Jean-Pierre Laffont New York Noir

Etherton Gallery’s new exhibition, Redux: Selections from The Photography Show presented by AIPAD, highlights examples of rare, vintage, and iconic photography from the 20th and 21st century that Etherton Gallery exhibited at The AIPAD Photography Show in New York this past spring. AIPAD is the largest art fair in the United States dedicated to fine art photography, and it brings together everyone in the photography community once a year. The best galleries in the world apply to participate in the fair, and the process is highly selective. Exhibiting at AIPAD places a gallery from Tucson on the same footing as a gallery from New York, London or Paris. Participating in AIPAD since 1985, Etherton Gallery has earned its reputation as one of the best galleries in the United States. For the 2024 edition of AIPAD, Terry Etherton, Gallery Director and owner of Etherton Gallery, selected a unique combination of photographs and photographic objects, which we are excited to share with the Tucson community. Image: Edith, Danville, Virginia, 1980 © Emmet Gowin

Almost from the moment that photography was invented—an artistic medium that recorded the physical world in extraordinary, mirror-accurate detail—artists wanted to find a way to capture color in those images. This exhibition explores the history of how artists added life-like tints to the silvery or sooty tones of black and white photographs, eventually leading to the development of color photography. Throughout most of the 1800s, color was added through hand-painting directly onto metal plates, such as Daguerreotypes or tintypes, or onto paper images, such as salt or albumen prints. However, photographers also developed revolutionary techniques to produce even richer, more accurate color. Among these were Opalotypes, a photographic technique printed onto milk glass which, when hand-tinted, produced incredibly realistic effects. By 1900, the quest for photography which could accurately capture all the hues of the prism lead to the invention of Autochromes—the first commercially successful photographic color process. Drawn from both private collections and the Museum of Fine Art’s extensive holdings, True to The Tint offers a chance to look at the remarkably innovative and evocative history of early tinted and color photography. This exhibition is curated by Chief Curator Dr. Stanton Thomas and Director of Collections Management Jason Wyatt. The exhibition’s title, True to the Tint, is taken from the 1851 article “Photographing in Natural Colors.” That work is one of hundreds that were published during the 19th century which explored not only the development of new black and white photography techniques, but also chronicled the search for how to capture the world in all its hues. The desire to create color photographs reflects one of the greatest artistic goals of that period: realism. While black and white photography captures the world in all its detail, it sometimes lacks the vitality and sense of vivacity associated with color. Indeed, tinted or color images, because of their heightened realism, often evoke a stronger emotional response. Thus for decades photographers sought a way to produce works in color—thus enhancing the evocative, personal, emotive aspects of their works, whether portraits, landscapes, or still lifes.

This exhibition is a dynamic retrospective of Frank Stewart’s photography that centers on his sensitive and spontaneous approach to portraying world cultures and Black life in many forms—including music, art, travel, food, and dance. His work over the years captured intimate and empathetic images of lives experienced and observed across subjects, cities, and countries. Tracing both Stewart’s explorations of life on the road and the trajectory of his stylistic journey, the exhibition brings together a comprehensive visual autobiography through over 100 black-and-white and color photographs as well as a selection of cameras from Stewart’s personal archives. Frank Stewart’s Nexus explores Stewart’s avid experimentation and numerous subjects over the course of half a century, including aspects and rituals of Black culture, trips to Africa and Cuba, and music. As the senior staff photographer for Jazz at Lincoln Center Orchestra for 30 years, Stewart captured both public performances and candid, personal moments, including well-known photographs of jazz legends Miles Davis, Ahmad Jamal, and Wynton Marsalis. Frank Stewart’s Nexus also provides a window into less-explored aspects of Stewart’s practice, including his more abstract and painterly Drawings series, inspired by his travels. Color has dominated Stewart’s photography for the past two decades, and he has also increased the sizes for many images. In more recent images, he captures the ever-changing landscape and environmental catastrophes. At the center of his varied practice is a familiarity Stewart creates with the people and places that inhabit his works. Image: Frank Stewart, Stomping the Blues, 1997, gelatin silver print, 16 x 20 in. Collection of Rob Gibson, Savannah © Frank Stewart

