Marie Cosindas (1925-2017)
Marie Cosindas (1925-2017)

Bruce Silverstein is very saddened to announce the death of beloved artist Marie Cosindas. Her life and work was instrumental in the recognition of color photography as an accepted artistic medium in an era where it had been relegated to commercial pursuits.  She was recognized for her warm, intimate portraits as their flattering and smartly directed nature enabled her to draw out her sitters' style and éclat. Her richly-layered studio arrangements of florals and borrowed treasures recall a by-gone era that pay tribute to her predilection for Old World kitsch. She will be dearly remembered.

 
Born in Boston in 1925, she studied at the Modern School of Fashion Design and attended evening drawing and painting classes at the Boston Museum School. On a trip to Greece in 1959 Cosindas realized the photographs she was using as studies for her paintings could stand on their own as finished products. Shortly after, Ansel Adams recommended her to the Polaroid Corporation, which sought to test a new instant-developing color film. Her photographs were a success, and by the end of the 1960s she had received a Guggenheim grant to continue her work in color, a Rockefeller grant, and honorary degrees form Philadelphia Moore College of Art and the Art Institute of Boston. In 2013 Cosindas was the subject of a retrospective at the Amon Carter Museum, Forth Worth. In addition to her first two solo shows at MoMA and the MFA Boston in 1966, and her inclusion in John Szarkowski’s 1978 landmark exhibition Mirrors and Windows at MoMA, other major exhibitions of her work have been held at The Art Institute of Chicago; the International Center of Photography, New York; and the Fine Arts Museum of San Francisco.
How Alfred Leslie Went from Abstract Expressionism to Figurative Painting
May 13, 2017

Anyone who visited the Bruce Silverstein booth at Frieze New York 2017 was offered a rare treat: a selection of realistic paintings by Alfred Leslie spanning from the late 1960s, when he first changed his focus to figuration, to today. The central piece on display was a monumental, three-part masterwork Leslie painted in 1978, titled Americans, Youngstown, Ohio.

Frieze New York's Spotlight shines on hidden gems
Frieze New York's Spotlight shines on hidden gems
Follow curator Toby Kamps's tour of the 20th-century art section
May 6, 2017

Alfred Leslie at Bruce Silverstein
Leslie has proven himself to be a versatile and experimental artist, Kamps says. Early in his career, he painted in an Abstract Expressionist style and was included in an exhibition organised by Clement Greenberg and Meyer Schapiro at the Samuel Kootz gallery in 1950. In the 1960s, Leslie began to make films and publish magazines with poets such as Frank O’Hara and John Ashbery. Around the same time, he shifted his painting into a more realist style, which continues to be his focus. Yet the 89-year-old artist continues to evolve: his most recent portraits, which he calls Pixel Scores, are made using a computer.

Galleries at Frieze New York Dig for Market Gold
Galleries at Frieze New York Dig for Market Gold
May 5, 2017

In Uncertain Times, Galleries at Frieze New York Dig for Market Gold

Amid an unsteady market, dealers and collectors turn to under-recognized names from the 1960s and '70s.

A Fatigue-Free Guide to Frieze New York
A Fatigue-Free Guide to Frieze New York
Bruce Silverstein Gallery: Spotlight Section
May 4, 2017

BRUCE SILVERSTEIN GALLERY In the “Spotlight” section, showcasing a single artist in each booth, Bruce Silverstein is exhibiting three spectacular canvases from the 1970s by Alfred Leslie, a painter who started off as an Abstract Expressionist and later turned to figurative realism. “Americans, Youngstown, Ohio” (1977-78) is three conjoined canvases with figures dressed in everyday clothes and lit from below, while “A Death in the Family” (1976) features a corpse, but also a plate of eggs with a cigarette butt. Odes to banal America, the paintings feel like Caravaggio or Georges de La Tour for the ’70s recession era.

Frank Paulin, Hand in Showcase, c. 1967
Frank Paulin featured in The Transported Collection
at the Eli and Edythe Broad Art Museum
April 29 - August 13, 2017

How can we tell a work of art from an ordinary object? When we visit museums, we expect to see important artworks and potent displays of cultural and social inquiry. But who ultimately decides the value and meaning of an artwork? This eclectic selection from the Eli and Edythe Broad Art Museum Collection accompanies the exhibition The Transported Man and contributes to conversations around the role of belief in the framing and experience of art.

Michael Wolf
Michael Wolf
Michael Wolf's best photograph: four plucked ducks in Hong Kong
April 19, 2017

‘The back alleys of the city are my canvas. Look behind any building and you’ll find something strange’

Keith A. Smith
Keith A. Smith
Art Forum Critics' Picks
March 31, 2017

Postcards don’t usually say much: On the front, there may be a picture from the museum or country your friend is visiting; on the back, a few lines that convey some small affection. This delicacy is what makes postcards special. They carry feeling but not the freight of too much personality—they delight and ask for nothing in return. Or at least that’s what I felt about Keith Smith’s postcards, which the artisan bookmaker has been sending to friends for five decades now, a number of which have been brought together for this exhibition.

Todd Hido: Studio Visit
Todd Hido: Studio Visit
March 29, 2017
Mishka Henner: Counter-Intelligence
Mishka Henner: Counter-Intelligence
Contemporary Artists Lecture Series: Cleveland Museum of Art
March 25, 2017, 2PM

Mishka Henner is among a new generation of artists redefining the role of photography in the internet age. Much of his work navigates through this vast digital terrain to focus on key subjects of cultural and geo-political interest. In this presentation, he'll focus on the diversity of his influences and practice, and on controversies surrounding his projects.

Nicolai Howalt
Nicolai Howalt
Bornholms Kunstmuseum, Denmark
March 19 - May 28, 2017

Through a selection of unique work, the exhibition By looking down I see up. By looking up I see down. presents the viewer an almost intimate iconography of human existence at its most basic level. Resonating far beyond ordinary conventions of photographic representation, these powerful and beautiful images embrace the transitory and unexpected.

 

Capturing invisible rays of light, ashes from human cremation, and the volatile reactions of primary elements on metal plates, melding aesthetic interests with natural science, this exhibition offers visitors a rare insight into the artist’s most recent explorations of exposure, fragility and change.

Keith Smith
Keith Smith
March 6, 2017

Keith A. Smith may be best known for his psychedelically illustrated and collaged books, but with this exhibition he’ll show an even smaller-format part of his oeuvre: postcards. Since 1965, when he was in college, Smith has made these 5-by-7-inch works, which he sees as being about communication. “Traditional prints can say some things, books can speak through movement, and postcards have their unique abilities to reach people as well,” Smith has said. “I don’t think of any of these as ‘art’ but as my voice.” This show is the first survey of Smith’s postcards, which take their cues from mail artist Ray Johnson.

Shinichi Maruyama
Shinichi Maruyama
Nude Series
March 3, 2017
Mishka Henner: Counter Intelligence
Mishka Henner: Counter Intelligence
Örebro Konsthall, Sweden
February 25 - April 2, 2017

Mishka Henner, born in 1976, explores, uncovers and reveals the human relationship to the earth and to each other with the internet, street scenes and Google map function as its tools. His photographs bear traces of the monitoring carried out by governments around the world.

Eileen Neff
Eileen Neff
Light and Matter at Michener Art Museum
February 18 - June 25, 2017

With the ubiquity of the digital revolution, a moment arose where it seemed photographs were bound to be stored as digital files rather than printed. In the wake of this tectonic shift, there has been an even more pressing return to photographic sculpture and a play with photography’s medium specificity as a physical object.

Todd Hido
Todd Hido
Interviewed at Paris Photo 2016
Monochrome
Monochrome
January 24, 2017
Trine Søndergaard
Trine Søndergaard
VAKUUM at Brandts13
January 20 - May 14, 2017
Penelope Umbrico
Penelope Umbrico
Paris Photo 2016 Conversations
January 4, 2017
Penelope Umbrico
Penelope Umbrico
Featured at Silencio Paris
January 10 - February 18, 2017
Rosalind Fox Solomon
Rosalind Fox Solomon
TIME Selects the Best Photobooks of 2016
November 23, 2016

"What does it say the most powerfully uncomfortable photobook of 2016 was authored by a wildly underrated 86-year-old woman? Rosalind Fox Solomon should be the next White House photographer.” - Alec Soth

A Taxi Driver’s Photos of New York
A Taxi Driver’s Photos of New York
November 10, 2016

The inside of a New York taxicab is a place where the public realm blurs with the private, especially on the overnight shift. People fight, make love, eat takeout, throw up, fall asleep, concoct plans for world domination or a good night’s sleep. Many act as if the driver is not there. Ryan Weideman, a photographer who drove a taxi shift to make ends meet, decided to let them know that he was.

Three Gallery Shows to See in New York
Three Gallery Shows to See in New York
Mike Womack, Alfred Leslie and Salvatore Scarpitta in this week’s Fine Art
November 7, 2016
Rosalind Fox Solomon: Achievement in Portraiture
Rosalind Fox Solomon: Achievement in Portraiture
2016 Lucie Awards Honoree
October 24, 2016
Michael Wolf
Michael Wolf
A ride in hell? An up-close look at real life in megacities
October 12, 2016
Paul Outerbridge
Paul Outerbridge
Review
October, 2016
Todd Hido: The New Yorker
Todd Hido: The New Yorker
Intimate Distance
October 2, 2016
Barbara Morgan, Aaron Siskind, Frederick Sommer
Barbara Morgan, Aaron Siskind, Frederick Sommer
Abstract Expressionism: Royal Academy of Arts
September 27, 2016

September 24, 2016 - January 2, 2017

 

Exploring an unparalleled period in American art, this long-awaited exhibition reveals the full breadth of a movement that will forever be associated with the boundless creative energy of 1950s New York.

Alfred Leslie: Featured in Human Interest: Portraits from the Whitney’s Collection
Alfred Leslie: Featured in Human Interest: Portraits from the Whitney’s Collection
Whitney Museum of American Art
April 27, 2016-February 12, 2017
Mishka Henner featured in Surveillance
Mishka Henner featured in Surveillance
Nelson Atkins Museum of Art
September 16, 2016 - January 29, 2017

Who is watching you? In the 21st century, it is hard to escape the camera’s all-seeing eye. With every movement recorded by cameras, it is difficult to remember that surveillance is not a modern construct. This exhibition examines photography’s role in secretive looking from the 1860s to today.

Nathan Lyons: The Wall Street Journal
Nathan Lyons: The Wall Street Journal
Nathan Lyons (1930-2016): One of the Last Artist-Curators
September 15, 2016

Nathan Lyons, who died on Aug. 31 at age 86, was another in this line of artist-curators, and probably one of the last. A prolific writer and photographer, and a revered teacher, he was primarily engaged in each endeavor with the slippery nature of images—how various combinations and contexts might elicit unsuspected meanings. The world and photography are in ceaseless dialogue, he argued, and no dogma should try to limit the conversation.

Paul Outerbridge: The New York Times
Paul Outerbridge: The New York Times
Always Something Unnerving in Paul Outerbridge Photographs
September 9, 2016

In the 1920s, along with Alfred Stieglitz, Paul Strand, and his chief rival, Edward Steichen, Outerbridge was among the most acclaimed of avant-garde photographers.

Eye of the Sixties | Judith Stein, Miles Bellamy, Mark di Suvero, Rosalyn Drexler, Alfred Leslie, Richard Nonas | An Art Book Series Event
Eye of the Sixties | Judith Stein, Miles Bellamy, Mark di Suvero, Rosalyn Drexler, Alfred Leslie, Richard Nonas | An Art Book Series Event
New York Public Library
September 8, 2016
Wednesday, September 14, 2016, 6 - 8 p.m.
 

In celebration of the publication of Judith E. Stein’s Eye of the Sixties, Richard Bellamy and the Transformation of Modern Art, the first-ever biography of one of the twentieth century’s most influential and enigmatic art dealers, and of Miles Bellamy’s Serious Bidness, a selection of his dad’s hitherto unpublished letters, artists Mark di Suvero, Alfred Leslie,  Richard Nonas and Rosalyn Drexler join the authors in a conversation about the legacy of Dick Bellamy.

Penelope Umbrico Lecture at Denver Art Museum
Penelope Umbrico Lecture at Denver Art Museum
September 7, 2016

Penelope Umbrico is fascinated by what she calls “the digital torrent”—the billions of photographs that flood the Internet every day. To make her work, she combs photo-sharing websites, online classified ads, and stock photography sites to collect samples of the most common images, then combines them to make colorful, mural-sized arrays that speak to photography’s place in contemporary life.

 

September 8, 2016

7-8:30pm

Nathan Lyons, Influential Photographer and Advocate of the Art, Dies at 86
Nathan Lyons, Influential Photographer and Advocate of the Art, Dies at 86
September 2, 2016

Nathan Lyons, a photographer who helped elevate contemporary photography to its current status as a major branch of the fine arts and an important field of study through his work as curator, teacher, writer and editor, died on Wednesday in Rochester. He was 86.

 
Alfred Leslie: Pull my Daisy at Pompidou Center, Paris
Alfred Leslie: Pull my Daisy at Pompidou Center, Paris
September 1, 2016

June 22, 2016 – October, 3 2016

Centre Pompidou, Paris
 

Penelope Umbrico and Michael Wolf at Portland Art Museum
Penelope Umbrico and Michael Wolf at Portland Art Museum
August 31, 2016

This exhibition demonstrates the photographic medium’s ability to encompass a dizzying range of reactions to social change, political unrest, new technologies, and cultural confusion and upheaval.

The New Yorker Photo Booth
The New Yorker Photo Booth
When Color Was Vulgar: Paul Outerbridge's Avant-Gardist's Eye
August 7, 2016

History can be an unreliable narrator. Paul Outerbridge was once a major force in photography, straddling the worlds of commerce and art. He shared European assignments for Vogue with Edward Steichen, and in 1929 became the second photographer to have his work acquired by the Metropolitan Museum of Art. But he died in obscurity in 1958, at the age of sixty-one. In 2009, the Getty Museum reintroduced Outerbridge to Los Angeles with a major retrospective. Now a fine show at the Bruce Silverstein Gallery gives New Yorkers a turn.

