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.
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.
In this exhibition-selected from the gallery's inventory-we draw attention to artworks in which the artist's labor of the hand is evident. Here, we see how the artists have cut, crumpled, woven, dissected, scratched, stitched, painted, and layered the photograph to achieve an authorial and conceptual statement in their work.
The exhibition features the work of Samin Ahmadzadeh, Cara Barer, Antony Crossfield, Odette England, Doug Keyes, Diane Meyer, Helen Sear, Leah Schretenthaler and Krista Svalbonas.
All artworks on view are ready for collectors to purchase, and immediately take away for installation in your home or elsewhere. With this in mind, re-visit the gallery exhibition page often - we're installing new artworks, as they're sold off the wall, and shipped out to their new homes.
The Fahey/Klein gallery is pleased to present "Ernest Withers: I'll Take You There", an exhibition hosted in conjunction with his recently published book, "The Revolution in Black and White" (CityFiles Press). This exhibition and publication are a record of African American life in the South during the mid-20th century. Withers's photographs of Beale Street, family life in Memphis, the rise of Rock 'n' Roll and R&B, and the Civil Rights movement capture a time of radical change.
"Photography is a collection of memories. One who is trained in photography knows that. Instinctively, people who have an occupation know what they ought to do. You call the fireman to put out the fire; you call the police to solve a police problem; and people who are news people and journalists are collectors and recorders of present evidence, which after a given length of time-days, months, years becomes history." Ernest C. Withers
Withers documented a history that still resonates today, capturing the momentous, and often dangerous, upheaval of America's civil rights movement across the South from the late 1940's through the 1960's. Apart from documenting those fighting for racial justice and equity, Withers gained acclaim by capturing the African American experience, creating a singular record of day-to-day life in an effort to better illustrate and understand life in the South during this crucial era. His vast archive also includes images of famed Memphians who brought Soul, Rock 'n' Roll, and the Blues into the white, mainstream music scene. From blues to baseball, high school proms and football games to funerals and marches, and moments both mundane and historic, Withers was there, camera in hand. The confidence and skill he developed in the juke joints of Beale Street and on assignment for newspapers served him well when history happened. He was fearless in the face of intimidation, risking life and limb to get the shot.
Dr. Ernest C. Withers, Sr. (1922 - 2007) a native Memphian, is an internationally acclaimed photojournalist. His photographs have been published extensively in the New York Times, Washington Post, Time, Life, Jet, and Ebony. His well-known images comprise an unequaled time capsule of the heartland of Mid-Century America. Withers's images are in the permanent collection of The Smithsonian and other esteemed institutions.
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.
The Center for Photographic Art is thrilled to be part of a worldwide art project, EXTRACTION: Art on the Edge of the Abyss. The project was initiated to engage artists, galleries, curators, art supporters, and public and private art spaces and organizations to bring attention to, in their words: "...the most urgent planetary concern of our time: the social, cultural, and environmental costs of unbridled globalized extractive industry, including the negative effects of climate change; the deterioration of land, water, and air; the devastation and displacement of poor, minority, and indigenous communities; and much else."
CPA's response to this important and timely project is our own EXTRACTION exhibition. Participating artists include Tony Bellaver, Mima Cataldo, Sarah Christianson, Steve Dzerigian, David Ellingsen, David Gardner, Paccarik Orue, Jerry Takigawa, DM Witman, and Yelena Zhavoronkova. These artists have addressed the crisis by witnessing and documenting a wide range of evidence through their often personal and always compelling photography.
Join with the instigators of the EXTRACTION project who encourage us, "Everyone can be both creator and catalyst. At a time of growing despair and paralysis, people from all backgrounds and levels of experience-from the amateur to the virtuoso-can take action. We invite everyone to join us in creating an international art ruckus."
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.
