Joshua Lutz: Orange Blossom Trail

Robert Mann Gallery is pleased to announce our return to Chelsea, the vibrant art community where we first relocated to in 1999. For the inaugural exhibition in our new gallery space, and in celebration of our 25+ year relationship with artist Jeff Brouws, Robert Mann Gallery is pleased to announce Jeff Brouws: Just About Everything, Someplace Else, on view from October 17 - December 6, 2024. This exhibition will showcase a selection of Brouws’s iconic photographs alongside several previously unseen works. In Just About Everything, Someplace Else, Jeff Brouws brings together images that act as artifacts of history while continuing to speak to themes that resonant today: a sense of abandonment, loneliness, alienation, and the influence of technological change, in essence all suggestive of an American Dream that isn’t quite what it seems. In this show Brouws incorporates photographs from several series including his Ed Ruscha-influenced Language in the the Landscape, the Hopperesque images from the series Approaching Nowhere, and the discarded and franchised elements of our collective commercial environments that pay homage to, and update, the New Topographics. Throughout his career Brouws has created a rich archive with an emphasis on documenting our built environment, a practice that he terms “visual anthropology.” In preserving the remnants of the American landscape he has created a photographic anthology that allows us to see the impact of economic and social forces as they play out, especially across non-urban areas of America. In these images a connecting thread is the highway, a central character and place upon which so much of American life unfolds. Brouws' photographs are included in the permanent collections of The Whitney Museum of American Art, The Nelson-Atkins Museum of Art, The J. Paul Getty Museum, among others. His monographs include Approaching Nowhere (2006), Readymades (2003), Inside the Live Reptile Tent (2001), and Highway: Americaʼs Endless Dream (1998). He is also the co-editor and co-creator of Various Small Books: Referencing Various Small Books by Ed Ruscha (2013, MIT Press). Born in 1955, Brouws lives in Stanfordville, New York.

Notes on Care is a new exhibition of photographs by Rachel Cox from the series Portrait of a Woman. This highly personal body of work chronicles Cox’s experience accessing fertility treatment to start a family. The selection of photographs at the UNM Art Museum “reflects on the action of care,” says Cox, “the various moments that require care, starting with the self, and extending to the care taken to honor an embryo meant for implantation.” Representation is important for Cox; her photographs depict a medical procedure that is rarely observed by the public or depicted in the media, yet over 300,000 people in the United States underwent IVF cycles in 2020 alone, according to the Center for Disease and Control. By making her own body and treatment visible, Cox’s photographs serve as sources of information and comfort.br> “The photographs I make examine personal and cultural stigmas associated with female infertility while also raising awareness for the millions of people who seek to build their families through assisted reproductive technologies (ART),” says Cox.br> “We are at a critical moment in history where birthing people have lost federal protections for the right to decide how and when they will build their families. The lack of fact-based information around reproductive health is widespread and contributes to mass misinformation which infects the social, cultural, and political landscape of this country.” br>

Michelle V. Agins is a Pulitzer Prize-winning photojournalist whose images tell unforgettable stories about life in America. The second Black woman ever hired as a staff photographer at The New York Times, Agins’s groundbreaking assignments offer some of the most important documentation of race relations, celebrity culture, sports, spirituality, and economic disparity in America. Over the course of her five-decade career as a photojournalist, Agins has covered a vast array of news moments, from her early pictures of the protests surrounding the murder of Black teenager, Yusef Hawkins, and the 1992 Democratic National Convention, through more recent images of the Kamala Harris campaign and portraits of Storme DeLarueri, a Stonewall Riots survivor. Agins has captured other iconic figures, such as James Baldwin, Prince, Aretha Franklin, Serena Williams, Anthony Mason, and Anita Hill, among many others. Each photograph demonstrates Agins’s powerful humanizing vision. “Storytelling is the only way I’ve done my work,” Agins said, and “my words are my images.” Her visual storytelling also brings to light the lives of many New Yorkers (some on view here) who have been aided by The New York Times Neediest Cases Fund, now called the Communities Fund. Her series Another America: Life on 129th Street (1994), also on view here, studies the effects of gun violence on a Harlem neighborhood. This museum exhibition, Agins’s first, comprises sixty-eight images taken during her thirty-five years at The New York Times. Organized by Maura Foley, Picture Editor, The New York Times, and Maura Reilly, Director, Zimmerli Art Museum. Image: Michelle V. Agins, James Baldwin introduces his new book "Evidence of Things Not Seen" at the home of Lerone Bennett in Chicago, 1983. © Michelle V. Agins