 
Larry Silver at the New York Historical Society
Larry Silver at the New York Historical Society
Photographs by Larry Silver, 1949-1955
August 4, 2016

July, 1 2016 – December, 4 2016
New York Historical Society

 

Paul Outerbridge
Paul Outerbridge
Review by Collector Daily
July 25, 2016

This survey is certainly among the best gallery shows of vintage photography we are going to see in New York this year. With just once glance through this deep selection of works, it’s easy to see how Outerbridge’s trailblazing stylistic influence has percolated through the medium, from encouraging artists like Robert Mapplethorpe and Helmut Newton to sparking more recent explorers of the borderlands between commercial and fine art imagery like Roe Ethridge and Elad Lassry.

Three Photography Shows in New York: Paul Outerbridge, Larry Silver and a collection of Cuban images, via the Wall Street Journal
Three Photography Shows in New York: Paul Outerbridge, Larry Silver and a collection of Cuban images, via the Wall Street Journal
July 23, 2016
Barbara Morgan, Andre Kertesz, and Man Ray at J. Paul Getty Museum
Barbara Morgan, Andre Kertesz, and Man Ray at J. Paul Getty Museum
July 21, 2016

André Kertész, Barbara Morgan, and Man Ray

Where: J. Paul Getty Museum

When: Through August 28, 2016

Rosalind Fox Solomon at Bronx Museum
Rosalind Fox Solomon at Bronx Museum
June 17, 2016

This summer The Bronx Museum of the Arts will present Art AIDS America, the first exhibition to examine the deep and ongoing influence of the AIDS crisis on American art and culture. The exhibition will feature more than 125 works in a wide range of media dating from 1981

Mishka Henner
Mishka Henner
Musée des beaux-arts Le Locle
June 15, 2016

Field by Mishka Henner consists of an assemblage of high definition satellite photographs, which are freely available on the Internet. The image stretches over 42-ft in length and appears at first glance to be an abstract, geometric painting; yet on looking more closely, you realise that these are oilfields.

Mishka Hennerat Vassar College
Mishka Hennerat Vassar College
June 7, 2016

Belgian artist Mishka Henner made “Astronomical,” a scale model of the solar system in the form of a 12-volume, 6,000-page artist book. With the sun on Page 1 and Pluto on Page 6,000, and the width of each page equivalent to a million kilometers in space, the work, completed in 2011, contains page after page of blackness.

Lisette Model: The Wall Street Journal
Lisette Model: The Wall Street Journal
The Woman Who Influenced Diane Arbus’s Eye
June 1, 2016

“She kept saying to me, the more specific you are, the more general it’ll be.”

- Diane Arbus on her mentor, Lisette Model

Review by L'oeil De La Photographie
Review by L'oeil De La Photographie
Songs and the Sky
May 30, 2016
Penelope Umbrico: Artist Lecture
Penelope Umbrico: Artist Lecture
May 17, 2016

Penelope Umbrico artist lecture at the Photographic Center Northwest

May 20, 2016

6:30 - 8:30pm

Penelope Umbrico: The Modern Art Notes Podcast
Penelope Umbrico: The Modern Art Notes Podcast
May 14, 2016

The Milwaukee Art Museum is showing “Penelope Umbrico: Future Perfect,”. It features over 30 photographic installations as well as individual photographs, books and video installations that demonstrate the range of Umbrico’s exploration of how images traffic through digital networks. The exhibition was curated by Lisa Sutcliffe and will be on view through August 7. 

Keith Smith at Visual Studies Workshop
Keith Smith at Visual Studies Workshop
May 7, 2016

Keith A. Smith is widely recognized as one of the few great living masters of the book as artwork with nearly 300 bookworks created to date. This selection focuses on his representation of women in classical painting such as his large fold book, Ladies First, and Frida Kahlo.

Penelope Umbrico at Milwaukee Art Museum
Penelope Umbrico at Milwaukee Art Museum
April 30, 2016

Future Perfect (opening May 5, 2016) features over thirty photo-based installations—comprising nearly 5,000 individual images along with photographs, videos and books that trace Umbrico’s obsessive systems of inquiry and online research since 2006.  The exhibition will also feature new work made specifically for Milwaukee, alongside the artist’s most acclaimed projects from the past decade.

Todd Hido at Pier 24 San Francisco
Todd Hido at Pier 24 San Francisco
April 20, 2016

Collected brings together photographs from the Pilara Foundation and other Bay Area collections. Nine collectors were invited to select works from their holdings that reflect their interests in the medium. The exhibition offers a lens on various collecting approaches, with some collectors focusing on the work of particular artists or on specific art historical movements or themes, and others developing their own criteria, whether deliberately or unconsciously

This Place, Brooklyn Museum, New York
This Place, Brooklyn Museum, New York
April 8, 2016

Rosalind Fox Solomon is the only one who takes in the human topography of Israel in all its 21st-century diversity. She registers the country’s full panoply of faces, and her portraits are justly set off in a room of their own. Instead of a two-way conflict between Arabs and Jews, she sees a fluid churn: Christian pilgrims in the old city of Jerusalem, African immigrants in Tel Aviv, ordinary eccentrics, beach-going exhibitionists, the lonely, the poor, the angry, and the deluded — all people whose struggles have little to do with politics.

Lisette Model at the deCordova Sculpture Park and Museum
Lisette Model at the deCordova Sculpture Park and Museum
April 7, 2016

Lotte Jacobi, Lisette Model: Urban Camera runs through Sept. 11 at the deCordova Sculpture Park and Museum. The show consists of 34 black-and-white photographs by Jacobi and Model.

Eileen Neff: 2016 Guggenheim Fellow in Photography
Eileen Neff: 2016 Guggenheim Fellow in Photography
April 6, 2016

On April 5, 2016, the Board of Trustees of the John Simon Guggenheim Memorial Foundation approved the awarding of 175 Guggenheim Fellowships (including three joint Fellowships) to a diverse group of 178 scholars, artists, and scientists. Appointed on the basis of prior achievement and exceptional promise, the successful candidates were chosen from a group of nearly 3,000 applicants in the Foundation’s ninety-second competition.

 
Rosalind Fox Solomon: Got to Go
Rosalind Fox Solomon: Got to Go
Review by Collector Daily
April 5, 2016

This body of work is an excellent example of photographs that are richly informed by the female gaze – I can’t list too many male photographers who would be as finely attuned to the nuances of body language and facial expression, and what they imply about the lives of her sitters, as Solomon is here.

Brea Souders Exhibition: Bard College at Simon's Rock
Brea Souders Exhibition: Bard College at Simon's Rock
April 1, 2016

The Hillman-Jackson Gallery at Bard College at Simon’s Rock is pleased to present Entry Point, a four-person exhibition showcasing the work of New York-based artists, Sara Greenberger Rafferty, Matthew Porter, Brea Souders and Chris Wiley. The exhibition was curated by Anastasia Samoylova, assistant professor of photography at Bard College at Simon’s Rock. The exhibition runs from Friday, April 1 through Wednesday, May 4. Closing reception and gallery talk will be held on May 4th at 5pm.

 
Frederick Sommer in Soldier, Spectre, Shaman,’ an Alternate History at MoMA
Frederick Sommer in Soldier, Spectre, Shaman,’ an Alternate History at MoMA
March 29, 2016

Soldier, Spectre, Shaman, a noteworthy and all too rare exhibition on view on the museum’s third floor, offers a vital corrective to the gospel of abstract art. Most of the 30 or so artists here are European, and stand outside the museum’s tenacious master narrative. While their American counterparts were paring down painting, sculpture and other media to their essences, these artists insisted on the primacy of the figure, and conceived a new, more downhearted humanism for an inhuman age.

Joel-Peter Witkin at Victoria and Albert Museum
Joel-Peter Witkin at Victoria and Albert Museum
March 25, 2016

Telling a story 500 years in the making, Botticelli Reimagined will be the largest Botticelli exhibition in Britain since 1930. Including painting, fashion, film, drawing, photography, tapestry, sculpture and print, the exhibition will explore the ways that artists and designers have reinterpreted Botticelli

Aaron Siskind, Frederick Sommer, and Keith Smith at Morgan Library and Museum
Aaron Siskind, Frederick Sommer, and Keith Smith at Morgan Library and Museum
March 23, 2016

This exhibition explores the history of the medium as a lucid, literate—but not always literal—tool of persuasion. A collaboration with the George Eastman Museum, the show features more than eighty works from the 1840s to the present and reveals the many ways the camera can transmit not only the outward appearance of its subject but also narratives, arguments, and ideas.

 
Eileen Neff: Bernheim Artists in Residence
Eileen Neff: Bernheim Artists in Residence
March 22, 2016

Eileen Neff states that, “Having formally studied painting before photography, and poetry before painting, I consider the ideas and boundaries between disciplines to be more fluid than not.” While in Kentucky, Eileen will set out on field studies to explore the flora of the region. She has numerous museum and gallery exhibitions, and has taught many university courses. She has an M.F.A. in painting from Tyler School of Art, Philadelphia, PA, a B.F.A. in Painting, Philadelphia College of Art, Philadelphia, PA and a B.A. English Literature, Temple University, Philadelphia, PA.

 
Brea Souders: This is a Photograph
Brea Souders: This is a Photograph
Penland Gallery
March 19, 2016

This is A Photograph, curated by artist-educator Dan Estabrook, considers the fascinating subject of chemical and physical photography in the digital age and how we might now define a photograph. Handmade images created through the complex alchemy of light and chemistry are the common ground of the artists including Brea Souders, Adam Fuss, Sally Mann among others invited by Estabrook for this exhibition.

 

Barbara Morgan: Motion Captured: five of the best dance photographs
Barbara Morgan: Motion Captured: five of the best dance photographs
The Guardian
March 18, 2016

Barbara Morgan and Martha Graham met in 1935 and it took six years for the former (“a terror” in the studio, according to Graham) to produce the 16 photographs in this collection. In her determination to get at the core of the dance, to what she called “its spiritual energy”, Morgan had Graham perform the same movements over and over again, allowing her to lie down when she was tired, but always insisting that she remove her costume in case it got dirty. The sessions were endurance tests for both women, but Morgan, with her favourite Speed Graphic camera “pressed to cheekbone and eye socket” as she recalled, produced some of the greatest dance photographs ever made.

 
Aaron Siskind: Abstractions
Aaron Siskind: Abstractions
Art Institute of Chicago
March 16, 2016

Although he started his career as a documentary photographer, Aaron Siskind (American, 1903–1991) quickly became known for his abstract photographs. Socially and professionally close with many of the Abstract Expressionist painters in his native New York, Siskind created photographs in dialogue with painting, attempting to find a new language for photographic depiction that could transform an object into an image, a description into an idea. Across a decades-long career, his work explored what he called “the drama of objects,” imbuing forms with animism and rhythm. 

 
Michael Wolf: Reuters Video
Michael Wolf: Reuters Video
Photographer captures Hong Kong’s unique urban culture
March 15, 2016

For the last two decades, German-born photographer Michael Wolf has captured the essence of Hong Kong's unique density. He also recently published a visual encyclopedia of Hong Kong's ever-changing urban ecosystem. Reuters correspondent Pak Yiu has a look into what draws him to the city’s urban culture.

Constantin Brancusi at Moderna Museet
Constantin Brancusi at Moderna Museet
March 10, 2016
Artists of Greater New York: Rosalind Fox Solomon
Artists of Greater New York: Rosalind Fox Solomon
March 5, 2016

Rosalind Fox Solomon, whose photographs are currently on view as part of the exhibition Greater New York at MoMA PS1, packs emotion and mystery into her images. Her subjects are more quotidian than Diane Arbus’s, but the pictures achieve the same unnerving vibe. Though her photos appear staged or posed, according to her the scenes are “just encountered.” Solomon’s photographs mine the surreal embedded in the ordinary; what makes them remarkable is that she captured these liminal instances.

Aaron Siskind: Leap Before You Look: Black Mountain College 1933–1957
Aaron Siskind: Leap Before You Look: Black Mountain College 1933–1957
Institute of Contemporary Art: Boston
March 1, 2016

Organized by Helen Molesworth and Ruth Erickson, “Look Before You Leap” presented some two hundred works by one hundred artists. The show captured the impossibility of capturing the essence of those years in that place, given the multifariousness of the activities and artistic practices that flowered there. With neither a doctrine nor a thoroughgoing prescription for learning, Black Mountain was more like an intellectual and aesthetic kiln. There are as many styles covered by the label “Black Mountain” as there were artists who spent time there. The names connected to the school are dizzying in their subsequent stature as well as their plenitude: Cy Twombly, Aaron Siskind, Jacqueline Gourevitch, David Tudor, Charles Olson, Elizabeth Jennerjahn, Jacob and Gwendolyn Knight Lawrence, Stan VanDerBeek, Hazel Larsen Archer, Elaine and Willem de Kooning, Xanti Schawinsky, Merce Cunningham, M. C. Richards, Ben Shahn, Buckminster Fuller—the list goes on and on.

ICP and Mishka Henner Create
ICP and Mishka Henner Create "Photography Is" Installation
February 24, 2016

The International Center of Photography (ICP) is collaborating with artist Mishka Henner on an installation at ICP’s new museum space, opening this summer at 250 Bowery. The installation on the building’s construction shed will feature Henner’s “Photography Is” work beginning February 19 until the museum opens.

 
F. Holland Day and Aaron Siskind in Tate Modern: Performing for the Camera
F. Holland Day and Aaron Siskind in Tate Modern: Performing for the Camera
February 23, 2016

The exhibition, Performing for the Camera (until 12 June), arguably plays around with three media rather than two: photography, live art and sculpture. The latter point is indicated in the opening room by two photographs from 1973 by the artist Charles Ray, best known for his figurative sculptures. In Plank Piece I-II, the artist is photographed balancing between a plank and a wall in an apparently stable, sculptural pose that must, in fact, have barely lasted seconds.

Todd Hido: The Open Road
Todd Hido: The Open Road
February 18, 2016

The Open Road considers the photographic road trip, from Robert Frank—whose 1955 road trip resulted in The Americans (1958)—to present day, as a genre in and of itself. This is the first exhibition and book to explore the story of the American photographic road trip—one of the most distinct, important, and appealing themes of the medium.