Von Lintel Gallery is excited to present Osceola Refetoff's If These Walls Could Talk in our project room. In a nod to the last year and a half, when most of us spent more time indoors, looking out through windows, dreaming of a different reality, we are proud to present some favorites from Osceola Refetoff's acclaimed Window Series It's a Mess Without You.
Captured from within derelict structures in the California desert, these carefully framed vistas are akin to visual short stories. These desert communities came and left, leaving behind remnants and dreams which Refetoff interprets for us with his discerning viewfinder.
'At once dreamlike and hyper-realistic, fragile and formidable, It's a Mess Without You sees crisp blue skies engulf abandoned alfalfa farms. Jagged mountain tops peek through long-decayed window frames as bright orange sunlight pours over remnants of lives left behind. Partially inspired by Edward Hopper, the project finds new meaning in the age of isolation, when the window has been rendered our foremost way of experiencing the world — a shared symbol of a global crisis. Here, the window is employed not only as an architectural subject, but a narrative device to frame the stories of millennia-old lands, and the tenuous marks we inflict upon them in our wake.' by Flossie Skelton for the British Journal of Photography 2020.
Refetoff's work is regularly featured on PBS SoCal/KCET's Emmy-winning program Artbound, and in The Guardian, The New York Times, and The New Republic, amongst many others, earning Los Angeles Press Club awards for Best Feature Photo (2019), Best Photo Series (2018, 2019, 2020), and National Photojournalist of the Year (2018). His portfolio It's a Mess Without You is the British Journal of Photography's OpenWalls Arles 2020 Outstanding Series Winner.
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.
Marian Goodman Gallery is pleased to present đô-mi-nô, a solo exhibition by An-My Lê, featuring selected works from her photographic series 29 Palms (2003-2004) and Viêt Nam (1994-1998), as well as a new collection of objects. Lê's exhibition, her first in our New York space, recontextualizes two of her earlier series with the new presentation đô-mi-nô, 2021, and runs concurrently with the Robert Smithson show, Abstract Cartography. While Lê and Smithson are set apart by two decades, the works in these exhibitions respectively examine similar themes, including notions of landscape, historical legacies of the 1960s, and the infrastructural shifts of that period.
The title of the exhibition, đô-mi-nô, alludes to the Cold War-era geopolitical concept of "domino theory." Đô-mi-nô is the translation from French to a Vietnamese that is the modern national version that was romanized by European Jesuit priests in the 1600s.
For over twenty-five years, the Vietnamese American photographer An-My Lê has been steadily redefining the tradition of documentary photography. Working in distinct series which often span years, her work has shown her to be one of the most reliable witnesses to the complexities of American life. Her photographs, taken with a large-format film camera, often blur the boundaries between the actual and its representation, embracing performance as a means to explore conflict and war, the military-industrial complex, and national identity through memory and place. Her clear-eyed perception and distanced perspective call into question the status of photographic 'objectivity,' and coax the complexities of various sociopolitical settings and of human behavior.
Informed by the histories of 19th and 20th century landscape photography, documentary reportage, and conflict journalism, as well as her own personal history - growing up in Vietnam in the 1960s and settling in the US at the end of the Vietnam War - Lê's work offers a reflection on how reality and myth are portrayed and contested. Her work is informed by both world history and her own distinct path. As she stated in a 2005 interview with Hilton Als, "My attachment to the idea of landscape is a direct extension of a life in exile."
Lê returned home to Vietnam in 1994 after then-US president Bill Clinton normalized diplomatic relations. From there, she began the series Viêt Nam (1994-1998). These photographs present agrarian landscapes and scenes of everyday life, often seen from an elevated perspective. Conjuring an interest in scale and architecture, Lê's panoramic views enable us to enter a landscape and to confront layers of history. These works bridge back to sites of Lê's childhood, as well as to those of her mother and grandmother, representing personal memory and culture lost through the schism and realities of war. As Lê says, "My understanding of landscape changed when I went to Vietnam. …Instead of seeking the real I began making photographs that use the real to ground the imaginary."
