— jazz, classical, or pop- this uniformity across record covers was a direct consequence of mass production techniques and an industry-wide disregard for the potential synergy between visuals and music. The album covers would look nearly identical from release to release. Simply put, people did not yet see album covers as a medium for artistic or creative expression. Pete Turner’s approach broke this mold. By translating the essence of sound into striking visual narratives, Turner made album covers an integral part of the listening experience. Pete Turner’s photography transcended simple portraiture or landscape photography, moving into the realm of conceptual art. His vibrant use of color and abstract forms pushed the boundaries of color to create otherworldly scenes and introduced new dimensions to the visual representation of music. He approached his work with a meticulous yet experimental eye, often manipulating color and light using filters, solarization, and multiple exposures alongside postproduction. When working on the cover for Studio Trieste by Chet Baker, Jim Hall, and Hubert Laws, Turner experimented with Plexiglas, creating a spectrometric, colored lightbox to photograph a bubble. The result is as fleeting and evocative as Chet Baker’s tone could be: the bubble becomes a Surrealist object, resembling the vinyl enclosed, and its marbling, polychromatic colors become a symbol for the mixing of creative energy. His work on albums like A Day in the Life by Wes Montgomery and Night Train by the Oscar Peterson Trio did more than simply capture attention—it shaped the mood and narrative of the records themselves. For example, in his iconic image Blue Horse, 1961, a silhouetted horse stands against a vast cobalt desertscape, embodying serenity and solitude. In perfect harmony with the syncopated rhythms of Hubert Laws’ Crying Song, the photograph evokes a profound sense of grandeur and adventure, enriching the listener’s journey and introducing a new visual identity to the music. Similarly, Turner’s collaboration with legendary record producer Creed Taylor on Antonio Carlos Jobim’s Wave marked a shift in album art. Instead of opting for a literal interpretation, like a traditional depiction of waves (one immediately recalls Hokusai’s Great Wave, 1831), Turner’s surreal image of a giraffe running across a desert created an unexpected but fitting metaphor for the music’s undulating, fluid rhythms. With Pete Turner, each album cover became a statement, a collaboration between artist and musician.. Pete Turner’s unparalleled ability to translate the essence of music into striking visual compositions redefined the role of the album cover in the art world. Turner’s legacy lives on through his countless iconic images that helped shape the visual identity of jazz music, making him not only a key figure in photography but also an essential collaborator in the history of modern jazz.. Image: Eye to Eye 1968 © Pete Turner / Courtesy Bruce Silverstein Gallery

Paul McCartney Photographs 1963–64: Eyes of the Storm is an unprecedented exhibition, revealing extraordinary photographs taken by the beloved musical icon. Organized by the National Portrait Gallery in London, the exhibition will open at the Portland Art Museum on September 14, 2024, and run through January 19, 2025. Comprising recently rediscovered photographs from Paul McCartney’s personal archive, more than 250 pictures invite visitors to intimately experience The Beatles’ meteoric rise from British sensation to international stardom. At a time when so many camera lenses were turned toward them, McCartney’s perspective from the inside out brings fresh insight into the band, their experiences, the fans, and the Beatlemania phenomenon. Through these photographs, along with video clips and archival material, visitors can witness the dawn of the “British Invasion” that fundamentally transformed rock and roll music and global culture. Captured by McCartney during a pivotal three-month period for The Beatles in late 1963 and early 1964, the photographs evoke an affectionate family album, picturing his fellow band members, John Lennon, George Harrison, and Ringo Starr, at a time when their lives were changing irrevocably. The exhibition gives visitors a highly personal glimpse into an extraordinary time with one of music’s enduring legends. The exhibition also captures McCartney’s interest in the visual arts, with his photos reflecting the aesthetics and popular culture of the period. The range of work, from portraiture and landscape photos to documentary images, reveals McCartney’s familiarity with the formal styles of early 1960s photography. References to New Wave, documentary filmmaking, and photojournalism can be found across the exhibition. Paul McCartney Photographs 1963–64: Eyes of the Storm is curated by Paul McCartney with Sarah Brown on behalf of MPL Communications Limited and Rosie Broadley for the National Portrait Gallery, London, and organized for the Portland Art Museum by Julia Dolan, Ph.D., the Minor White Senior Curator of Photography. Image: Paul McCartney, Self-portrait. London, 1963. © 1963 Paul McCartney under exclusive license to MPL Archive LLP.