Penelope Umbrico: Hyperallergic
Penelope Umbrico: Hyperallergic
February 11, 2016

Over 600 of the images Umbrico found on Flickr last November constitute the largest work on view, “Everyone’s Photos Any License (654 of 1,146,034 Full Moons on Flickr, November 2015)” (2015), and it immediately relays the moon’s unfailing ability to captivate us. Shown at different scales, some moons are vividly colored, suggesting they were captured at an especially special point of the star’s orbit; still, none seem particularly unique. Umbrico, though, treats them as such: she has printed and taped each one individually as part of a sprawling collage that spans the majority of one wall

Michael Wolf: Post Magazine
Michael Wolf: Post Magazine
Informal Solutions
February 10, 2016

Informal Solutions - the title refers to coping mechanisms devised by the residents of Hong Kong to deal with high-density living - is a collection of pictures the German photographer has taken in our back alleys - or "scavenger lanes" - since he arrived in the city, in 1994.

 
Penelope Umbrico, Nathan Lyons and Keith Smith: The Harry Ransom Center Acquisition
Penelope Umbrico, Nathan Lyons and Keith Smith: The Harry Ransom Center Acquisition
February 9, 2016

AUSTIN, TX.- The Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin, presents the exhibition "Look Inside: New Photography Acquisitions" Feb. 9 to May 29, 2016. Introducing nearly 200 of the Ransom Center's newest acquisitions, "Look Inside" traces photography from its post-war expansion to its central position in contemporary art. 

Mishka Henner at Ringling Museum of Art
Mishka Henner at Ringling Museum of Art
February 2, 2016

This exhibition will introduce the work of sixteen artists whose ideas and concepts are manifest in film based media. The individual works for the exhibition were each chosen to focus on the singular contributions of each respective artist. Each artist approaches creating a single image or composite film or video in a different way. The artist may construct a fiction involving a person or individuals, objects in a setting, a location and/or a narrative. The artist may realize a concept through an invention or reinvention of a person, place or narrative. In each example the artist has been challenged to address purely formal issues as well, creating an invented image not seen before.

 
Penelope Umbrico: Silvery Light
Penelope Umbrico: Silvery Light
Review by Collector Daily
January 27, 2016

Why she has not crossed over into the wider art world and remains an artist more exhibited in photography galleries is a mystery, not least, one can be sure, to Umbrico herself. Her ideas about our image culture are as complex and subtle as Richard Prince’s and Sherrie Levine’s.

Penelope Umbrico: Artist's Talk
Penelope Umbrico: Artist's Talk
January 19, 2016

Bruce Silverstein 
535 West 24th Street
Saturday, February 6th at 3:30pm



Artist's Talk 
Penelope Umbrico - Silvery Light

For Silvery Light, Umbrico creates an installation of new photographic and video works
related to her continued practice of utilizing the limitless archive of photographic
images online. This new work investigates projective and reflective light in relation to
the history of photography, digital imaging technologies, and the screen as light
source.

Penelope Umbrico’s photo-based installations, video, and digital media works utilize photo-sharing and consumer websites as an expansive archive to explore the production and consumption of images on the web. Her work navigates between producer and consumer, local and global, the individual and the collective, with attention to the technologies that produce (and are produced by) these forces.

 

Penelope Umbrico: Artforum Critics' Pick
Penelope Umbrico: Artforum Critics' Pick
January 15, 2016

Fifteen archival prints of photographs of sunlight streaming into Grand Central Station, watermarked with their sources—sites such as Art.com, Easy Art, Picasso.com—greet visitors to Penelope Umbrico’s latest exhibition, playfully drawing attention to her process of appropriation while offering the prosaic material a more profound afterlife.

Silvio Wolf at the Jewish Theological Seminary
Silvio Wolf at the Jewish Theological Seminary
January 14, 2016

Double Doors: a site-specific installation by Silvio Wolf

Tuesday, January 19, 2016

6:00 – 7:30 p.m.

The Jewish Theological Seminary

 

Registration at:  www.jtsa.edu/TraversingTradition

Inscribed exhibition extended
Inscribed exhibition extended
January 11, 2016

INSCRIBED has been extended through January 23rd. On view at 529 W 20th by appointment, this intimate exhibition showcases photographs transformed into unique artworks by the artist's annotations or inscriptions.

Penelope Umbrico at Grand Central Terminal
Penelope Umbrico at Grand Central Terminal
December 22, 2015

The exhibit, titled “Four Rays of Sunlight in Grand Central,” was installed in lightboxes in the terminal’s East Dining Concourse. These photographs, which were produced exclusively for this exhibit, are related to Umbrico’s work for the centennial’s time-themed exhibit titled “On Time/Grand Central at 100.” That show in 2013 was curated by MTA Arts & Design at the New York Transit Museum Gallery.

Rosalind Solomon Monograph to be Released by Mack Books, February, 2016
Rosalind Solomon Monograph to be Released by Mack Books, February, 2016
December 18, 2015

Part memoir and part fiction, Got To Go presents a collection of photographs from across Rosalind Fox Solomon’s life, contrasting a narrative of her own early years with other, urgent images that reveal a wider vision of the world, one outside of the rigid boundaries imposed by society and the home. If biography is a net cast upon us by family and shaped by social codes, Fox Solomon lays bare the limits of the net, as she negotiates the cusp between lived life and her imagination. Describing the work as a “tragicomedy”, full of both humour and pathos, Fox Solomon probes the limits we impose on ourselves, not only social codes but also the inherited tenets which are so difficult to escape.

Penelope Umbrico at the Pérez Art Museum Miami
Penelope Umbrico at the Pérez Art Museum Miami
December 3, 2015
An installation of Penelope Umbrico's work is currently on view at the Pérez Art Museum Miami. 28,524,323 Suns from Sunsets from Flickr (Partial) 08/03/2015, 2015, was recently acquired by the museum for its permanent collection. The piece is part of the ongoing exhibition Global Positioning Systems, on view during Art Basel Miami Beach.
 

 

Bruce Silverstein now Represents Penelope Umbrico
Bruce Silverstein now Represents Penelope Umbrico
November 25, 2015

Penelope Umbrico's work is represented in museum collections including the Guggenheim Museum, NY; Los Angeles County Museum of Art, CA; Metropolitan Museum of Art, NY; Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art San Diego, CA; Museum of Modern Art, New York, NY; Perez Art Museum Miami, San Francisco Museum of Modern Art, CA,  Berkley Museum of Art, CA.

 

She is the recipient of a Smithsonian Artist Research Fellowship, a Guggenheim Fellowship; a John Gutmann Photography Fellowship Award, a Deutsche Bank Fellow/New York Foundation of the Arts Fellowship, a Peter S Reed Grant; an Anonymous Was A Woman Award; a New York Foundation for the Arts Fellowship; and an Aaron Siskind Individual Photographer’s Fellowship.

Rosalind Solomon: T Magazine
Rosalind Solomon: T Magazine
Portraits in the Time of AIDS at the Salon d’Honneur
November 13, 2015

Rosalind Fox Solomon’s series documenting the lives of those affected by the AIDS crisis was first shown in 1988. This week, a selection of her powerful images will be on display as part of Paris Photo’s new “PRISMES” section, which features serial works from an international selection of remarkable photographers. In the Salon d’Honneur, visitors can also see “Sleeping Portraits” by Paul Graham, Bae Bien-U’s desert still lifes and Daido Moriyama’s unsettling street portraits of Japan.

Mishka Henner: MoMA New Photography 2015
Mishka Henner: MoMA New Photography 2015
November 12, 2015

Astronomical by Mishka Henner is on view in MoMA's New Photography exhibition. This year’s edition explores contemporary photo-based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models. Ocean of Images is organized by Quentin Bajac, the Joel and Anne Ehrenkranz Chief Curator of Photography, Roxana Marcoci, Senior Curator, and Lucy Gallun, Assistant Curator, Department of Photography, MoMA.

Rosalind Solomon: The Art Newspaper
Rosalind Solomon: The Art Newspaper
Paris Photo gains a section
November 12, 2015

The biggest structural change is the creation of a new section, Prisms, in the Salon d’Honneur on the first floor, where nine galleries will show ambitious works in series. “Many photographic works are often displayed as solo objects even though they are part of a series,” Wiesner says, “which together makes them a large-scale work.” Are they harder to sell? Perhaps, to your average collector, “but they are very good for institutions, and don’t forget that there are some very strong private collections out there,” he says.
 

Highlights from this section, which is supported by Giorgio Armani, include a collaborative project between Akio Nagasawa and Jean-Kenta Gauthier galleries, which have assembled the definitive set of photographs from the Japanese photographer Daido Moriyama’s influential photo-book Farewell Photography (1972). The display will feature 50 prints from rediscovered negatives that were not published in the book. 
 

The Bruce Silverstein gallery, meanwhile, will show Portraits in the Times of Aids, a selection of works by the American Rosalind Solomon that shocked a largely uneducated and unprepared public when they were originally exhibited (and underappreciated) in New York in 1988, at the height of the Aids crisis. 

Rosalind Solomon: The Guardian
Rosalind Solomon: The Guardian
The portraits that told the truth about Aids – in pictures
November 11, 2015

Taken in the homes of people with Aids, Rosalind Fox Solomon’s provocative pictures from the late 80s challenged the ‘victim culture’ that surrounded the illness. She showed it could affect anyone – from women who’d had transfusions to the children of infected mothers.

 

The series will be shown at the Bruce Silverstein Gallery, New York, during Paris Photo the Salon d’Honneur, a space dedicated to photography of historic importance.

Trine Søndergaard at George Washington University’s Luther W. Brady Art Gallery
Trine Søndergaard at George Washington University’s Luther W. Brady Art Gallery
November 9, 2015

How does one measure emptiness and can it be measured? Images that are devoid of people give us a taste of what we leave behind when we take a step away: an abandoned bowling alley, a stark prison cell, or an empty desk. They imply a sense of absence, but they are far from empty and the human presence is visible and felt. Featuring works from the GW Permanent Collection and various lenders, this exhibition explores the traces of human presence left behind in 'unpeopled' photographs of interiors and other spaces, whether temporarily empty, permanently abandoned, or made to appear so by the photographer's viewpoint or photographic processes.

Brea Souders included in Rizzoli – Feelings: Soft Art
Brea Souders included in Rizzoli – Feelings: Soft Art
November 6, 2015

A visually arresting collection of new works by emerging artists and celebrated names, united around a simple premise. The first in an exciting new series, Feelings: Soft Art is an intimate exploration of contemporary art today. Focused on material qualities and the feelings evoked by a work, this thematic approach returns to the basic pleasure of experiencing art. An easy, evocative look at artists and their projects, this heavily illustrated publication features hands-on insight from within the art world and without. Drawing on hundreds of new paintings, sculptures, photographs, and other practices, extended essays develop common threads. Brief texts and interviews reveal the making of soft works and artists’ relationships with the materials they use.

Larry Silver: Perceptions at Fundación Canal, Madrid
Larry Silver: Perceptions at Fundación Canal, Madrid
November 1, 2015

PERCEPTIONS: Man and Woman in the History of Photography

Perceptions explores through photography evolved concepts of masculinity and felinity and their role in society and aesthetics since the mid-nineteenth century to the present.

Rosalind Solomon and Joel-Peter Witkin at the Contemporary Arts Center
Rosalind Solomon and Joel-Peter Witkin at the Contemporary Arts Center
After The Moment: Reflections on Robert Mapplethorpe
October 24, 2015

Exhibition: November 6, 2015 - March 13, 2016.

Rosalind Solomon: Norton Museum of Art
Rosalind Solomon: Norton Museum of Art
This Place: Israel Through Photography's Lens
October 17, 2015

The Norton Museum of Art is the first U.S. venue to host This Place, an international photo exhibition that explores the complexity of Israel and the West Bank. 

 

While acknowledging and paying heed to the region’s conflicts, This Place asks that we look beyond this — that we widen and multiply our lens. It unveils a dozen contemporary photographic viewpoints of Israel and the West Bank, created primarily between 2009 and 2012 by Frédéric Brenner (France), Wendy Ewald (United States), Martin Kollar (Slovakia), Josef Koudelka (Czech Republic), Jungjin Lee (S. Korea), Gilles Peress (France), Fazal Sheikh (United States), Stephen Shore (United States), Rosalind Fox Solomon (United States), Thomas Struth (Germany), Jeff Wall (Canada) and Nick Waplington (United Kingdom). The combination of these individual photographic sensibilities and approaches act as a heterogeneous narrative and produce not a single, monolithic vision, but rather a diverse and fragmented portrait of this important and much contested space.

TIME Lightbox
TIME Lightbox
10 Things to See at Frieze London Art Fair
October 14, 2015

Modern classics at Bruce Silverstein Gallery

 

If you want fun fair style excitement, like you experienced as a kid in front of the confectionary stall at the county fair, there’s only one place to go: the Bruce Silverstein Gallery stand at Frieze Masters. This booth has the rarest of treats in the form of modern photographic masterpieces. Every year, I stare and ogle at the mouth-watering goods on display, which this year include the cotton candy of photographs: the Portrait of Dorothy Normanby Alfred Stieglitz (1931), the candied apples of photographic collages: an early Robert Mapplethorpe self-portrait, Untitled (1971) as well as my favorite: the luscious lollipop of an image: The Necklace, Lee Miller (1965) by Man Ray, a gelatin silver print of a sensuous, strained neck, with a remarkable necklace made from coiled string.

Aaron Siskind and Frederick Sommer: Pure Products of America go Crazy
Aaron Siskind and Frederick Sommer: Pure Products of America go Crazy
Pratt Institute
October 7 – November 20, 2015

This exhibition, whose title derives from a 1923 poem by William Carlos Williams, assumes the form of a running dialogue between photographic images—past and present—that take as their subject the accumulated byproducts of an American way of life.