With her 2003-2004 series, 29 Palms, the historical legacies of war suddenly took on new immediacy with the reality of the Iraq War. These black-and-white photographs were made in the California desert, where US Marines trained for battle prior to deployment. Taking up the mode of re-enactment first explored through her series Small Wars, here Lê's photographs depict Marines on domestic soil acting out a theatre of conflict against "enemies" portrayed by fellow Marines. Taken near San Bernardino County, California, the desert landscape of these photographs bears resemblance to Afghanistan and Iraq - where Lê had applied but ultimately not realized her wish to embed as a journalist with the military.
In dialogue with the two photographic series on view, a collection of engraved Zippo-style lighters is installed along a corner bookshelf. Lê first began to collect these objects - "jumbo novelty flip top lighters" - at the beginning of the Covid-19 pandemic. The Zippo lighters were significant to the Vietnam War, where they were first brought by American soldiers, and became symbols of protest and emblems of individuality in the midst of the conflict. Hand-etched with personal mantras, the lighters became both 'amulets and talismans of protection' as well as individual symbols of protest and violence. Here, they are swaddled in Lê's hand-stitched 'cozies,' which she wove to quell anxiety in the frenzied lead-up to the US presidential election. The lighters bear idiosyncratic inscriptions, with engravings ranging from "Big Dog 1" to "It Don't Mean No'thin" and "You Can Surf Later" to "Black is beauty Think black Act black Love black We shall over run" and "I am going home. "Witnesses to history, the lighters are remnants of a life in a state of perpetual contingency. Their installation here recalls Lê's memory of the need for preparedness: the shelves reminiscent of the family pantry she had in Vietnam, stocked with American food cans from the black market and jars of rice for emergencies.
Lê has written of the series: The Zippo lighters are forever associated with the torching of huts and villages, but they were also a form of social protest for the American soldier. The lighters were engraved in-country by the Vietnamese. It's a thrill to discover the absurd inscriptions with inversions and misspellings. I first wanted to insert my own quotations but realized the vernacular nature of the existing Zippos is more compelling, and still very resonant today. The sleeves/cozies are inspired by the potholders that many of us learned to weave in preschool. They are used to hold something that is too hot to handle, or like a tea cozy, they keep things warm."
This exhibition follows the artist's major survey exhibition An-My Lê: On Contested Terrain which opened at the Carnegie Museum of Art, Pittsburgh, PA, is currently on view at the Amon Carter Museum of American Art, Fort Worth, TX through August 8, 2021, and will be traveling to the Milwaukee Art Museum, WI in September 2021. From June 3 to August 29, 2021, her work will be presented in the group exhibition Toward Common Cause: Art, Social Justice, and the McArthur Fellow Program at 40 at the Smart Museum of Art, Chicago, IL.
An-My Lê lives and works in Brooklyn, New York. Lê received her BA from Stanford University and a Master of Fine Arts from the Yale University School of Art. She is the Charles Franklin Kellogg and Grace E. Ramsey Kellogg Professor in the Arts at Bard College, New York, where she has taught since 1999. In addition to her survey exhibition traveling in the US, she has had solo exhibitions at the MK Gallery, Milton Keynes (England) and Museum aan de Stoom (Belgium) in 2014; Baltimore Museum of Art in 2013; San Francisco Museum of Modern Art / SFMOMA in 2008; Dia: Beacon in 2006-07; and MoMA PS1 Contemporary Arts Center in 2002.
An-My Lê is the recipient of numerous awards and grants: in 2012 she was awarded the John D. and Catherine T. MacArthur Foundation Fellowship; in 2010, the Louis Comfort Tiffany Foundation Award; in 2007, the National Science Foundation, Antarctic Artists and Writers Program Award; in 2004 the John Gutmann Photography Fellowship; and in 1997 the John Simon Guggenheim Memorial Foundation fellowship
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.