Drawing together photographs and installations from both his celebrated and lesser-known series, Lyle Ashton Harris: Our first and last love charts new connections across the artistic practice of Lyle Ashton Harris (b. 1965, Bronx, NY). The exhibition explores Harris’s critical examination of identity and self-portraiture while tracing central themes and formal approaches in his work of the last 35 years. The artist’s recently-completed Shadow Works anchor the exhibition. In these meticulous constructions, photographic prints are set within geometric frames of stretched Ghanaian funerary textiles, along with shells, shards of pottery, and cuttings of the artist’s own hair. Our first and last love follows the cues of the Shadow Works’ collaged and pictured elements—which include earlier artworks and reference materials, personal snapshots, and handwritten notes—to shed light on Harris’s layered approach to his practice. Harris’s work engages with broad social and political dialogues while also speaking with revelatory tenderness to his own communities, and to personal struggles, sorrows, and self-illuminations. Groupings centered around singular Shadow Works will expand upon these multiple throughlines, including Harris’s continued examination of otherness and belonging; the framing and self-presentation of Black and queer individuals; violence as a dark undercurrent of intimacy and desire; tenderness and vulnerability; and notions of legacy—both inherited and self-defined. Lyle Ashton Harris: Our first and last love is co-organized by the Queens Museum and the Rose Art Museum, Brandeis University, and is co-curated by Lauren Haynes, Director of Curatorial Affairs and Programs, Queens Museum and Caitlin Julia Rubin, Associate Curator, Rose Art Museum. Image: Lyle Ashton Harris, "Succession", 2020. Ghanaian cloth, dye sublimation prints, and artist’s ephemera. Rose Art Museum, Brandeis University, Mortimer and Sara Hays Acquisition Fund, 2023.4. Courtesy the artist. © Lyle Ashton Harris

This landmark exhibition presents the work of Christina Fernandez, whose photographs and installations explore migration, labor, gender, and her Mexican American identity. Christina Fernandez: Multiple Exposures surveys over three decades of Fernadez’s most important photographic series and installations. Informed by her family’s involvement in the Chicano movement, Fernandez’s conceptual practice has paired aesthetic inquiry with political commitment since the 1990s. Working between portraiture and landscape photography, Fernandez addresses the intersections between the personal and the political as grounded in her immediate community in East Los Angeles and her family’s history of migration. Fernandez’s first monographic museum exhibition invites us to reconsider history, borders, and the lives that cross and inhabit both. Image: Christina Fernandez, Untitled Multiple Exposure #4 (Bravo), 1999 © Christina Fernandez

The Asheville Art Museum proudly presents Shifting Perceptions: Photographs from the Collection, an exhibition on view from May 17 to September 23, 2024. Shifting Perceptions continues the Museum's 75th-anniversary celebration and magnifies its expanding Collection of photographs. This exhibition is guest-curated by Katherine Ware, curator of photography at the New Mexico Museum of Art, and features over 125 artworks organized into three sections: Inside/Out, Together/Apart, and Natural/Unnatural. Each section explores seemingly opposing forces, prompting viewers to reconsider the nuances and complexities of life. "Our brains gravitate toward hard distinctions, but life is filled with gradations, complexities, and ambiguities. The categories offer a context for considering the pictures," said Ware. "They sound like opposites, but it is up to visitors to decide if these dualities are different or part of a continuum." Shifting Perceptions showcases photographs by 20th-century masters such as Ruth Bernhard, Bruce Davidson, Donna Ferrato, Carrie Mae Weems, and Jerry Uelsmann, alongside contemporary images by Jess T. Dugan, Matthew Pillsbury, and Cara Romero, among others. While some photographs offer a distinct point of view, many invite contemplation of the intersections and contradictions within each category. Recent acquisitions and longtime favorites are presented in new juxtapositions, providing fresh insights into the evolving landscape of photography. The exhibition includes prints from the 19th century but predominantly represents developments in the field in the 20th and 21st centuries. It emphasizes images made by regional artists and those exploring varied aspects of the Southern experience. In-depth holdings include suites of images by Shelby Lee Adams, Rob Amberg, photojournalists for the Asheville Citizen-Times, Bruce Davidson, Sally Gall, Walter Iooss Jr., Robert Glenn Ketchum, Joel Meyerowitz, Bea Nettles, Jo Sandman, Joyce Tenneson, Kent Washburn, and Jonathan Williams. Pamela L. Myers, Executive Director of the Asheville Art Museum, shares, "Our photographic holdings are extraordinary, and Katherine has taken a new look at the national and regional dialogues reflected in the Collection. Shifting Perceptions: Photographs from the Collection is a captivating exploration of photography's multifaceted nature. It invites viewers to challenge their preconceptions and embrace the rich tapestry of visual storytelling. Image: Cara Romero, T.V. Indians, 2017 (printed 2023), archival pigment print on Epson Legacy Platine paper, 38 ⅞ × 59 ⅝ inches, edition 1/3. Museum purchase with funds provided by 2023 Collectors’ Circle members Butch & Kathy Patrick, 2023.47.01. © Cara Romero