 
Rosalind Solomon: Artnews
Rosalind Solomon: Artnews
PS1 Greater New York
October 10, 2015

Images by Rosalind Fox Solomon, who is 85 this year, show all kinds of New Yorkers out and about in the city, including two young black boys eyeing guns at a police museum as two white mannequins loom over them eerily. The feminist art collective fierce pussy also provides a marker of enduring trauma. Founded in 1991 to combat AIDS, it has wall installation and takeaway newspaper print that memorializes the countless unnamed victims of the disease.

Rosalind Solomon: Photography At MoMA: 1960 To Now
Rosalind Solomon: Photography At MoMA: 1960 To Now
October 9, 2015

The Museum of Modern Art has one of the greatest collections of twentieth-century photography in the world. As one of three volumes dedicated to a new history of photography published by the Museum, this publication comprises a comprehensive catalogue of the collection post-1960s and brings a much-needed new critical perspective on the most prominent artists who have worked with the photographic medium over the last half-century. At a moment when photography is undergoing fast-paced changes and artists are seeking to redefine its boundaries in new and exciting ways, Photography at MoMA serves as an excellent resource for understanding this expanded field.

Larry Silver at the Housotonic Museum of Art
Larry Silver at the Housotonic Museum of Art
October 7, 2015

Following in the tradition of street photography, Weegee, W.Eugene Smith and Henri Cartier Bresson, Larry Silver (b. 1934) began documenting moments of everyday life on the streets and subways of New York City in 1949 at the age of 15. While studying photography at the High School of Industrial Art (1949-53), he soon came under the influence of New York’s Photo League, a group of photographers who combined personal expression and social activism to expose the political and social issues of the day. While still in high school, Silver was awarded a scholarship to attend the Art Center School in Los Angeles (1954-56) and soon began photographing the local weightlifters, body builders, and acrobats who flocked to the Santa Monica Beach. This celebrated series, Muscle Beach (1954), was the subject of a solo exhibition at the International Center of Photography in 1985, and again in 1999 at the Los Angeles County Museum of Art.

 
Rosalind Solomon at MoMA PS1
Rosalind Solomon at MoMA PS1
Greater New York
Ocober 6, 2015

Considering the “greater” aspect of its title in terms of both geography and time, Greater New York begins roughly with the moment when MoMA PS1 was founded in 1976 as an alternative venue that took advantage of disused real estate, reaching back to artists who engaged the margins of the city. Together, the works in the exhibition employ a heterogeneous range of aesthetic strategies, often emphatically representing the city’s inhabitants through forms of bold figuration, and foregrounding New York itself as a location of conflict and possibility.

 

Bringing together emerging and more established artists, the exhibition occupies MoMA PS1’s entire building with over 400 works by 157 artists, including programs of film and performance. Greater New York is co-organized by a team led by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1; and including art historian Douglas Crimp, University of Rochester; Thomas J. Lax, Associate Curator, Department of Media and Performance Art, MoMA; and Mia Locks, Assistant Curator, MoMA PS1.

 
Mishka Henner: The Surreal Beauty of Feedlots by Satellite
Mishka Henner: The Surreal Beauty of Feedlots by Satellite
September 30, 2015

Mishka Henner, a new media artist based in Manchester, UK (with a current solo show in NYC), has been gathering these satellite images of feedlots. Referred to as Concentrated Animal Feeding Operations in the business, feedlots are where thousands of livestock are kept and fed grains for the few months preceding their slaughter. Noxious miles of land packed full of cows, which are fattened up before they’re killed. 

 
Nathan Lyons
Nathan Lyons at Baltimore Museum of Art
September 21, 2015

The BMA kicks-off a new series of exhibitions drawn from the more than 3,000 gifts of art acquired during the In a New Light campaign that concluded during the museum’s 100th anniversary in fall 2014. This exhibition features approximately 18 color and black-and-white photographs that were part of a major gift from Baltimore collectors Tom and Nancy O’Neil, who have collected 20th- and 21st-century photography for more than two decades.

 

Works by contemporary masters and new talents such as Dawoud Bey, Richard Misrach, and Abelardo Morell demonstrate the O’Neil’s interest in images that speak to today’s landscape and environmental issues, as well as portraits that offer sensitive studies of the human experience.

 

Curated by
Curator of Contemporary Art Kristen Hileman

Brea Souders: Photography is Magic
Brea Souders: Photography is Magic
September 17, 2015

“By considering contemporary photographic practices through the lens of magic, this book has a particular take on the current state of photography’s material presence — its status as a cultural material — within art.” - Charlotte Cotton

Aaron Siskind at the Davis Museum of Art
Aaron Siskind at the Davis Museum of Art
Measuring The World: Photography, Geography and Description
September 15, 2015

This inventive exhibition explores how the camera can function as a device for measuring the world, mediating relations between individuals and their surrounding environments. Drawn from the Davis’s extensive collection of historic to contemporary photography, it considers ideas about land and colonial expansion, mapping, the World Atlas, the question of scale, travel, tourism, and globalization, the photograph as document, the archive, the body, society, being, and co-habitation. Measuring the World proposes an interdisciplinary approach, recognizing that photography is both an aesthetic and a scientific practice.

 
Curated by Ileana L. Selejan, Linda Wyatt Gruber '66 Curatorial Fellow in Photography, the exhibition is generously supported by The Constance Rhind Robey ‘81 Fund for Museum Exhibitions.

 

Rosalind Solomon: Aperture Magazine
Rosalind Solomon: Aperture Magazine
September 4, 2015

Solomon’s photographic career has been defined by an itch for travel and a desire to use the camera as a means of self-discovery, or, as she puts it, as a way of “talking to myself.” A student of photographer Lisette Model, who was known for her confrontational images of New York City’s street life, Solomon, over many decades, has photographed extensively in South and Central America, India, and Poland—as well as in places closer to home, like New York and the American South. Her work, however, is often metaphorical, transcending mere descriptions of place.  

 

Todd Hido
Todd Hido: TIME Lightbox
The Future of Film Photography: Instant Toy Cameras and Small-Scale Labs
September 2, 2015

Hido regularly scans and uploads unfiltered Instamatic photos to his Instagram feed (adding a #nofilter tag, of course) supporting that happy hybrid merger between the different formats that young amateur photographers cherish so much. Many of them have expressed an appreciation that goes beyond the retro look of the blurry prints. Notably, they find the overall approach – the lengthy, thoughtful pace that film photography compels them to adopt – appealing.

Michael Wolf: New York Times
Michael Wolf: New York Times
Little Room for Embellishment in Densely Packed Hong Kong
September 1, 2015

Mr. Wolf specializes in images that frame Hong Kong’s fearful symmetry. In his series “Architecture of Density,” he removes the sky and ground to fill the image with vertical strings of thousands of windows that ripple together across residential tower after tower, a sheer wall of eye-holed concrete that blends together like the canvas of an abstract painting.

 
Mishka Henner: International New York Times
Mishka Henner: International New York Times
Mishka Henner Uses Google Earth as Muse
August 31, 2015

“There’s an absurdity to living in an age when everything is photographed,” Mishka Henner, a Belgian-born artist, said recently from his home in Manchester, England, emphasizing, in particular, that every square inch of the earth seems to have been photographed and all of it is accessible online — including some of the world’s most secret places.

Brea Souders: Paper Journal
Brea Souders: Paper Journal
Studio Visit with Brea Souders
August 31, 2015
Nicolai Howalt
Nicolai Howalt
Museum für Photographie Braunschweig
August 13, 2015

The photographic work "Light Breakfast" by Danish artist Nicolai Howalt dedicated to this tension. This reconstructed Howalt initially the complex history of the Danish physician Niels Ryberg Finsen, the 1903, on the human psyche and physique as a pioneer of medical therapeutics the Nobel Prize for Physiology or Medicine in recognition of his findings on the beneficial effect of light rays.

 

Howalt attacks the scientific test arrangements with original equipment Finsens on as the starting point of his own artistic study and repeated the experiments of the physician. Instead of the act to be treated at the Howalt led light rays, however, on a photographic paper support a on which they take effect. In keeping with Talbots can Howalt the light to distinguish itself, guided and refracted by the lenses and filters Finsens. When making the invisible visible, the human eye is not directly perceptible light spectrum, the resulting abstract photographs fix an endless variety of colors, shades and hues. As vibrant swatches these photographs remind addition to the Color Field painting of the 1950s and avant-garde compositional schemes. The photographic sheets this produce a strong meditative power, as was characteristic for example, for Rothko room installation picturesque Swatches; Howalts photographs confirm that even today Finsens thesis of the therapeutic effect of light in aesthetic form.

Eileen Neff at Philadelphia Museum of Art
Eileen Neff at Philadelphia Museum of Art
Take Two: Contemporary Photographs
August 10, 2015
By the 1960s, photography had established pictorial traditions and standards of craftsmanship. But cultural changes, new technologies, and the rise of Conceptual art compelled many artists to revise or reject these conventions. Gerhard Richter, for example, manipulated seemingly ordinary snapshots to expose the fictional nature of even the most convincing photographic scenes. Robert Rauschenberg injected a Pop sensibility in works that reflect our increasingly mediated and image-saturated world. Cindy Sherman, Zhang Huan, and others have since explored these issues from many intriguing angles.

 

For all of its mediated fictions, photography is also intensely immediate and sensual, bringing us into electrifying contact with bodies, emotions, and social realities. Artists such as William E. Parker and Paul Cava explore the medium’s expressive, even erotic potential, sometimes combining photography with paint and ink. Others, including Dawoud Bey and David Goldblatt, use the camera to document and reveal alternative histories of overlooked or marginalized subjects. And artists such as An-My Lê harness a deep awareness of history and popular culture to confront the complexities of contemporary life.

 
 
 
Aaron Siskind: Pleasures and Terrors
Aaron Siskind: Pleasures and Terrors
California Museum of Photography
August 4, 2015

Mined from the collection of the California Museum of Photography, Aaron Siskind: Pleasures and Terrorsdraws from six decades of the seminal artist’s career. Siskind’s photographic beginnings took place in the 1930s as a member of the New York-based Film and Photo League, a socially and politically conscious organization that sought to document urban life in New York in the wake of the Great Depression. Within a decade he would migrate toward a photographic sensibility simultaneously defined as radically abstract and concretely representational. Frequently taking on closed in shots of hand painted signage, politically-fueled graffiti, and weathered urban surfaces as his subject matter, Siskind is most known for his mythic compositions that at times bear a striking resemblance to the work of important twentieth century Abstract Expressionist painters. 

Randy West at MASS MoCA
Randy West at MASS MoCA
Artists' Choice: An Expanded Field of Photography
July 31, 2015

In conjunction with a solo exhibition of work specifically made for MASS MoCA, Liz Deschenes has curated a group exhibition featuring six artists whose work expands the field of photography. Dana Hoey, Miranda Lichtenstein, Craig Kalpakjian, Josh Tonsfeldt, Sara VanDerBeek, and Randy West will be represented with a combination of new and existing work (chosen by the artists themselves) that demonstrates their wide-ranging approaches to their art. Several of the featured artists make work that is considered photographic but is camera-less, while, for others, photography has laid the groundwork for the moving image or functions as a jumping-off point for sculptural investigations. With this small but diverse selection of artists, the exhibition will provoke an open-ended dialogue on the state of photography as an increasingly diversified medium that intersects and informs other fields of art making.

 

NYU Tisch School of Art: Aaron Siskind & Lisette Model
NYU Tisch School of Art: Aaron Siskind & Lisette Model
Treasures from Photography & Imaging at Tisch
July 31, 2015

Opens September 10 and will run through October 18, 2015

 

The NYU Tisch School of the Arts Department of Photography & Imaging, in celebration of the 50th anniversary of the founding of the School of the Arts at NYU, will mount an exhibition of some of its greatest treasures by some of the most profound photographers and artists of our time. Entitled “In the Collection: Treasures from Photography & Imaging” will feature a wide range of perspectives and media, including but not limited to traditional black-and-white and color photographs,,including Harold “Doc” Edgerton’s (1903–1990), “Cranberry Juice Dropping into Milk Drop,” 1963; “Cityscape ca. 1930s” by Berenice Abbott (1898-1991) and Mary Ellen Mark’s (1940-2015) “Tunica, Mississippi (alternate title Two Boys Praying in the Road)”, 1990.

Joel-Peter Witkin at Akron Art Museum
Joel-Peter Witkin at Akron Art Museum
July 28, 2015

Staged

Akron Museum of Art, Ohio

May 2 - September 27, 2015

Michael Wolf's Tokyo Compression at Belfast Exposed
Michael Wolf's Tokyo Compression at Belfast Exposed
July 17, 2015

Belfast Exposed is pleased to present Michael Wolf’s iconic photo series Tokyo Compression which depicts the daily commute in Tokyo. 

 

The series is made up of portraits of people in the subway constrained between glass, steel and fellow travelers. The work is a fascinating study in the psychology of the modern commuter and the techniques people use to cope with the difficulty of this daily necessity.

 

Tokyo Compression speaks of the alienation of the working masses. It queries ideas of community, enforced or otherwise, and the increasing importance and precariousness of trust in our society and our systems – social, political and economic. Tokyo Compression speaks of the pressure of time and the burden of waiting; about mobility, the drive to succeed, and the fear and anxiety of failure. It also speaks poignantly of sadness and loneliness.

Frederick Sommer in TimeOut New York
Frederick Sommer in TimeOut New York
July 2, 2015

Frederick Sommer (1905–1999) is most famous for his photographs from the 1940s that combine Surrealism’s uncanniness with taut formalism: abstracted horizonless, pictures of the American desert; studies of animal carcasses; portraits of his neighbors (including Max Ernst) in Prescott, Arizona; and arrangements of chicken entrails or found objects. But he also worked in other mediums, including drawing, painting and “cameraless” photography

 

Sommer’s small-scale drawings, made with colored glue on black paper, date mostly from the 1950s and roam from calligraphic to cartoonish to biomorphic. Many echo his earlier photographs. A collection of meandering lines and watery blobs recall his still lifes of poultry parts. A grouping of brown, gray and gold amoeba-like shapes, sprouting limblike protrusions, resemble pictures of dead coyotes desiccated by the sun.