Andreas Gefeller has always intrigued us with the pristine and haunting perspective of these urban and industrial landscapes. In his series Blank, he continues his journey but this time by awakening our fears and imaginations. Excessively overexposed photographs of building façades, motorway intersections, container terminals and refineries reveal vast faded areas. The photographs create tension between urban reality and its potential chaos leaving the possibility to envision a strange and overthrown world.
Andreas Gefeller's work is part of numerous collections in Europe and in United States, including the Museum Marta Herford, (Germany), HSBC Trinkaus & Burkhardt AG, Berlin, (Germany), The New Art Gallery Walsall, UK, Kunstmuseum Bonn, (Germany), Städtische Galerie Nordhorn (Germany), Deutsche Bank Sammlung, Frankfurt a. M. (Germany), Brandenburgische Kunstsammlungen, Cottbus, Germany Museum Franz Gertsch, Burgdorf, Switzerland, Elgiz Collection, Istanbul, British American Tobacco Collection, London, Taubman Museum of Art, Roanoke, (VA) Norton Museum, West Palm Beach, FL, Nelson-Atkins Museum of Art, Kansas City (KS), Milwaukee Art Museum (WI) and at the National Gallery of Canada, in Toronto.
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).
Jackson Fine Art is excited to open the summer season with Paradise Lost, a carefully curated selection of photographs from Mona Kuhn's seminal series Evidence, in celebration of her new retrospective monograph Works (Thames & Hudson, 2021). The sensual and sun-drenched photographs of Evidence feel just as relevant as they did when they were first created, fifteen years ago in France. It was with this work that Kuhn first established her signature soft focus backgrounds and intimate communion with her subjects, a familiarity that continues to distinguish her portraiture today. As we anticipate a summer of somewhat fewer inhibitions, Paradise Lost encourages us to look forward by looking back at a series characterized by its sultry, idyllic classicism.
Casemore Kirkeby is pleased to present Dispatcher, the 2021 Yale MFA Photography thesis exhibition to San Francisco, with a public opening on Saturday, July 31, 2021 from 12-5pm.
Working in mediums ranging from photography, collage, video, installation and text-based practice, the work in the exhibition reframes the definition of photography from a tool from which to create through, to an act of sublime material autonomy, beyond the limitation of the camera.
This unique version of the 2021 Yale MFA Photography exhibition, created for San Francisco, presents an emphasis on place and memory, on the evidence of being, on the markers of time and geographic place, while considering the material trace that exists apart and beyond the photographic document.
Mickey Aloisio is an artist living and working between Brooklyn, NY, and New Haven, CT. He graduated from the Fashion Institute of Technology in 2016 and received an MFA from the Yale School of Art in 2021.
Ronghui Chen is a Chinese photographer currently based in Shanghai and New Haven. His work focuses on different dimensions of China's urbanization and industrialization. He has published two photobooks, Freezing Land, and Land of Ambitions, and exhibited both in China and internationally. He has won a number of awards including the World Press Photo; BarTur Photo Award; Three Shadows Photography Award & AlPA special prize and Hou Dengke Documentary Photography.
Tarah Douglas is an artist working in photography, sound, and video. Her practice is rooted in the allegorical dissection of identity, color, language, landscape, and the human condition. Douglas hold a BFA from the University of Michigan and a MFA in photography at the Yale School of Art. Douglas currently resides in New Haven, Connecticut.
Through heightened modes of observation, Jackie Furtado's photographic and film work approach subjects slowly and methodically. Her process is intensely engaged with the act of looking and carries an awareness of the medium's histories. As of late, durational processes have become most central, locating unlikely protagonists among her scenes. Details in her work reveal the remnants of one's desires turned anxious. Aspirations in life, intimacy, and class, collapse to a reality held by false beliefs and siloed perspectives. Through the personification of architecture, space, and objects Furtado seeks to find the influence between her subjects and their settings.