Vision(ary) is the Griffin Museum of Photography’s 5th Annual summer public art exhibition dedicated to the art of visual storytelling. Presented as a part of Winchester Waterfield Summer Arts Festival, the instillation will feature 18 individual installations with distinct photographic styles. The Town of Winchester plays host to this summer exhibition, with installations throughout Winchester Town Center. Photographers from around New England and across the country are highlighted in a unique format. The exhibition concept and Photo Cube structures are designed by our long time partner, Photoville. Creating a photographic walking trail around the town of Winchester, where the Griffin Museum is located, Vision(ary) is a public art installation showcasing national, international and New England photo based artists. Downtown Winchester is filled with sidewalk art, featuring the students of local Winchester schools and local Winchester based photographic artists. The Griffin Museum is happy to partner with Photoville and the Winchester Cultural District again this year to bring this installation to life. It is also a pleasure to collaborate with the students of Network for Social Justice and MassArt. Photosynthesis, our student portfolio development program, now in its 20th year, hangs on a banner in the Town Common. The students of Winchester and Burlington High Schools have worked this spring to develop visually engaging personal portfolios about their family, community and world around them. This program is sponsored by the John & Mary Murphy Foundation. We are grateful for their support of this project each year. In a community initiative, Our Town is also featured on the wall at the Town Common, and on the walls of the Griffin Museum. We asked the local community for a vision of their family and community, and we recieved many images highlighting what we love about our surroundings, including the people and place of Winchester. We want to thank the Winchester Cultural Council and En Ka Society for their generous support in producing this exhibition. Additional banners hung on light standards and sidewalk art installations can be found throughout Winchester’s downtown.. Image: © Natalya Getman, Sisters

Television and film director and photographer Daniel Sackheim presents photographs from his series Unseen in a black-and-white photography exhibition at the SE Center 8/2 - 9/27, opening reception 9/6 6-8 PM. “This body of work explores life in the shadows of an urban jungle,” says Sackheim. “My inquisitiveness is rooted in a need to discover the secrets that lie hidden deep within even the most forbidding corners of the city. To excavate the past, to stare into the faces of ghosts long forgotten. Inspired by the visual aesthetic of Film Noir, this work explores isolated fragments of subjects once there but now gone, as a means of shining a light on what is hidden, if only for an instant.”

POOL is a series of underwater photographs captured across The United States, documenting the country from the bottom of its swimming pools, looking up to the sky. Pools are iconic. A place of leisure and carelessness, they rhyme with fun and lush. But they also underscores the potential drawbacks associated with these desires in terms of sustainability and resource consumption. This ambiguity makes it a fascinating subject. Ovid’s fable of Narcissus stands as a timeless exploration of self-absorption and its consequences. At the heart of the story lies a reflective pool, a mirror-like surface that beckons Narcissus into the depths of his own image. MarieVic’s project invites Narcissus’ reflection to express its point of view, across the United States. The series presents a distorted reality that enhances the disturbing effects of consumerism on the American landscape and presents a world that operates by its own set of rules.

"Before I depart I rest my body in the place the lighthouse misses, the dark swaths of grass (missed too by the man who mows the lawn every other Wednesday) on the slope of the small hill behind the keeper’s house. This place is made darker still as the eyes adjust unwillingly to the circle of light that sprints along the tops of the black pines that crown the hill, anointing each for just a moment; tonight I pick You. I pick you, and then you and then you, and then you and then you and then you. The only thing I can hear is the quiet squeal of the island’s generator a hundred yards away, the gears working slowly, smallest to largest, pulling a swath of indigo cotton across the sky inch by inch, the stars and their small sounds curled in the dark spaces between the bayberry leaves." - Neville Caulfield Amy Wilton Andrew O’Brien Brandon Simpson Cole Caswell Chelsea Ellis Dave Hanson mathis benestebe Jack Montgomery Jan Pieter van Voorst van Beest Jason Freeman Jodi Colella John Woodruff Lynn Karlin Melonie Bennett Neville Caulfield Mona Sartoveh Robert Tomlinson Susan Rosenberg Jones Thomas Whitworth Nancy Grace Horton Barbara Peacock Image: Neville Caulfield, The Lighthouse, At Last, 2024