 

Rounding out the show are examples of Sommer’s later set-up photographs. Employing cut paper and accordion-folded reproductions of Durer engravings, they anticipate the work of such contemporary artists as Eileen Quinlan. Neither they nor the glue drawings have the force and finish of Sommer’s greatest photographs. But they’re wonderfully of apiece with them and with the artist’s singular, consistent and encompassing vision.

Mishka Henner in MoMA New Photography, 2015
Mishka Henner in MoMA New Photography, 2015
June 24, 2015

New Photography, MoMA’s longstanding exhibition series of recent work in photography, returns this fall in an expanded, biannual format. On the occasion of its 30th anniversary, New Photography is expanding to 19 artists and artist collectives from 14 countries, and includes works made specifically for this exhibition.

 

Probing the effects of an image-based post-Internet reality, Ocean of Images examines various ways of experiencing the world: through images that are born digitally, made with scanners or lenses in the studio or the real world, presented as still or moving pictures, distributed as zines, morphed into three-dimensional objects, or remixed online. The exhibition’s title refers to the Internet as a vortex of images, a site of piracy, and a system of networks. Ocean of Images presents bodies of work that critically redefine photography as a field of experimentation and intellectual inquiry, where digital and analog, virtual and real dimensions cross over. These artists explore contemporary photo-based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models. 

Aaron Siskind at Philadelphia Museum of Art
Aaron Siskind at Philadelphia Museum of Art
June 17, 2015

This exhibition celebrates a recent gift by one of the leading American photography collectors of the 1970s and 1980s, Harvey S. Shipley Miller. The diverse works on view include rare early pictures, major examples of the Pictorialist art movement by figures such as Peter Henry Emerson and George Seeley, and a broad range of twentieth-century art and vernacular photographs.

 

Shipley Miller formed the collection with his then partner, J. Randall Plummer, in the 1970s, when they were among a handful of serious photography collectors in the United States. They approached the subject enthusiastically, expressing both a scholarly interest in the history of the medium and a personal desire to acquire images they loved. Remarkable for its quality and breadth, the collection includes both masterworks of modern art and ephemera as well as curious images from the fields of science, journalism, and fashion. The gift of more than four hundred photographs encompasses delightful pictures from every aspect of photographic production. The selection on view in the exhibition offers a unique perspective on the evolution of photography, and is a wonderful testament to the pleasures and possibilities of collecting.

 

 
 
Aaron Siskind, Barbara Morgan, and Lisette Model at the Addison Gallery of American Art
Aaron Siskind, Barbara Morgan, and Lisette Model at the Addison Gallery of American Art
June 4, 2015

In the second decade of the 20th century, as the population of New York surpassed that of London, images of street life became an increasingly appealing form of documentary and artistic interpretation among American photographers. This new subject matter was most certainly influenced by contemporary painters like John Sloan and Robert Henri, who found excitement in the physically teeming and visually cacophonous streets of New York. In addition, while photographers had been drawn to urban spaces since the medium’s beginnings, new technological advances encouraged spontaneity and easier movement through congested spaces and rushing crowds. Offering a wide cast of characters and vast variety of experiences on which to focus, the city street took firm hold of photographers’ imaginations, giving birth to a rich genre that developed throughout the 20th century and still continues today. 

Featuring photographs by such artist as Alfred Stieglitz, Paul Strand, Lisette Model, Walker Evans, Helen Levitt, Robert Frank, Garry Winogrand, and Dawoud Bey, this exhibition explores the myriad ways artists have approached the subject of bustling city scenes over time. Capturing the chaotic energy, chance juxtapositions, and fleeting encounters of everyday life in images that are by turns confrontational and tender, somber and witty, gritty and beautiful, each of these masters distills decisive moments into universal images of humanity.

Frederick Sommer, Aaron Siskind, and Barbara Morgan in JACKSON POLLOCK'S MURAL: Energy Made Visible in Peggy Guggenheim Collection
Frederick Sommer, Aaron Siskind, and Barbara Morgan in JACKSON POLLOCK'S MURAL: Energy Made Visible in Peggy Guggenheim Collection
June 2, 2015

From April 23 through November 16, 2015 the Peggy Guggenheim Collection presents Jackson Pollock’s ‘Mural’: Energy Made Visible. The exhibition is curated by David Anfam, Senior Consulting Curator, Clyfford Still Museum, Denver, and a preeminent authority on Abstract Expressionism. This touring exhibition focuses on Jackson Pollock’s Mural (1943, University of Iowa Museum of Art, Iowa City), following its 18-month campaign of conservation and cleaning at the Getty Conservation Institute, Los Angeles. The immensely dynamic Mural is the largest painting Pollock created and it has exerted a seismic impact on American art down to the present day. Commissioned in the summer of 1943 by Peggy Guggenheim for her New York townhouse, Muralestablished a new sense of scale and audacity for the Abstract Expressionist movement, anticipating the classic ‘poured’ abstractions that Pollock would begin four years later. Setting Muralinto context, the selection includes Pollock’s newly-restored Alchemy, as well as works by the artist’s wife Lee Krasner, David Smith and Robert Motherwell. Crucially, it also sheds new light on Pollock’s relationship to such photographers of action and energy as Herbert Matter, Barbara Morgan, Aaron Siskind and Gjon Mili. The exhibition travels to the Deutsche Bank Kunsthalle, Berlin and then to the Museo Picasso, Málaga. Jackson Pollock’s ‘Mural’: Energy Made Visible is organized by The University of Iowa Museum of Art.

A fully-illustrated book by David Anfam, published by Thames & Hudson, accompanies the exhibition.

Keith Smith review on Collectordaily.com
Keith Smith review on Collectordaily.com
June 2, 2015

Even more so than the finished artworks themselves, this show is just brimming with photographic ideas. The weaving of cloth images and paper ones, the interlayering of quilt patterns, the flattening and reassembly of scanning/photocopying, the intentional management of distortion, the extension of collage into three dimensions of surface and texture – Smith was testing each one, trying to figure out how photography might fit in. This show should be on the required syllabus of every young photographer bent on demolishing the limits of the medium, not because they should acknowledge that Smith got there first (which he did), but because he deserves to be a mentor and inspiration to those following in his footsteps.

Keith Smith, The Fabric Works, 1964-1980
Keith Smith, The Fabric Works, 1964-1980
Review by Collector Daily
June 2, 2015

Even more so than the finished artworks themselves, this show is just brimming with photographic ideas. The weaving of cloth images and paper ones, the interlayering of quilt patterns, the flattening and reassembly of scanning/photocopying, the intentional management of distortion, the extension of collage into three dimensions of surface and texture – Smith was testing each one, trying to figure out how photography might fit in. This show should be on the required syllabus of every young photographer bent on demolishing the limits of the medium, not because they should acknowledge that Smith got there first (which he did), but because he deserves to be a mentor and inspiration to those following in his footsteps.

Mishka Henner at Fotomuseum Winterthur
Mishka Henner at Fotomuseum Winterthur
May 30 - October 4, 2015

Over the last two decades, artists have sought to question humankind’s relation to the animal world, reworking categories of representation in order to rethink human-animal relations as well as the nature of creative practice itself. Beastly/Tierisch explores these issues in recent photography and video by Sammy Baloji, Marcus Coates, Revital Cohen und Tuur Van Balen, Charlotte Dumas, Peter Hujar, Simen Johan, Erik Kessels, Elad Lassry, Jochen Lempert, Katja Novitskova, Alessandra Sanguinetti, Moussa Sarr, Carolee Schneemann, Xiaoxiao Xu and many more, revealing how the traditionally anthropocentric nature of vision has been overturned. The exhibition examines the way in which animals become embroiled in human processes and passions, whether caged, consumed or otherwise caught up in a very human animal-industrial complex. It also explores how the animal appears in art as a figure of critique, either in the form of political allegory or through aesthetic transformation. In recent practice, a more ‘beastly’ position begins to emerge, pursued by those who seek a bio-centric perspective. In such work, artists attempt to think the animal creatively in its own terms, forging worlds of fantasy freed from humankind.

 

Finally, Beastly/Tierisch includes an innovative installation of vernacular photography and film, including books, posters and postcards, as well as a host of recent internet images, a veritable virtual zoo. How is animality reconfigured today through everyday photographic practice?

 

The exhibition is curated by Fotomuseum Winterthur. It is accompanied by a catalogue with many illustrations and essays by Heather Davis, Duncan Forbes, Ana Teixeira Pinto and Slavoj Žižek which will be published by Spector Books, Leipzig.

 

Beastly/Tierisch is curated by Fotomuseum Winterthur (Duncan Forbes, Matthias Gabi and Daniela Janser).

Larry Silver at Westport Library
Larry Silver at Westport Library
May 25, 2015

WESTPORT -- An exhibit of Sherwood Island photos taken by Westport photographer Larry Silver over a 40-year period has opened at the Westport Library

 

"Sherwood Island, 1975-2015" will be on display in the library's Great Hall through June 24. 

 

Silver has returned to Sherwood Island repeatedly over the last four decades in different seasons, library officials said, and the exhibit documents the changing lifestyles of the state park's visitors through the years.

 

The show includes 40 photographs, many of them black-and-white images shot on film, and the more recent ones are color digital images, according to a release.

 

Silver's work is held in more than 29 museum collections, among them the Metropolitan Museum of ArtJewish Museum in New York City and the Smithsonian Museum of American Art. His "Sunset at Sherwood Island State Park" is in the Smithsonian collection.

André Kertész and Frederick Sommer at the National Gallery of Art
André Kertész and Frederick Sommer at the National Gallery of Art
In the Light of the Past: Twenty-five Years of Photography
May 3 - July 26, 2015

In 1990 the National Gallery launched an initiative to acquire the finest examples of the art of photography and to mount photography exhibitions of the highest quality, accompanied by scholarly publications and programs. In the years since, the Gallery’s collection of photographs has grown to nearly 15,000 works encompassing the history of the medium from its beginnings in 1839 to the present, featuring in-depth holdings of work by many of the masters of the art form. The Gallery’s program of exhibitions and publications is now considered among the best in the world. Commemorating the 25th anniversary of this initiative, the Gallery will present three major exhibitions in 2015 exemplifying the vitality, breadth, and history of its photography holdings.

 

In the Light of the Past: Twenty-five Years of Photography (May 3–July 26, 2015) will honor the 25th anniversary of the Gallery’s photography collection by demonstrating how our exemplary holdings reveal the evolution of the art of photography. Drawn primarily from works acquired in the past 25 years, the exhibition features rare, exquisite 19th-century and turn-of-the-century works; exceptional examples of international modernism of the 1920s and 1930s and seminal mid-20th-century American photography; as well as photographs exploring new directions in color and conceptual art in the 1960s and 1970s. The exhibition demonstrates the richness of the National Gallery’s photography collection and showcases the strength of the medium as an art form from its birth through the late 20th century.

Zoe Strauss at Deadringer Projects
Zoe Strauss at Deadringer Projects
GELATIN
May 5, 2015

DEADRINGER projects is pleased to welcome American photographer and installation artist Zoe Strauss for a presentation of “Gelatin” a 35mm slide show installation created at the Meat Sciences Lab during her yearlong tenure as Dodd Chair at the University of Georgia’s Lamar Dodd School of Art (Athens, GA).

 

“Gelatin has been used in the production of photographic products for over 100 years. The gelatin used in photographic products comes from the bones and hides of pigs and cattle.” - KODAK

 

A community-based artist, the majority of photographer Zoe Strauss’ work is inspired by her hometown of Philadelphia. Influenced by documentary photographers such as Walker Evans, William Eggleston, and Nan Goldin, Strauss’ portraits, documentation of signage, mundane objects and urban sprawl focus on the allure of overlooked realities. She recently completed “Under I-95,” a 10-year project resulting in a photography installation of those photographed under a section of Interstate 95 in Philadelphia.

Trine Søndergaard at the Skagen Odde Nature Centre
Trine Søndergaard at the Skagen Odde Nature Centre
Dejavu
May 1 - July 27, 2015

21 contemporary Danish artists present contemporary works inspired by the same issues that occupied the Skagen painters in the past.


Women with flowing dresses in sunset, fishermen with southwest and surging seas are all images that we associate with Skagen. The familiar motifs appear today as kitsch on everything from postcards to coasters, and there is even made films about them. They are, in other words become iconic of Skagen and a time when Skagen was the central gathering point for artists from all over Scandinavia. Skagen painters' art was especially natural images, ie Images of nature and everyday tasks, but also life and death and especially fishermen hard and dangerous life. Skagensmalerne described the common life as they saw it, and was an essential part of the modern breakthrough in the late 1800s, in particular, put the social order to the debate with a new freedom in relation to sexuality, marriage, religion and science.

 

The Skagen painters were creating debate is perhaps not the first thing you think of today when you look at the paintings of the evocative scenarios. The thoughts are enough for most of the virtuoso brushwork, enthrallment of Skagen's special light and beautiful colors. But the painters were part of the international avant-garde and set the agenda for contemporary art not only in Denmark but throughout the Nordic region. Skagen painters have so left a legacy that has left its mark through Danish art history, and is also relevant today. 

 

The exhibition DEJAVU shows 21 Danish artists  in line with the painters. But where the painters were primarily painters, we find the DEJAVU designs in new and sometimes surprising media and expression. Classic themes such as "light", "interior", "sea", "raw nature" or "human nature" and "portrait" interpreted by artists in the exhibition in addition to paintings, in installation art, video, sculpture, drawing, photography and ceramics . 

Brea Souders Awarded Pollock-Krasner Grant
Brea Souders Awarded Pollock-Krasner Grant
April 7, 2015

Bruce Silverstein is pleased to announce that Brea Souders has been awarded a grant from the Pollock-Krasner Foundation. Souders is one of the first photographers to be awarded a grant.

 

Now entering its thirtieth year of grant making, The Pollock-Krasner Foundation, Inc. has reaffirmed its mission of supporting individual visual artists worldwide. The Pollock-Krasner Foundation, grants support the artists' personal and/or professional expenses for one year. Since its inception in 1985, the Foundation has awarded over 61 million dollars to artists in 76 countries.

 

Pollock-Krasner grants have enabled artists to create new work, purchase needed materials and pay for studio rent, as well as their personal and medical expenses. Past recipients of Pollock-Krasner grants acknowledge their critical impact in allowing concentrated time for studio work, and in preparing for exhibitions and other professional opportunities such as accepting a residency.