Max Gavrich (b. San Francisco) is an artist, writer, and educator. His work addresses the relation between rituals of male bonding and the performative body. Through photographs, video, and installation, Gavrich explores the dichotomies of play and violence, force and care and the way that these energies come together, fall apart and eventually fail. His most recent work investigates the concepts of dissymmetry, chirality and “handedness” via the body and material objects.
Nabil Harb is a Palestinian American artist from Polk County, Florida.
I was recently visiting my hometown and stopped to fill up my car with gas. I noticed a woman sitting outside the gas station drinking coffee and recognized her as my old ballet teacher. I sat down next to her and we caught up. She had been going blind in the decade since I last saw her. She had fallen out of love, started growing a garden, and found god. She had a small collection of freshly picked mushrooms next to her and handed me one, saying “mushrooms have no gender, did you know that? (Dylan Hausthor)
Alex Nelson uses photography as a means to create elliptical associative narratives, stemming from personal histories to more distant incomplete archives or biographies. The lack that exists within these histories is the generative point of her work as a place to fill in. She is interested in interrogating the language of photography and using the camera as a means to mediate desire, memory and mythologies that exist within reality.
Annie Ling's visual practice expands on a decade of image-based storytelling invested in intimate and subversive narratives to a deeper exploration of intersectional frameworks. Navigating interstitial and liminal spaces through experimental video works and immersive installations offers a means to interrogate the medium and the margins of our perceptions.
Rosemary Warren works across photography, video, installation and performance.
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.
All About Photo is pleased to present Shepherds from Transylvania by Istvan Kerekes
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 months of July and August 2021 and includes twenty photographs from the series Shepherds from Transylvania.
SHEPHERDS FROM TRANSYLVANIA
I have spent the last fifteen years capturing the lives of shepherds in the historical region of Transylvania in Central Romania. I am interested in the singular shepherd's lives and destinies, both in the plains and in the Carpathians Mountains.
The region of Transylvania is known for the scenery of its Carpathian landscape and its rich history. The Western world commonly associates Transylvania with vampires because of the influence of Bram Stoker's novel "Dracula" and the many films the tale inspired.
This series focuses on shepherds in this region. When walking in some parts of Transylvania one would often feel that you have traveled back in time. There is hardly any sign of modern technology here, it is as if time had stopped, while beauty and nature are preserved. Sheep farming has been a tradition in this region for centuries.
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.
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.
Laguna Art Museum will present the first institutional solo exhibition by acclaimed photographer Matthew Rolston on the West Coast, Matthew Rolston, Art People: The Pageant Portraits, from June 27 to September 19, 2021, curated by Dr. Malcolm Warner, former executive director of Laguna Art Museum.
The exhibition, which consists of 18 monumental, high-resolution photographic works, some presented as multi-panel installations, takes as its subject the participants of an annual arts event in Laguna Beach, California-the Pageant of the Masters-known for its elaborate tableau vivant presentations. This context connects two of the most beloved cultural institutions of Laguna Beach, a city originally founded as an arts colony in the early 20th century, while celebrating the broader history of art and photography that defines the cultural heritage of California.
"How fortunate for us that a photographer of Matthew's stature found a perfect subject for his art in Laguna Beach," said Dr. Warner. "We're proud to be showcasing his genius and celebrating the fabulous ‘art people' of the Pageant of the Masters."
In Rolston's brilliant, richly hued portraits, the artist offers not only a deeply poignant and personal account of the Pageant of the Masters and its participants, but also underscores the uncanny ways in which these works bring out fundamental aspirations of the human spirit and its underlying impulse towards art creation.
Accompanying the exhibition is a lavishly illustrated museum catalogue with essays by cultural critic and journalist Christina Binkley, the Pageant of the Masters scriptwriter Dan Duling, and respected scholar Nigel Spivey, Senior Lecturer in Classical Art and Archaeology at the University of Cambridge, alongside carefully selected images from art history that contextualize the work in the exhibition. The catalogue will be offered in two versions, a luxurious trade edition as well as a deluxe limited collector's edition featuring a signed print by the artist.