Yevgenia Belorusets | Oksana Chepelyk | Olia Fedorova | Alena Grom | Zhanna Kadyrova | Alevtina Kakhidze | Dana Kavelina | Lesia Khomenko | Vlada Ralko | Anna Scherbyna | Kateryna Yermolaeva | Alla Horska (1929–70) | curated by Monika Fabijanska Women at War features works by a selection of the leading contemporary women artists working in Ukraine, and provides context for the current war, as represented in art across media. Several works in the exhibition were made immediately following February 24, 2022, when Russia began the full-scale invasion of Ukraine; others date from the ten years of war following the annexation of Crimea and the creation of separatist Donetsk and Luhansk “People's Republics” in Donbas in 2014. War is central to history. History has been written (and painted) by men. This exhibition provides a platform for women narrators of history and also examines gendered perspectives of war. Women are generally absent from the historical accounts of war, but violating a woman is seen as a violation of land and nation. Media images reinforce the perception of gender divide. But is war indeed gendered? Women comprise c. 25% of the Ukrainian armed forces. Russian soldiers rape Ukrainian civilians of all and no genders, including adult men. Yet, the majority’s experience remains tied to the traditional gender roles. Many artists in this exhibition struggle with the notion of victimhood and pose the question in what way women have agency during war. The exhibition also offers an insight into Ukrainian and other Eastern European feminisms, which are significantly different from the Western mold. It contributes to the discourse about how national identity is tied to the perception of women’s role in society. There are parallels between the fight for Ukraine’s independence and the fight for the equality of Ukrainian women. They stem from the paradoxes of the Soviet Union, where early modernist, anti-nationalist, and feminist promises became but a fig leaf of propaganda for the increasingly brutal and misogynist patriarchal regime. An independent Ukraine, burdened with its colonial past, the unimaginable wounds of the 20th century (the Holodomor, two world wars, and the Holocaust), and the actuality of a crisis, became obsessed with history. Ukrainian art of the 2010s was largely focused on the discussion of whether national identity should draw directly upon the short period of pre-Soviet independence or include the legacy of the Ukrainian SSR. The new generation of artists turned their attention to historiography – how history is written, who writes it, who and what remains invisible. Soviet painting, especially the interpretations of WWII, came into focus for many. Others organized around the critique of decommunization – the destruction of Soviet monuments and mosaics in Donbas spearheaded by the post-Maidan government – and turned towards the blanked-out pages of history. Image: © Alena Grom

In the world of entertainment, the performers we adore often exist as larger-than-life figures, their identities shaped by the roles they play and the moments they share with us. The Eyes of the Audience: Performers Seen Behind the Lens invites viewers to step into the intimate space between the audience and the artists, exploring the profound connections that bridge the gap between the stage and the spectator. “Fame has been with us for quite some time, but celebrity was a nineteenth-century invention,” as Vicki Goldberg aptly notes. This sentiment echoes through the powerful imagery of iconic photographers such as Lawrence Schiller, Terry O’Neill, Barbara Morgan, Harry Benson, Roy Schatt, Douglas Kirkland, and Norman Seeff. Their photographs capture the essence of the performers who have transformed our cultural landscape—actors, musicians, dancers, and athletes—freezing moments that resonate with our collective memory. This exhibition celebrates the photographers who have expertly chronicled these performers, offering glimpses into the lives of cultural icons such as Marilyn Monroe, David Bowie, and Muhammad Ali. Each image captures a moment in time, allowing us to revisit the electric energy and creativity of these larger-than-life figures. The photographers featured here have used their artistry to transform fleeting moments into enduring legacies, highlighting the intricate relationship between performer and audience. In the spirit of Barbara Morgan, whose iconic dance photography immortalized the movements of stars like Martha Graham, this exhibition showcases how photography conveys the emotions and dynamics of performance. Morgan famously stated that “form and content meet in action,” a sentiment echoed in the work of contemporary photographers like Douglas Kirkland and Norman Seeff, who capture the essence of their subjects through spontaneous interactions and intimate moments. As we navigate through the exhibition, the cultural narratives woven into each photograph evoke feelings of nostalgia, longing, and admiration, prompting reflection on our personal connections to these performers and their art. The energy captured by the photographers transforms into a resonance that reflects the impact these entertainers have had on our lives—the soundtracks to our memories, the dialogues of our dreams, and the shared moments of cultural significance. The interplay of stillness and motion, of the personal and the universal, creates a dialogue that transcends time. Each photograph serves as a testament to the artistry of both the performers and the photographers, illuminating the beauty of their collaboration. Through these images, the audience becomes part of a shared experience that celebrates the magic of performance art. The Eyes of the Audience serves as a testament to the artistry involved in both performance and photography, resonating as documentation and dialogue between the past and present, celebrating the enduring influence of performers on our collective cultural narrative. Image: Arthur Miller and Marilyn Monroe on the set of “The Misfits” © Eve Arnold