 

The Pollock-Krasner Foundation was established in 1985 to assist individual working artists of merit with financial need through the generosity of Lee Krasner (1908-1984), a leading abstract expressionist painter and widow of Jackson Pollock.

Lisette Model at the Whitney
Lisette Model at the Whitney
America is Hard to See
April 25, 2015

When the Whitney Museum of American Art opens its new Renzo Piano-designed home in Manhattan’s Meatpacking District on May 1, 2015, the first exhibition on view will be an unprecedented selection of works from the Museum’s renowned permanent collection. Setting forth a distinctly new narrative, America Is Hard to See presents fresh perspectives on the Whitney’s collection and reflects upon art in the United States with over 600 works by some 400 artists, spanning the period from about 1900 to the present. The exhibition—its title is taken from a poem by Robert Frost and also used by the filmmaker Emile de Antonio for one of his political documentaries—is the most ambitious display to date of the Whitney’s collection.

Delving deep into the Whitney’s holdings, America Is Hard to See examines the themes, ideas, beliefs, visions, and passions that have preoccupied and galvanized American artists over the past one hundred and fifteen years. Reflecting the way artists think and work, all mediums are presented together without hierarchy. Numerous pieces that have rarely, if ever, been shown before will appear alongside familiar icons, in a conscious effort to challenge assumptions about the American art canon. 

André Kertész at the Getty
André Kertész at the Getty
In Focus: Play
April 25, 2015

The introduction of photography in 1839 coincided with major social and economic changes spurred by the Industrial Revolution and a burgeoning culture of leisure. In addition to documenting historic events, this new medium was used to record the everyday, including the many ways people spent their free time. With the advent of faster film and handheld cameras, dancing and carousing were captured with the same enthusiasm as moments of respite and quiet contemplation. This exhibition traces the development of play as a photographic subject through the works of artists such as Roger Fenton, Lauren Greenfield, Bill Owens, and Larry Sultan among others.

Rosalind Solomon
Rosalind Solomon
An Interview with Paper Journal
March 17, 2015

This Place is the creation of photographer Frédéric Brenner. Inspired by his own visits to Israel and the visual and photographic potential held there and in the West Bank, began to build a project that would commission twelve photographers to go to the region and make their own work. Brenner’s vision was to encourage artists to Israel and the West Bank and open their eyes to a place many would normally be apprehensive to shoot. The result is an epic project including twelve books, a touring exhibition, in-depth catalogue and digital archive. All the photographers involved are big names including some titans of the observational documentary aesthetic like Joel Meyerowitz, Stephen Shore and Thomas Struth. The project was initiated in 2008 and began with all participating artists making a trip to Israel as a group and meeting researchers, guides and figures from the region and given exploratory trips and assistants to produce work.


The majority of the work was finished in 2012 and in 2014 the first of the books were released and the first site of the exhibition, Dox Gallery in Prague, opened its doors to visitors in October 2014. I was immediately interested in how and why so many photographers were convinced to make work which is apolitical, in an area which is often instantly polarised and everyone seemingly has an opinion on.


Rosalind Solomon’s newest book Them (MACK, 2014) is one of the 12 books published as part of the This Place project. Solomon has traveled the world, often photographing in areas of crisis such as the South African Apartheid and the eruption of AIDS in New York during the 80s. Them is a collection of portraits spread over Israel and the West Bank; Rosalind’s first commission in over 60 years of making photographs. Through her book we gain an idea of what the people who make up the region look like. We are always the outsider, the direct gaze and the use of a flash give a blunt feel to the book. Her subjects stare back at you; you are made aware you are looking, forced to deal with your objectification and your distance from their lives.

Brea Souders
Brea Souders
An interview in the Los Angeles Review of Books
March 5, 2015

Art is in Souders’s genes. Her mother, grandparents, aunt, and cousin were all painters. From an early age she learned how to paint and draw, and went to her mother's gallery shows. A book on Man Ray inspired a love for photography’s technical outer limits and the Surrealist’s inward focus, and she began shooting in black and white. Souders’s father was a physicist, and she was raised with elaborate chemistry sets, so it’s not surprising that she reveled in darkroom operations and came to approach her studio as a lab in which to experiment with mechanical and natural process, and optical phenomena. Much like a scientist, she isolates primary building blocks from wide-ranging sources and conceives recombinant forms for them. She calls herself a tinkerer, and quite often her raw material is the residue of past experiments.

 

With a collagist’s puzzle-part invention, Souders has fashioned a personal poetics, both quirky and sublime, around the objects and residual photographic effects she coaxes into her work. A born scavenger, she finds rich meaning in the most ephemeral or mundane stuff around her. Her gift for minimalist design and idiosyncratic color saves her from chaos and results in a blithe balancing act of chance and intention. Her approach is that of a conceptual artist, hammering out delicate frameworks for chasing ideas down rabbit holes into her own cerebral wonderland.

 

Because her images steer clear of the “real” observed-as-is world, Souders often fields questions about her proper definition: artist who uses photography, photographer who embraces art process, or other qualifying labels. It’s sufficient, says Souders, to call her a photographer, period. She is about the alchemy of turning life thoughtfully into art using photographic means, and that’s credential enough. She juggles pregnant visual cues to freeze time and retrieve it at will, best achieved by building an intimate language of triggers and allusions. Some of these cues are wrested from art history, as in Colors of Napoleon (2010), which features daubs of pigment on an iconic portrait of the emperor. More often, her ties to the past are encoded rather than obvious, and refer to her own life in diaristic playback.

Michael Wolf in the Columbus Dispatch
Michael Wolf in the Columbus Dispatch
"Sitter" at Canzani Center Gallery
February 15, 2015

The idea for “Sitter,” a photo-portrait exhibit featuring the work of 26 artists, started forming in co-curator Michael Goodson’s mind when he met photographer Michael Wolf in Hong Kong in 2011.

 

Wolf had just published a book of photographs of riders on “the pathologically packed morning trains in Tokyo,” Goodson said.

 

The journalist had been in the Japanese city covering the sarin gas attacks on the train system and began snapping photos of the early-morning commuters, using the subway-train windows as frames.

 

Pressed, stressed faces on the condensation-covered windows made for powerfully unsettling images.

 

The series, “Tokyo Compression,” is one of many jaw-dropping sets of contemporary photos in “ Sitter” at the Columbus College of Art & Design.

 

“What drives the show, in part, is that the idea of the portrait has been adopted by photography, in various ways, more than any other medium, although using many different methods, ideas and strategies,” said Goodson, who organized the exhibit with Shannon Benine, assistant professor of photography and graduate studies at CCAD.

Mishka Henner and Michael Wolf at Kunstverein Hannover
Mishka Henner and Michael Wolf at Kunstverein Hannover
Digital Conditions
March 14 - May 25, 2015

Digital technologies have long been an integral part of our lives. Professional and private activities are now inconceivable without the Internet and its countless possibilities. Computer technology is one of our society’s greatest agents of change. Every year in the spring, the world looks to the CeBIT trade fair in Hannover in order to find out what innovations information technology has in store for us. What will everyday life look like in the future—what will dominate it? One should of course assume that the human being and his (present-day or future) needs make up the starting point for the development of new technologies, but it is debateable to what extent the technologies conceived for him impact his thinking, his perception and also his corporeality.

 

On the occasion of the opening of CeBIT 2015, the group exhibition “Digital Conditions” focuses on the interaction between digital technology and art, featuring works that examine digitality as a structural characteristic of present-day social reality or employed as a technical means of production. In what ways do artists appropriate digital technologies, what influence does the use of 3D graphic and animation programs or web services like Google Map and Google Earth for example have on such media as photography, film and sculpture? How are the media-based characteristics of digital images made visible and questioned in the age of rapid image production and their mass distribution? What impact does the digital age have on our everyday lives and how is it reflected artistically?


Against the backdrop of these questions, the group exhibition presents pieces by artists who have grown up with the Internet as well as those produced by an older generation and brings together works that explore, unclose and question pictorial worlds in addition to ultimately creating individual original works with the tools of the digital cosmos.

 

Artists include Lee Friedlander, Mishka Henner, Camille Henrot, Yngve Holen, Pierre Huyghe, Lorna Mills, Katja Novitskova, Julien Prévieux, Jon Rafman, Thomas Ruff, Avery K Singer, Hito Steyerl, and Michael Wolf

Rosalind Solomon and Brea Souders in the New Yorker
Rosalind Solomon and Brea Souders in the New Yorker
February 14, 2015

For Valentine’s Day this year, we asked a group of photographers to choose images from their own lives that capture a feeling of desire or love. Here they share their thoughts on what the images mean to them.

 

"My marriage was on the rocks when I photographed this heart of stone shrouded in mist. When I returned another day, the rock was there, but I could not find the shape of a heart.” — Rosalind Solomon

Zoe Strauss at Cantor Fitzgerald Gallery
Zoe Strauss at Cantor Fitzgerald Gallery
Sea Change
January 23 - March 6, 2015

In Sea Change, celebrated Philadelphia photographer Zoe Strauss traces the landscape of post-climate change America. In photographs, vinyl prints, and projected images, Strauss treads the extended aftermath of three ecological disasters: Hurricane Katrina in the Mississippi Gulf Coast (2005); the BP Deepwater Horizon oil spill in Southern Louisiana (2010); and Hurricane Sandy in Toms River, NJ and Staten Island, NY (2012). Lush and leveled landscapes; graffiti pleas and words of encouragement—Strauss’ camera captures lives decimated and dusting off: the fast and slow tragedies of global warming, the damage we can repair, and the damage we can’t.

Aaron Siskind at Pavilion Populaire
Aaron Siskind at Pavilion Populaire
Aaron Siskind - L’Autre Réalité Photographique
November 28, 2014 - February 23, 2015

A major Aaron Siskind retrospective "Aaron Siskind - L’Autre Réalité Photographique" is on view at Pavillon Populaire in Montpellier, France through February 23, 2015.

André Kertész at the Museum of Modern Art
André Kertész at the Museum of Modern Art
Modern Photographs from the Thomas Walther Collection
December 13, 2014 - April 19, 2015

The creative possibilities explored through photography were never richer or more varied than in the years between the First and Second World Wars, when photographers approached figuration, abstraction, and architecture with unmatched imaginative fervor. This vital moment is dramatically captured in the more than 300 photographs that constitute the Thomas Walther Collection at The Museum of Modern Art. This remarkable group of objects is presented together for the first time to coincide with the culmination of the Thomas Walther Collection Project—a four-year collaboration between the Museum’s curatorial and conservation staff, funded by the Andrew W. Mellon Foundation, which has transformed our understanding of the medium’s material history from this era. Made on the street and in the studio, intended for avant-garde exhibitions or the printed page, these objects provide unique insight into the radical intentions of their creators.


The Museum acquired more than 300 photographs from Thomas Walther’s private collection in 2001. Featuring iconic works by such towering figures as Berenice Abbott, Karl Blossfeldt, Manuel Alvarez Bravo, Claude Cahun, Alvin Langdon Coburn, Florence Henri, André Kertész, Germaine Krull, El Lissitzky, Lucia Moholy, László Moholy-Nagy, Aleksandr Rodchenko, Alfred Stieglitz, Paul Strand, Maurice Tabard Umbo, and Edward Weston, along with lesser-known treasures by more than 100 other practitioners, this exhibition presents the exhilarating story of this key moment in photography’s history, allowing both experts and those less familiar with the medium to understand these photographs in new ways.

Mishka Henner in the Huffington Post
Mishka Henner in the Huffington Post
December 14, 2014

British artist Mishka Henner carefully stitched together satellite images to create these striking aerial photos of oil fields and feedlots in the United States. Huge pools of waste feature prominently in the photos of Texas cattle farms, while landscapes dotted with dozens of drill sites show just how much impact the oil and gas industry can leave.

Nathan Lyons
Nathan Lyons
Making Metaphors From Photos - New York Times
December 12, 2014

“Things occur,” Nathan Lyons said, referring to how he starts making photographs, which has not changed for 60 years. “I simply collect images that I respond to, there’s no script to what I’m doing, it’s really based on my interaction with the things that I see that intrigue me or interest me or question me.”

 

But, what about things after they occur?

 

That’s when he arranges most of his photographs into diptychs, either on a wall or in a book. Suddenly two images take on a third meaning.

 

For “Return Your Mind to Its Upright Position,” a book and exhibition at the Bruce Silverstein Gallery in Manhattan, he placed an image of a rocking chair trapped inside a wire plant guard next to one of a city wall layered with scribbles: “ADHD” sprayed in large bubble letters and a smaller silk-screened message to “Reclaim your Life.” Suddenly, this trapped rocking chair framed alongside these messages takes on new meaning as metaphor.

 

“In metaphor, you are really taking two different elements and bringing them together to form a third,” said Mr. Lyons, 84. “It’s like Dylan Thomas, his use of the word ‘green’ in one of his poems, where he places it changes the implications of the color.”

 

This idea comes from his education as a poet. Born in Jamaica, Queens, to a family of mirror manufacturers, Mr. Lyons was expected to enter the family business. Rather than follow the path of expected courses at Alfred State University’s Technical College, however, he gravitated to summer classes in philosophy and creative writing.

 

When the poet Galway Kinnell asked students in his creative writing course at Alfred to complete the semester by submitting a poem, Mr. Lyons did not like this either. He walked to a bar miles away, drank whiskey, and wrote his way back through the thickets in a notepad, submitting it as his final poem.

 

He has been hooked on metaphors ever since.

Miami’s Margulies Collection
Miami’s Margulies Collection
Brancusi: The Photographs on Hyperallergic
December 10, 2014

MIAMI — The Margulies Collection at the Warehouse (founded and operated by collector Martin Z. Margulies) is located in a 45,000-square-foot building that butts up against a highway and sits just across the street from a discount clothing store in Wynwood, the city’s graffiti-splattered hipster enclave. Miami police patrol the neighborhood by car, on horse, and from the air, as well as situating temporary lookout towers that rise up over the streets on lifts. All of which seems excessive, given that the greatest danger in the neighborhood is either succumbing to the fumes generated by dozens of artists spraying paint or being injured by the cops themselves.