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.
Known for his gritty, black-and-white images, Mario Giacomelli is recognized as one of the foremost Italian photographers of the 20th century. Drawn from the Getty Museum's deep holdings, the exhibition Mario Giacomelli: Figure|Ground features 91 photographs that showcase the raw expressiveness of the artist's style, which echoed many of the concerns of postwar Neorealist film and Existentialist literature.
The exhibition is dedicated to the memory of Daniel Greenberg (1941-2021) and was made possible through generous gifts from him and his wife, Susan Steinhauser. As photography collectors for more than two decades and founding members of the Getty Museum Photographs Council, Greenberg and Steinhauser have been generous donors to the Getty. All of the photographs in this exhibition were donated by Greenberg and Steinhauser or purchased in part with funds they provided.
A companion exhibition, The Expanded Landscape, presents photographs by 17 contemporary artists guided by aesthetic impulses similar to those of Giacomelli. Both exhibitions will be on view at the Getty Center Museum from June 29 through October 10, 2021.
Photographs by 35 Los Angeles-based artists challenge ideals of beauty, representation, cultural capital, and objectivity. The artists in this exhibition, primarily people of color, have radically transformed photography to express their own aesthetics, identities, and narratives. Their work is foundational for an emerging generation of artists participating in the Getty Unshuttered program, which engages teens to seek photography as a platform to amplify social topics that resonate in their own lives. Guest curated by jill moniz.
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
Daniel Cooney Fine Art is pleased to announce a solo exhibition by Jill Freedman titled "Jill Freedman: Street Cops 1978-1981" Featuring never-before-exhibited images from the artist's most significant body of work, Jill Freedman: Street Cops 1978-1981 features 50 vintage prints that document NYPD officers on patrol during one of the city's most turbulent eras.
A true believer, Jill Freedman (1939-2019) was the last of a dying breed who gave her life to create art above all things, sacrificing money, fame, and status in the pursuit of beauty, honor, and truth. She died at 79 in New York City, her adopted hometown of 55 years, which she photographed throughout her singular career, amassing an unparalleled archive of street life.
A self-taught photographer inspired by the work of W. Eugene Smith and André Kertész, Freedman understood the power of photography lay in human relationships. But unlike the traditional photojournalist, Freedman was not an "objective" outsider bearing witness to a foreign world; she threw herself wholeheartedly into her work, creating bonds with the people she photographed to forge a deeper emotional connection with her subjects.
Hailing from Philadelphia, Freeman graduated from the University of Pittsburgh where she studied sociology before traveling to Israel to live on a Kibbutz. She sang cabaret in Paris and worked on a television variety show in London before moving to New York City in 1964 to work as an advertising copywriter.
In 1968, after Dr. Martin Luther King Jr. was assassinated, Freedman quit her job to join the Poor People's Campaign on the National Mall in Washington D.C., bearing witness from start to finish of "The Last Crusade." Equal parts artist and activist, Freedman lived inside the shantytown, making photographs that were published two years later in her first book, Old News: Resurrection City.
After a stint documenting the circus as it traveled up and down the East Coast, Freedman returned to New York with renewed vigor, recognizing history unfolding outside her front door. The city crumbled under the weight of the Nixon White House's policy of "benign neglect," which systemically denied government services to Black and Latino communities nationwide. As New York's infrastructure collapsed, the middle class fled en masse to the suburbs in an exodus known as "white flight," while landlords hired arsonists to set fire to their buildings in order to collect insurance payouts, transforming once vibrant neighborhoods into devastated landscapes.
As the city teetered along the edge of bankruptcy, New Yorkers persevered, continuously adapting themselves to ever-changing landscape with a distinctive mix of creativity and resilience. Now among her own, Freedman gravitated towards the spirit of brotherhood as it manifested among firefighters and police officers — the city workers spending their days and nights on the frontlines of an undeclared war waged against the people by their own government.