Life’s finest moments often emerge in the spaces between obligations—where joy, relaxation, and beauty naturally unfold. Whether through quiet reflection, playful escape, or shared celebration, these experiences remind us to savor the present. The Good Life: Experiencing Leisure, Joy & Luxury captures the essence of these fleeting, meaningful moments. The exhibition features the works of Slim Aarons, Rodney Smith, and William Helburn, three photographers whose images embody levity, pleasure, and elegance. Through their distinct visions, The Good Life offers an invitation to embrace life’s finest experiences. These works celebrate joy, luxury, and lightness—not as extravagances, but as moments that enrich our everyday existence. The photographs on display go beyond simple documentation; they breathe life into the present, inviting us into a world of unencumbered joy and indulgence. Whether capturing refined leisure or whimsical elegance, these images transcend time to evoke emotions that resonate today. Each frame holds a fragment of freedom, exuberance, or nostalgia—reminding us that even the simplest pleasures can carry a timeless allure. Slim Aarons (1916–2006) dedicated his career to capturing the lives of the rich and glamorous. Known for striking images of high society at leisure—whether by the pool in Palm Springs or on the slopes of Gstaad—Aarons embodied his philosophy of “photographing attractive people doing attractive things in attractive places.” His photographs immortalize leisurely pursuits against stunning backdrops of luxurious estates and sun-drenched beaches, revealing a visual archive of mid-20th-century elegance and opulence. Beginning his career as a combat photographer during World War II, Aarons transitioned to society photography post-war, establishing a signature style marked by vibrant colors and natural light. His influential body of work has graced major publications like *Life* and *Harper’s Bazaar* and continues to inspire artists and designers, reflecting the complex narratives of identity and privilege that define his legacy. Rodney Smith (1947–2016) was a prominent fashion and portrait photographer whose whimsical black-and-white imagery evokes the surrealism of René Magritte. Known for his un-retouched, dreamlike compositions, Smith masterfully balanced elegance and humor, creating enchanted worlds filled with playful surprises. His photographs reflect a keen understanding of light and composition, inviting viewers into a realm where joy and optimism reign. With a career spanning over 45 years, Smith’s work continues to inspire and captivate, celebrating the beauty of life through his unique artistic vision. William Helburn (1924-2020) was a pioneering figure in fashion and advertising photography, whose work epitomizes the creative revolution of the 1950s and 1960s. His innovative approach to visual storytelling transformed how fashion was portrayed, blending elegance with an unexpected sense of humor and whimsy. Helburn’s photographs not only captured the era’s most iconic models, such as Dovima and Sharon Tate, but also illustrated the vibrant spirit of postwar America. By pushing the boundaries of traditional studio settings and utilizing urban environments as backdrops, he created dynamic compositions that resonated with the youthful optimism of the time. His distinctive aesthetic—marked by bold colors and striking contrasts—mirrors the exhibition’s theme of redefining identity and exploring the interplay between fashion, culture, and societal norms. Helburn’s legacy as a master of both technique and vision continues to influence contemporary photography, making his work a vital part of this narrative. Together, the works of Aarons, Smith, and Helburn invite us to experience The Good Life—a celebration of life’s finer moments, where joy, beauty, and elegance intertwine. This exhibition reminds us that sometimes, the simplest pleasures are the most meaningful and luxurious of all. Image: Palm Beach Idyll © Slim Aarons

Revisions: Celebrating Fifty Years of the UMBC Photography Collections features highlights and lesser-known gems from UMBC’s considerable photography holdings. Looking back at a half-century of collecting, the exhibition offers thematic groupings and visual juxtapositions of photographs from the nineteenth century to the present. The display asks viewers to approach the history of photography with fresh eyes. Among the artists featured are Berenice Abbott, Diane Arbus, Kerry Coppin, Cary Beth Cryor, Judy Dater, Robert Frank, Roland Freeman, Ralph Gibson, Lewis Hine, and Alfred Stieglitz. Image: Elba, 1983 © Ralph Gibson

Traces of the Manifest encompasses photographs, ephemera and video made by Victoria Sambunaris between 2015 and 2023. The exhibition uncovers new meanings and alternative perceptions beyond Sambunaris’ well-known or customary large-scale murals of American landscape which examine the external imprint from deep time to human time. By showing artifacts, found objects and photographs this exhibition reveals the working method, perceptions, intimacies and even unconscious views that are part of the essential and incidental elements of Sambunaris’ work as a photographer and explorer. Photographs from the Texas Gulf Coast to the desert regions of southern California reveal three dimensions of the animating forces behind Sambunaris’ larger concerns: the impact of industrial sites, geological forces and human traces found in landscape today. The intimate scale of this exhibition has given Sambunaris the opportunity to include journals, road logs, gifts, mineral collections, books, and snapshot documentation to reveal a personal story of her time on the road.