 

The collection and its display are something of an oddity. For starters, the sprawling warehouse is vastly underlit, and the work displayed takes on the shadowy patina of a late winter afternoon. The effect is somewhat striking given the amount of deluxe sunniness available just outside. The basement/bunker impression is reinforced by the overall layout, which can run you from dimly lit corridor to dimly lit corridor.

 

The art on view is interesting but idiosyncratically chosen, a sort of very personal greatest hits record that mashes up individual artists in such a generic mix that ultimately the groove is lost. Too be fair, though, the collection is an astounding tribute to a driven collector and reflects that rather than the broader, more academic ambitions a museum might have. And despite the currently murky distinctions between a collection and a museum, the roster of artists on view at the Margulies is first rate. Art world brand names represented include Dan Flavin, Jason Rhodes, Joan Miró, and Isamu Noguchi, to name a few. Notably, the permanent collection is dominated by male artists, which is hardly shocking given the macho jockeying that’s needed to stay apace in the top tiers of the market. There’s also currently an exhibition of quite important Brancusi photographs — 29 rare gelatin silver prints, presented by Bruce Silverstein Gallery — and a compelling series of photographs exploring the interactions between elephants and humans in Indian society by South Florida photographer Annette Bonnier.

 

 

Visible Spectrum
Visible Spectrum
Conveyor Editions - Brea Souders
December 9, 2014

Visible Spectrum is a subscription series comprised of nine artist books published in conjunction with the Spectre // Spectrum issue of Conveyor magazine. Each book represents a color within the visible spectrum—as well as black and white. The participating artists — each featured in the pages of the magazine — were given a cloth color for the cover in addition to parameters for size, paper stock choices, and binding and asked to create a book to suit.

 

Artists included: Artist: Penelope Umbrico, Hannah Whitaker, Brea Souders, Andrey Bogush, Robert Canali, Inka & Niclas, Dillon DeWaters, Nicholas Gottlund, with essay by Mark Alice Durant

Brancusi at the Warehouse
Brancusi at the Warehouse
Programme includes new acquisition by Mario Merz and a Miami debut for Brancusi
December 6, 2014

Although the art in his Miami Warehouse has changed over 15 years of exhibitions, the educational mission of Martin Margulies’s collection is as strong as ever. The creation of the space in 1999 was “an extension of our experience of sharing the collection with the public that goes way back to the early 1980s”, says Katherine Hinds, the curator who has worked with Margulies for more than three decades. The evolution in programming—from photography-based displays to large-scale installations and sculptures, video and now 21st-century painting—has been “a response to what we were seeing at art fairs and galleries but also to our audience of young students”.


The new acquisitions installed in the 45,000 sq. ft galleries for 2014-15 include a 65ft-long neon Fibonacci sequence by Mario Merz, which joins Arte Povera pieces by Pier Paolo Calzolari, Jannis Kounellis and Michelangelo Pistoletto, and new paintings by Gregor Hildebrandt, Jeff Elrod and Thomas Fougeirol. Three stone circles by Richard Long are paired with a video of the artist’s journeys in the Sahara Desert, “so our students can see his process”, Hinds says.

 

Students and visitors have the chance to walk through Do-Ho Suh’s translucent recreation of a Manhattan apartment corridor in pink nylon, 348 West 22nd St, Apt A, New York, NY 10011 USA, 2001—a hit with the public when it was last shown in 2003. “Many people have asked about it over the years,” Hinds says.

 

True to the roots of the collection, the special exhibitions are dedicated to photography, new and old. The Miami-based documentary photographer Annette Bonnier is presenting the series “India’s Elephants” in the Auxiliary Gallery, with sales contributing to the Asian Nature Conservation Foundation. Meanwhile, a show co-organised with the Bruce Silverstein Gallery in New York brings the sculpture of Constantin Brancusi—as seen through the lens of the artist himself—to Miami for the first time. “Many students here have yet to travel to see art, so it is exciting to think that they will encounter a master of 20th-century abstraction in our space,” Hinds says.

Lisette Model at Tate Modern
Lisette Model at Tate Modern
Close-up: Identity and the Photographic Portrait
November 15, 2014

Taken in the street or in other informal settings, these portraits by Lisette Model and Paz Errázuriz capture a range of striking individuals in distinctive social environments.


Lisette Model’s photographs ‘record a relentless probing and searching into realities among people, their foibles, senselessness, sufferings, and on occasion, their greatness’, wrote the photographer Edward Steichen. ‘The resulting pictures are often camera equivalents of bitter tongue-lashings. She strikes swift, hard and sharp, then comes to a dead stop, for her work is devoid of all extraneous devices or exaggerations.’


Carefully selected by Model for a portfolio spanning her career, the photographs shown here include some of her best-known images from the 1930s and 1940s. Model’s close-up views of people on the streets of Paris, New Yorkand the French Riviera were often taken without the subjects’ awareness or permission, while the old or destitute people that she captured in New York Cityseem not to care about the presence of the photographer. 

Bruce Silverstein now represents Mishka Henner
Bruce Silverstein now represents Mishka Henner
November 4, 2014

Henner was awarded the ICP Infinity Award for Art in 2013 and shortlisted for the 2014 Prix Prictet and the Deutsche Börse Photography Prize in 2013. He was the recipient of the Kleine Hans award in 2011. Henner's works are in the collections of the Tate Modern, Victoria & Albert Museum, the Metropolitan Museum of Art, The New York Public Library, the Centre Pompidou, the Nelson-Atkins Museum of Art, Museum of Fine Arts, Houston, Portland Museum of Art, and the Cleveland Museum of Art. Henner has been exhibited internationally in numerous group shows and surveys. He is a member of the ABC Artists’ Books Cooperative and lives and works in Manchester, UK.

Rosalind Solomon at DOX Center for Contemporary Art
Rosalind Solomon at DOX Center for Contemporary Art
This Place
October 24, 2014 - March 2, 2015

This Place is a monumental artistic endeavor initiated by photographer Frédéric Brenner, who believes that only through the eyes of great artists can we begin to understand the complexities of Israel – its history, its geography, its inhabitants, its daily life – and the resonance it has for people around the world.



Inspired by historical models that gathered artists to ask essential questions about culture, society and individuals, including the Mission Héliographique in 19th-century France and the Farm Security Administration in the United States, Brenner first conceived the idea for the project in 2006. After seeking the advice of a group of international curators, he invited eleven acclaimed photographers to join him in exploring Israel and the West Bank as both place and metaphor.


The 12 photographers participating in This Place are Wendy Ewald, Martin Kollar, Josef Koudelka, Jungjin Lee, Gilles Peress, Fazal Sheikh, Stephen Shore, Rosalind Solomon, Thomas Struth, Jeff Wall, Nick Waplington, and Frédéric Brenner himself. Together, this group represents one of the most original and distinguished collections of artists to ever collaborate on a project, and it is certainly the most acclaimed group of photographers to ever turn their attention to Israel and the West Bank.

 

Each photographer spent approximately six months in residence, pursuing his or her own artistic interests. Through these residencies, which stretched over four years (2009 to 2013), thousands of original art works were created. These images combine to create not a single, monolithic vision, but rather a diverse and fragmented portrait, alive with all the rifts and paradoxes of this important and highly contested place.

Maria Antonietta Mameli at Columbia University
Maria Antonietta Mameli at Columbia University
Human Observations: Grand Central Station, Continued
October 29 - November 25, 2014

Photographer Maria Antonietta Mameli (featured in TIME Magazine) presents a new series, Grand Central Station, Continued, inspired by the recent 100th anniversary of Grand Central Terminal. The artist had already completed a photographic series set in Grand Central in 2008, but news in 2012 of the impending centennial celebrations galvanized her into a second foray of “capturing on camera the very busy New Yorkers and tourists, who every day have the good fortune to cross this amazing space full of light and energy.”

 

For years Mameli’s work has focused on New Yorkers in motion. Her figures, generally seen from a distance, have often been shown as black silhouettes on a flat, white ground from which natural surroundings have been digitally removed. In Grand Central Station, Continued, Mameli’s tiny figures are lit as if by a centrally placed light source, illuminating some features of her subjects and obscuring others. The surrounding inky darkness suggests the vast stretches of moody commuter tunnels and passageways emanating through and beyond Grand Central. “One of the artist’s hallmarks” writes curator Renato Miracco “is her ability to give voice to silence, to barely lit faces, to emptiness and our urban surroundings.” The photographs evoke the experience of watching a theatrical performance—or of the equally theatrical effects of observing human figures as they move through the darkness and light of a medieval European church. “These photos are not fiction”, writes Miracco, “nor are they romanticized tales. They are historical documents because the people, the events and emotions they depict are real and tell true stories.” Miracco suggests that the photos have a neorealist “gaze” that “isn’t passive or mimetic, nor is it neutral. On the contrary, it is an inclusive and comprehensive gaze which aims at embracing the chosen spot in its fullness and at the same time, creating a world where one can almost sense a parallel reality where daylight is precious and nights are dark and shrouded in mystery.”

Bruce Silverstein on F. Holland Day
Bruce Silverstein on F. Holland Day
At Frieze Masters
October 25, 2014

Frieze is one of the world’s leading contemporary art fair franchises, and its London incarnation is arguably the best in Europe now — if you count the degree to which it energizes its host metropolis. For over a week in mid-October, London effervesces with art shows and events, packed parties, and cruising collectors. Frieze is actually a couple, a mother and daughter really. Frieze London is the rambunctious ingenue flaunting her newly matured visual powers — artists straining against conventions and showing off for the crowds in ever-louder tones. On the opposite side of Regent’s Park, Frieze Masters is the older dame (pre-2ooo is the official cut-off point in time), comfortable in her conquests and oft-celebrated virtues. There one strolls more serenely through aisles of ancient-to-late modern objets that are palpably rich with historical gravitas, and the price-tags to prove it.

 

Photography has in recent times insinuated itself seamlessly into the larger international art world. Although it has been a fertile tool for painters that goes back to the Renaissance as camera obscura, it is now as assimilated and pervasive as video and laptops. For Photographer Spotlight we’ve decided this year to focus on older photographers found in the Masters section: F. Holland Day (1864 – 1933), Heinz Hajek-Halke (1898 – 1983), Sherrie Levine (born 1947) channeling Alexander Rodchenko (1891 – 1956), and Lionel Wendt (1900 – 1944). Their respective art dealers — Bruce Silverstein, Alex Anthony for Eric Franck Fine Art, Stephen Henry for Paula Cooper, and Amrita Jhaveri — offer us fascinating glimpses of photographic pioneers we haven’t encountered in this series normally devoted to living artists. These innovators, and their fellow fathers of the medium, opened doors that many contemporary photographers have since walked through. Frieze wisely affords them a respectfully away-from-the-din showcase.

Michael Wolf at the Cincinnati Art Museum
Michael Wolf at the Cincinnati Art Museum
Eyes on the Street
October 11, 2014 - January 04, 2015

Eyes on the Street reimagines the genre of street photography and demonstrates how cameras shape our perceptions of cities. It features ten internationally renowned artists who work in photography, film, and video, each of whom deliberatively uses the camera’s technical capabilities to reveal new aspects of the urban environment. Through high-speed and high-definition lenses, multiple or simultaneous exposures, “impossible” film shots, and appropriated surveillance-camera footage, these artists breathe new life into the genre and remind us that urban public places are sites of creative and imaginative encounters.  

 

The exhibition title comes from influential urban theorist Jane Jacobs, who wrote, in her classic treatise The Death and Life of Great American Cities, of “eyes on the street” being crucial to urban neighborhoods’ vitality—and their ability to accommodate different people and activities. Today, discussion of cameras in public spaces often revolves around surveillance tactics or battles over first-amendment rights. Eyes on the Street reflects the diversity of urban experience and shows us how cameras can help us comprehend the complex urban environment.

Rosalind Solomon in the New Yorker
Rosalind Solomon in the New Yorker
September 24, 2014

In 2010, the New York-based photographer Rosalind Solomon travelled with eleven other acclaimed photographers to Israel and the West Bank to participate in Frédéric Brenner’s collective project “This Place.” By asking each photographer to complete an independent series in the region, “This Place” was intended to “help us grasp the unbearable complexity of this place and its voices,” Brenner writes on the project’s Web site.

 

Solomon, who is eighty-four years old, was interested in the religious diversity of the region, and she photographed Jews, Muslims, and Christians. Her days were guided by circumstance, and she often spent hours with her subjects. “I like to get emotionally connected when I photograph people,” Solomon said in a recent conversation with Charlotte Cotton, the curator of an upcoming exhibition of the group’s work.  “If I can’t get to that stage, it isn’t an interesting picture to me.”

 

A book of Solomon’s photographs from the project, entitled “Them,” was published this summer by MACK and will be exhibited at the NY Art Book Fair, which opens at MOMA PS1 this Thursday.

Michael Wolf at the Ackland Art Museum
Michael Wolf at the Ackland Art Museum
PhotoVision
September 19, 2014 - January 4, 2015

From the nearly 500 photographic works acquired by the Ackland in the last ten years, over 150 have been selected for PhotoVision. Organized by evocative groupings, the chosen works will present the myriad intents behind and effects of this powerful medium. Thematic sections will include Photography and Multiplicity, Sacred Spaces, Process and Product, and Staging the Image.

 

A substantial section will be devoted to a “daisy chain” of photography: approximately 50 photographs spanning a wide range of periods, techniques, subjects, and styles forming a continuous sequence, each one linked to its neighbor by a different visual association―a detail, a formal echo, a surprising parallel.

 

A dozen additional photographs will be on view in the Ackland’s eight permanent collection galleries, juxtaposed in thought-provoking ways with African, Asian, and Western paintings, sculpture, and decorative arts.