After publishing Firehouse in 1977, Freedman began working on Street Cops, getting unfettered access to the harrowing world of crime and punishment. Like Weegee before her, Freedman had a front row view of the perpetrators and victims, bearing witness to the role police played in the fracas. Unabashedly pro-cop, Freedman wasn't without empathy for the alleged criminals, many of whom faced the wrath of racist policing policies.
Despite her impressive bodies of work, Freedman never achieved the acclaim of her male contemporaries during her life. Like her work, Freedman was forthright, contentious, and proud, never one to shrink herself or go along with the crowd. Her behavior, both common and admirable in male photojournalists, was well ahead of the curve for women working in a notoriously biased industry. But Freedman was also vulnerable, sensitive, and intense, unafraid of the gory viscera of life.
"A chain smoker who liked to drink," John Leland wrote in her New York Times obituary, "she found her stride in New York when the city was still mostly seedy, living her life and work as if she were auditioning for a role in one of her photos. A police siren, she said, meant that someone was playing her song."
With Street Cops, Freeman set out to deglamorize violence and show the sleazy, the ugly, the tender, and the compassionate in equal measure. "Sometimes it's better not to know too much. Sometimes it isn't. This story wasn't easy," Freedman wrote in the introduction to Street Cops, which was published in 1981. "I wanted to show…. moments of gentleness, good times as well as bad. That's why I love photography. I can catch a moment, print it, and share it with you.
Jill Freedman (1939-2019) was a highly respected New York City documentary photographer whose award-winning work is included in the permanent collections of The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others. Freedman is the author of seven books including Old News: Resurrection City, Circus Days, Firehouse, Street Cops; A Time That Was: Irish Moments, Jill's Dogs, Ireland Ever, and Resurrection City 1968.
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.
Ruven Afanador is an internationally renowned photographer of limitless imagination, powerful vision and profound sense of self. His work is distinguished by an opulent classicism nuanced by an irreverent point of view. His idiosyncratic visual language is informed by the fierce emotion and lavish style of his Latin American heritage, filtered by an exquisitely mannered elegance saturated with singular erotic charge.
Ruven Afanador was born in Colombia, in the sixteenth century city of Bucaramanga, La Ciudad de los Parques high in the scenic plateau above the Rio de Oro. He lived there until adolescence, surrounded by breathtaking mountains and immersed in old traditions and enchanting rituals that imbued everyday life with mystery and wonderment. Religious ceremonies involved the meticulous costuming of saints and marked every holiday, turning narrow colonial streets into rich visual feasts where ordinary objects acquired symbolic meaning; elaborate beauty pageants showcased glamorous women of deliberate beauty and intentional charm; and long hours were filled with the reading of adventure books or listening to the improbable tales of those coming back from journeys abroad, a peculiar form of imaginary traveling which nurtured an intense curiosity for faraway places.
At fourteen, Afanador moved to the United States to attend school in the Midwest, right in the American heartland, a starkly different place from the magical world of his childhood, but one he saw as full of possibilities. And then, while studying art, he discovered photography. "From my first assignment I knew that photography would be my life's passion", says Afanador. With that passion, he would transform ordinary reality into captivating splendor. Or, as he himself puts it, "....into my way of seeing things."
After graduation Afanador spent two years in Washington, DC, gaining distinction as a fashion photographer of audacious taste, as well as a portraitist with an original and inventive eye. In 1987 he moved to Milan to broaden his vision, hone his technical skills and build a portfolio. Lack of studio space in the Italian city, forced him to develop techniques for photographing outdoors, in alleyways and streets, on the steps of churches and palazzos, incorporating backgrounds to frame images with texture and depth, a highly conceptual approach that Afanador uses to this day. While in Italy, he also discovered the type of model, that was to become his prototype: interesting rather than conventionally beautiful, of sculpted neck and arms, and the graceful long torso for centuries favored by painters----enigmatic and timeless.