Our annual Member, Staff & Volunteer Show portrays the current look at what is being created in our darkrooms and digital lab here at the Harvey Milk Photo Center. This exciting exhibit is showcasing each photographers chosen and personal best. It has been curated by the staff, members and our generous volunteers and encompasses a wide and exciting range of subject matter. Show Participants: Aaron F. Anderson, Adam Cavan, Adam Goldring, Alan Kikuchi, Allan Barnes, Amanda Chi, Aviv Delgadillo, Bernardita Ried Guachalla, Bill Swerbo, Bryan Yasukawa, Charlotte Seekamp, Chris Cummins, Chris S A Gould, Christian Perez, Courtney Liss, David Gutierrez, David Rizzoli, Deepak Talwar, Eli Woo, Elijah Martin, Eric Lam, Erin Rademacher, Forrest Bottomley, Garrett Schmid, George Clapper, Grahame Lesh, Grant Rusk, Hugo Wehner, Irina Levental, Irwin Lewis, James Estevez, Jane Waterbury, Janett Perez, Jazmin Manchester, Jennifer Simon, Joel H. Davidson, John Longyear, Justin Pham, Katherine Akey, Kelsey Bower, Libby Keesor, Louise Matsushima, Lucia Rosenast, Madison Blanchard, Magali Gauthier, Marcus Oringer, Marcus Valderrama, Marilyn Montúfar, Mark Heija, Martin Strauss, Matt Schaefer, Matthew Silvey, Max Otake, Melissa Castro Keesor, Mia Nicolacoudis, Mike Albertson, Mike Nelsen, Mitsu Yoshikawa, Nick Dean, Nick Stewart, Nick Sylva, Nina Phillips, Omar Matias, Oz Skinner, Parker Mosby, Pavel Guevarra, Pedro Lange-Churion, Peter Cihon, Peter Kupfer, Qin Bian, Robert L. Elvin, Roger Thoms, Ross Tinline, Roz Plotzker, Ryan Jacobs, Sophia Grimani, Stuart Goldstein, Theodore Maider, Thomas Back, Toby Watters, Val Kai, Victor de Fontnouvelle

Frida Kahlo, who lived from 1907 to 1954, and who spent nearly her entire life in Mexico City, was a visionary artist. She remains enigmatic, yet her paintings, and her views of art, continue to inspire and influence all of us. Her art was deeply personal, but she illuminated emotional issues that resonate widely. Frida’s fears, pain, dreams, and surreal trances evoke empathy and curiosity. She spoke the language of the calle and the cantina, but she was also cosmopolitan, able to engage Leon Trotsky and Henry Ford, as well as André Breton and Lola Álvarez Bravo. And she enraptured Diego Rivera. After divorcing Frida, Diego missed her so much that he asked her to marry him again (which she did). Frida was intense and she was authentic. So many different emotions, all deeply experienced, infused her art: passion, intuition, intellectual acuity, loneliness, pain, cruelty, sorrow, remorse, love, jealousy, loneliness, and fear. The intensity of Frida is captured in this important exhibition of photographs of Frida. Many of the photographs shown were taken by Frida’s friends and lovers; other images are from celebrated photographers. This exhibit at Throckmorton Fine Art is fascinating: it is the creation of a visual biography using photographs of her by those who she trusted. The earliest photographs of Frida were taken by her father, Guillermo Kahlo, who fondly called her Friducha. Later photographs were taken by friends, lovers, artists, and some of the most renown photographers in the history of world photography. Frida understood these photographs were creating not only a personal record of her life, but also documenting the art community in Mexico in which she played a pivotal role. Her understanding of the power of photography was certainly heightened by her father being a well-known photographer in Mexico City. Indeed, she assisted him by retouching images in his studio. Frida curated her copies of photographs taken of her, building a collection that documents important chapters in her life. Spencer Throckmorton, the principal of Throckmorton Fine Art, has spent the better part of forty-five years building a complementary collection of photographs of Frida. Spencer has spent time in Mexico City, beginning decades ago, looking widely for photographs of Frida, with some found in the most unlikely of places, from flea markets to used bookstores to dealers in photographs and graphic art. Spencer has also availed himself of the auction houses. He slowly, but steadily, built what must be the finest and most complete private collection of photographs of Frida. The photographs of Frida in the exhibit document her life from two years of age to just before her death at the age of forty-seven. There are photographs of Frida taken by family members, friends, and lovers, ranging from Guillermo Kahlo to Rosa Covarrubias. There are also photographs of her taken by celebrated photographers, who often went to great lengths to photograph Frida. The roster of these well-known photographers include: Fritz Henle, Lucienne Bloch, Bernard Silberstein, Leo Matiz, Nickolas Murray, Gisele Freund, Manuel Álvarez Bravo, Lola Álvarez Bravo, Leon de Vos and Edward Weston. Frida is a twentieth century icon, and her fame has only grown in the twenty-first century. Indeed, she is no longer referred to as the wife of Diego Rivera, instead Diego Rivera is now known as the husband of Frida Kahlo. Her paintings hang in the most revered room on the fifth floor of the Museum of Modern Art, the room housing masterpieces by Salvador Dalí and René Magritte. Frida never adopted a particular school of painting; the Surrealists adopted her. Her paintings, her writing, and even photographs of her, capture a stirring passion, intellectual honesty, and bravery that continue to inspire. Her personal mythos led to an original magical realism, one that remains relevant as a creative impulse for contemporary artists, and even for all of us just trying to make sense of our place in the world. The photographs of Frida exhibited at Throckmorton Fine Art demonstrate how this cultural icon used herself as an ongoing and never-ending performance, but one of utter seriousness of purpose. Frida’s uncensored life, so ably documented in photographs, is a great legacy, just as are her paintings.