Only eight miles away from Long Island’s south shore, but a world apart from Long Island’s suburbia. This barrier island seashore offers residents and visitors the freedom to express themselves, both personally and artistically. It has offered a warm-weather respite to Long Islanders and New Yorkers for more than a century, with ferry service beginning in the mid-19th century, soon after the first hotels were built. The Hamlets of Cherry Grove and Fire Island Pines have provided LGBTQ+ New Yorkers the freedom to express themselves since the mid-20th century, and these communities have been celebrated worldwide as a place of acceptance, drawing artists seeking inspiration. Featuring works by Paul Cadmus, Meryl Meisler, John Laub, Joanne Mulberg, TM Davy, Doron Langberg, Louis Fratino, and more.

Jackson Fine Art is delighted to announce our Fall 2024 exhibitions with Michael Stipe, Angela West, and John Chiara opening on Tuesday, Oct. 1 at 6 p.m. with a reception celebrating the artists. Even the birds gave pause features work of artist and former R.E.M. frontman Michael Stipe and presents a sampling of the breadth of Stipe’s creativity - photographs of family and friends, an installation of folded portraits printed on delicate rice paper, brightly painted bronze fox sculptures, and book art portraits of his muses. In Conversation is an inspired pairing of John Chiara’s dreamy, richly colored camera obscura photographs with Angela West’s painterly mixed media works. Both West and Chiara play with reflection, light and abstraction to create deeply evocative landscapes that are less about depiction of place but rather the memory of it. Stipe, West, and Chiara each embody a contemporary sensibility that addresses memory, identity, and the evolving relationship between people and nature. Stipe’s exhibition, Even the birds gave pause, takes imagery from his most recent book published by Damiani of the same name as the foundation and expands from there. The artist’s continual exploration of portraiture is the show’s central theme. Stipe’s portraits reflect a variety of different approaches - candid, conceptual, and classical – but always with a poignant sensitivity to the vulnerability of his subjects. The curation of images and objects presents a view into how the artist sees and interprets the world around him. This is Stipe’s first exhibition with the gallery. Image: Megan & Lucy (Homage to Lee Friedlander), 2020 © Michael Stipe

West’s work reimagines her earlier series of photographs of Dahlonega, GA (the artist’s hometown) through a reorientation of format and painting layers of impressionistic brushstrokes. The interplay of the glossy photograph and texture of paint creates a wholly new experience of subject and ground, and results in fantastical compositions that blur distinction between photography and painting. Utilizing inventive cameras he designed and built himself, Chiara shoots directly onto positive color photographic paper, leaving behind visible traces of his process. The artist was invited by the San Francisco Arts Commission in 2022 to document the redevelopment taking shape on nearby Treasure and Yerba Buena Islands, and the exhibition focuses on works from this new series. His images draw our attention to shifting elements of the landscape and tell a thoughtful, complex story about the changing urban terrain. Image: Facing another way, where I am, 2024 © Angela West

Charles Clayton ("Todd") Webb III was born in 1905 in Detroit, Michigan. After achieving success as a stockbroker during the 1920s, he lost everything in the financial collapse of 1929. In the aftermath, during the Great Depression, Webb took on various jobs, including gold prospecting, working as a forest ranger, and writing unpublished short stories. It was during this time, in the 1930s, that he developed an interest in photography, which soon overshadowed his writing. Photography allowed him to combine his passions for travel, meeting new people, and capturing their lives through his lens. In 1938, Webb became a member of the Chrysler Camera Club in Detroit, where he met fellow photographer Harry Callahan. His participation in a workshop led by Ansel Adams solidified Webb's dedication to "straight photography," known for its crisp focus and sharp details. After serving in World War II, he relocated to New York City, where he befriended Alfred Stieglitz and Georgia O'Keeffe. This connection introduced him to Beaumont Newhall, who later curated Webb's first major exhibition at the Museum of The City of New York. Around this time, Webb also worked with Roy Stryker and the Standard Oil Company, further establishing himself in the photographic world. In 1949, Webb moved to Paris, where he met his wife, Lucille. The couple lived in France for the next four years. Webb was awarded two Guggenheim fellowships in 1955 and 1956, allowing him to document the pioneer trails that early settlers took to Oregon and California. Unlike his contemporary, Robert Frank, who drove across the country, Webb journeyed on foot, photographing as he went from the East Coast to the West. Webb continued to photograph well into the 1980s, creating a distinctive body of work that has earned a significant place in American photographic history. Often called "a historian with a camera," Webb's images offer rich documentation of life across the globe. His work has been exhibited nationally and internationally and is held in numerous major museum collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Minneapolis Art Institute, and the Art Institute of Chicago. Todd Webb passed away in May 2000 at the age of 94 in Central Maine. His life, much like his photographs, may have seemed simple at first glance but revealed increasing complexity and depth upon closer inspection.