He returned from Italy in 1990 with an impressive portfolio, settling in New York and soon coming to the attention of editors at the major magazines. Since then, his distinct fashion editorials, signature advertisements and iconic portraits of the emblematic beauties and powerful male figures of the worlds of contemporary art, literature, music and film, have constantly appeared in the world's leading fashion, celebrity and portrait magazines. His work has been the subject of numerous exhibitions and installations in galleries, museums and outdoor spaces in Latin America, Europe, Asia and the United States.
But it is in his three books that the singularity of Afanador's rare aesthetic and charged eroticism become truly evident. In his first book, Torero, a collectors' item among fashion and photography connoisseurs. he presents black and white images of matadors from Spain, Mexico, Colombia and Peru, using the conventions of couture photography to bend masculine stereotypes. In Sombra, his second, he employs nineteenth century photographic techniques in a collection of erotic male nudes in poses inspired by the gestures and movement of classical ballet. And, in the recently published Mil Besos, he celebrates the women of flamenco, capturing them in surreal photographs in his inimitable black and white, once again twisting pre conceived notions of beauty.
In his extensive body of work, Afanador has created an intensely personal language characterized by the balance of bold emotion and delicate nuance. The expressive images in his books and fashion editorials reveal extravagant dreamlike sequences that seem to emerge from Afanador's original imagination already full grown, always splendid sometimes mischievous, often decadent, all steeped in classic formality. In his portraits, he unfailingly pierces the carefully wrought personnas of the beautiful and powerful symbols of our age to expose their essence with eloquent certainty. In a recurring theme, he juxtaposes startling masculine force and surprising feminine strength to challenge conventional definitions of gender and beauty with confident audacity. Joining such legendary artists captivated and inspired by the beguiling traditions of Spanish culture as the composer Manuel de Falla, the poet Federico Garcia Lorca and the filmmaker Carlos Saura, Afanador pays homage to the great painters, who, like Goya, have portrayed its unique splendor. In focusing his expert lens in the most astonishing manifestation of this quality with an eye solidly planted in the avant-garde, he crosses to the eccentric realm of the ground-breaking films of Luis Buñuel and Pedro Almodóvar, while the surreal quality of his enchanting composition places his work alongside the stories of his fellow Colombian and iconic archetype, Gabriel García Márquez, showcasing with worldly sophistication the spellbinding Latin American aesthetic that is his singular subtext.
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.
Aaron Siskind: Mid Century Modern focuses on photographs made by Aaron Siskind during the late 1940s and 1950s while he was interacting with the major figures of mid-twentieth century painting. The exhibition concentrates on a pivotal period when Siskind's interest in abstraction established a new frame of reference for postwar photography in the larger precincts of art. The installation - a portion of which will reinterpret the groupings and design of Siskind's Egan Gallery exhibitions - will examine the relationship between Siskind's approach to the walls of the galleries as surfaces of display and the flat surface of the works of art themselves.
The exhibition is curated by Merry Foresta, MOPA Curator-At-Large, formerly Senior Curator of Photography and Director of the Smithsonian Photography Initiative.
A catalog with essays by Merry Foresta and Deborah Klochko, Executive Director and Chief Curator of MOPA, will accompany the exhibition.
Financial support is provided by the City of San Diego, Commission for Arts and Culture; The Robert Mapplethorpe Foundation, New York; Massey Charitable Trust; and the Gardner Bilingual Fund.
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.
'Way for Escape' Magnum's Square Print Sale, runs from Monday July 12, 6AM PST to Sunday, July 18, 11:59 PM PST. Signed or estate-stamped, museum-quality, 6x6” prints from over 100 visual artists will exceptionally be available for $100, for 5 days only, from magnumphotos.com/shop.
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.