Todd Hido at the Whitney
Todd Hido at the Whitney
Edward Hopper and Photography
July 17-October 19, 2014

By reducing all elements in his composition to their essential geometries and treating light as a palpable presence, Edward Hopper imbued his images of everyday life with what the American philosopher Ralph Waldo Emerson called an “alienated majesty.” One of two permanent collection displays on the Museum’s fifth-floor mezzanine, Edward Hopper and Photography pairs Hopper paintings from the Whitney’s permanent collection with the work of contemporary photographers who share an interest in elevating everyday subject matter by manipulating light. The six photographers represented in this presentation, Gregory Crewdson, Philip-Lorca diCorcia, William Eggleston, Steve Fitch, Todd Hido, and Stephen Shore, record mundane subjects but endow their photographs with emotional poignancy and mystery similar to that in Hopper’s art.

 

Edward Hopper and Photography is organized by Barbara Haskell, Curator.

Larry Silver at the Art Gallery of Nova Scotia
Larry Silver at the Art Gallery of Nova Scotia
2 Wheelers
June 13-September 7, 2014

2 Wheelers is an exhibition about bikes opening during HRM Bike Week and closing in September. It brings together works by artists of all ages and practices that explore the playful, functional and political role of the bicycle.

Trine Søndergaard at the Utah Museum of Contemporary Art
Trine Søndergaard at the Utah Museum of Contemporary Art
Bikuben
June 27-December 20, 2014

Bikuben explores Danish contemporary art as a framework for understanding how the present may, albeit paradoxically, inform the past. Focusing on themes revolving around the intertwined nature of truth and fiction, history and memory, and the personal versus the communal, this exhibition investigates how relationships across cultural and generational divides have the potential to reveal the complexity of identity, displacement, appropriation, and collective consciousness.

 

The title, Bikuben, was inspired by the history that has informed the research for this exhibition. Between 1876 and 1935, Bikuben was a newspaper published in Utah for the Danish immigrants as a way to foster cultural connectivity and a sense of community. For this exhibition, the word bikuben (meaning beehive) is reimagined as a way to highlight the many fascinating ties between Denmark and Utah in terms of ideas regarding progress, industry, and utopia.

Todd Hido, Yao Lu, and Michael Wolf at MART
Todd Hido, Yao Lu, and Michael Wolf at MART
Lost in Landscape
April 5-August 31, 2014

What is described at the Mart is certainly no Eden, and nor a new artistic genre, but instead a passionate and heartfelt look at the world, which necessarily reveals its most dramatic and contradictory corners.

 

In the catalogue, Gerardo Mosquera writes that the significance of the term “landscape” simultaneously defines “both the perception of a given place, and its depiction”, making object and subject, environment and inhabitant inseparable. Today, in the conception of landscape of our time, the degree of subjectivity of perception involves the active protagonists of the transformations of a territory: those structures and individuals who intervene upon it and define its very notion, now broadened to include everything surrounding us, from motorways to forests, cities to rural settings.

August Sander/Bernd and Hilla Becher: A Dialogue
August Sander/Bernd and Hilla Becher: A Dialogue
Review by Collector Daily
June 2, 2014

This smart show exposes the parallel conceptual framework that underlies the work of Sander and the Bechers, and it does so with a visual economy that clarifies the proof being made. It’s structural thinking at its most powerfully refined, an exacting exercise in selecting a theorem and outlining the evidence for its applicability.

Aaron Siskind at VCU
Aaron Siskind at VCU
The Bad Boys of Photography
June 7-August 6, 2014

The exhibition featured 34 images by 14 photographers culled from the Gallery’s extensive photography collection.  Bad Boys will showcase the rebellious nature of some of the most famous photographers with a focus on extreme methods of process, subject matter and persona. The exhibition roster includes such 20-21st century luminaries as: Robert Beckmann, Manuel Alvarez Bravo, Harry Callahan, Larry Clark, Thomas A. Daniel, Bruce Davidson, Elliot Erwitt, Robert Frank, Thomas Florschuetz, Danny Lyon, Roger Mertin, John Pfahl, Stephen Shore, Aaron Siskind, and Garry Winogrand.


Bad Boys features some of the best examples of artists breaking the traditional rules of photography. Each used defiant means to push the preverbal envelope of the ever-shifting medium of photography.  Exhibited photographers, such as Stephen Shore and Aaron Siskind, made images as a reaction to a visual challenge. For Aaron Siskind, who was closely aligned with the Abstract Expressionist School of painting, used his camera as a “paintbrush” and his skill as a master photographer forever changed how we look at everyday objects. The exhibited photographs are from a series that Siskind dedicated to his friend the Abstract expressionist painter, Franz Kline.

Aaron Siskind at the New Mexico Museum of Art
Aaron Siskind at the New Mexico Museum of Art
Grounded
March 7-August 17, 2014

Complementing the concurrent exhibition of photographs by Joan Myers, this selection of landscape photographs from the museum’s collection examines, literally, the ground beneath our feet. This approach to landscape photography highlights an essential but usually overlooked subject, resulting in some extreme and minimalist images. Works include Lee Friedlander’s shadow self-portrait at Canyon de Chelly, Aaron Siskind’s close-up of lava, Eliot Porter’s view of The Black Place, and other gems. The show also premiers several examples from a recent body of work on unmarked graves, loaned to the museum by Santa Fe artist Richard Baron.

Constantin Brancusi and André Kertész at the Museum of Fine Arts, Boston
Constantin Brancusi and André Kertész at the Museum of Fine Arts, Boston
Photo Eye: Avant-Garde Photography in Europe
March 15 - July 6, 2014

Photographers working in Europe during the period between the two World Wars made some of the most memorable images in the medium’s history. Their goal was to infuse their medium with a fresh and distinctly “modern” style. Influenced by Cubism, Constructivism, Dadaism, and Surrealism, and reflecting the effects that technology, urbanization, and cinema were having on their time, European photographers adopted unconventional and innovative approaches to their image making. Characteristics of their visions include rigorous objectivity, surprising camera angles, and darkroom experimentation. “Photo Eye: Avant-Garde Photography in Europe” charts this shift through the work of artists such as Constantin Brancusi, Ilse Bing, André Kertész, Man Ray, László Moholy-Nagy, and Josef Sudek. Their contributions and those of their peers were central to a transformation in photographic expression in the 20th century.

Nicolai Howalt at the Medical Museion
Nicolai Howalt at the Medical Museion
Light Break
April 11 - August 17, 2014

Light Break is based on the light therapy developed by doctor and Nobel laureate Niels Ryberg Finsen ​​in the late 1800s. Artist Nicolai Howalt was inspired by this part of medical history to work with the sun in his photographic practice. In a series of unique photographic work he examines and makes visible the invisible part of sun light, both its life-giving and destructive rays.

 

Light Break is an evidential and aesthetic clash between photography, science and art. The exhibition reflects Nicolai Howalt ‘s fundamental interest in light as a material. In his studies Howalt uses scientific methods and apparatus from the 1800s. For example, he borrowed a number of Finsen’s lenses from Medical Museion. Inspired by Finsen’s method Howalt uses colored filters to absorb part of the sun’s rays and let the remaining parts of the electromagnetic spectrum pass through the original rock crystal lenses. The light rays are then captured on light-sensitive photographic paper (C -print) and the resulting photograms are uniquely direct images of the sun’s rays. An almost motif-less universe of sun and light takes shape in the exhibition’s large collection of images.

Michael Wolf at Musée des Beaux-Arts de Liège
Michael Wolf at Musée des Beaux-Arts de Liège
Icones

At Musée des Beaux-Arts de Liège – BAL, the BIP2014 programm will complement the Museum’s permanent collections. Classical and modern paintings, figurative and abstract art, contemporary pieces, treasures of the Wallonia–Brussels Federation and the Graindorge collection will be reorganized to fit the BIP2014 selected theme of ways of distancing, reflecting and resonating. The broad issue of artistic representation, its scope and its impact on the meaning man has given the world throughout the ages will be questioned through photography and video. The pictorial will be replaced by the mechanical image and vice versa through subtle multiplier effects and reversals. The accepted categories of art history, consecrations and achievements will be viewed through the small end of the telescope.

André Kertész and Frederick Sommer at Bowdoin College of Art
André Kertész and Frederick Sommer at Bowdoin College of Art
Under the Surface: Surrealist Photography
February 27 - June 1, 2014

The primary goal of the surrealist movement was to liberate the modern mind by demonstrating how deep psychological impulses could be explored, depicted, and fused with everyday reality. Despite the perception that photography presented the most direct depiction of surface reality, or perhaps because of it, the medium presented an ideal arena for surrealist artists to explode the traditional bounds of visual representation in ways that continue to influence artists today. Surrealists experimented with unprecedented technical manipulations, both before the camera and in the darkroom, turning the so-called realist medium of photography into a vehicle for depicting the fantastical. Even their most “straightforward” images make the familiar strange and reveal the psychological depths that underlie surface reality. It is this constant tension between surface and depth that gives surrealist photography its distinctive impact, which this exhibition will demonstrate with highlights from the Bowdoin College Museum of Art’s rich collection of surrealist photography, supplemented with prestigious loans from public and private collections.

Aaron Siskind at the Museum of Fine Arts, St. Petersburg
Aaron Siskind at the Museum of Fine Arts, St. Petersburg
Aaron Siskind's Harlem Document
March 8 - July 20, 2014

The photographs by Aaron Siskind in this exhibition belong to one of the most important visual records of Harlem during the Great Depression. Siskind (1903‒1991) graduated from City College in 1926 and taught in New York’s public school system between 1926 and 1949. He turned to photography around 1930 and joined the Photo League in 1932. The League’s members were socially engaged photographers and filmmakers who drew attention to urban problems, especially in light of the Depression. In 1936 Siskind founded the League’s Feature Group, which documented New York City, focusing especially on Harlem.

 

By 1941 the project was dropped as the country entered WWII. Siskind also had left the League and began to turn to abstraction. It was only in 1981 that a collection of fifty-seven photographs from the series were published as a book, along with excerpts from the Federal Writers’ Project’s oral history of Harlem and a foreword by writer and filmmaker Gordon Parks, who grew up in Harlem. Subjects range from intimate domestic interiors to lively street scenes. There are powerful depictions of churchgoers and arresting ones of performers and Harlem’s nightlife, but the images of children are especially moving. While these photographs vary in tone, one senses not only Siskind’s artistry, but his intense humanity and exquisite sensitivity in representing his subject. These are qualities not always found in documentary photography, and ones that demand universal celebration.

Constantin Brancusi at the Boijmans Museum
Constantin Brancusi at the Boijmans Museum
Brancusi, Rosso, Man Ray - Framing Sculpture
February 8 - May 25, 2014

Rosso, Brancusi and Man Ray were decisive for the development of modern sculpture. Together with Auguste Rodin (1840-1917), Medardo Rosso is seen as the artist who introduced the Impressionist style to sculpture. Brancusi is known as the founder of modern sculpture with his highly abstracted forms in polished bronze and marble. Man Ray, who is best known as a photographer and painter, played an important role in Dada and Surrealism. He combined everyday items to create new objects, comparable to the ‘readymades’ of Marcel Duchamp (1887-1968). He also developed his own photographic technique, which he called ‘rayography’.

Constantin Brancusi at the Museum of Modern Art
Constantin Brancusi at the Museum of Modern Art
A World of Its Own: Photographic Practices in the Studio
February 8 – November 2, 2014

A World of Its Own: Photographic Practices in the Studio examines the ways in which photographers and other artists using photography have worked and experimented within their studios, from photography’s inception to the present. Featuring both new acquisitions and works from the Museum’s collection that have not been on view in recent years, A World of Its Own brings together photographs, films, and videos by artists such as Berenice Abbott, Uta Barth, Zeke Berman, Karl Blossfeldt, Constantin Brancusi, Geta Brătescu, Harry Callahan, Robert Frank, Jan Groover, Barbara Kasten, Man Ray, Bruce Nauman, Paul Outerbridge, Irving Penn, Adrian Piper, Edward Steichen, William Wegman, and Edward Weston.


Depending on the period, the cultural or political context, and the commercial, artistic, or scientific motivations of the artist, the studio might be a haven, a stage, a laboratory, or a playground. For more than a century, photographers have dealt with the spaces of their studios in strikingly diverse and inventive ways: from using composed theatrical tableaux (in photographs by Julia Margaret Cameron or Cindy Sherman) to putting their subjects against neutral backdrops (Richard Avedon, Robert Mapplethorpe); from the construction of architectural sets within the studio (Francis Bruguière, Thomas Demand) to chemical procedures conducted within the darkroom (Walead Beshty, Christian Marclay); and from precise recordings of motion (Eadweard Muybridge, Harold Edgerton) to playful, amateurish experimentation (Roman Signer, Peter Fischli and David Weiss). A World of Its Own offers another history of photography—a photography created within the walls of the studio, and yet as innovative as its more extroverted counterpart, street photography.

Todd Hido at Columbia College
Todd Hido at Columbia College
Artist Talk
February 6, 2014

Todd Hido is best known for his moody exterior views of suburban homes at night. People are not shown in this work but their presence is suggested through the glow of interior light visible through windows. The brooding quality of these works extends into a recent semi-auto biographical body of work Hido created titled Silver Meadows, which is the name of the neighborhood where he grew up in Kent, Ohio. This film-noir like work blends past and present, real and imagined and includes images of women, domestic spaces, ephemera and the landscape.

Aaron Siskind at the University of Kentucky
Aaron Siskind at the University of Kentucky
Wide Angle: American Photographs
January 26 - April 27, 2014

Wide Angle: American Photographs is an exploration of the Art Museum’s collection of more than 1,300 photographs. Organized by Museum Curator Janie Welker, it offers an opportunity to see this diverse group of work in the context of some of the major themes in twentieth- and twenty-first-century photography in this country. Among them are portraiture and the portrayal of gender; the transition from traditional photography to constructed landscapes and an examination of the manmade environment; and the conventions of documentary photography, street photography, and images manipulated for psychological effect.

Barbara Morgan at the California Museum of Photography
Barbara Morgan at the California Museum of Photography
Barbara Morgan: Body Montage
January 4 - May 17, 2014

American photographer Barbara Morgan (1900–1992) is most well known for her photographs of luminaries in American modern dance in the 1940s and 1950s such as choreographers Martha Graham, Pearl Primus, and Charles Weidman. She captured modern dance’s sense of dramatic action characteristic of the time period through her intimate portraits of choreographers and dancers. Her use of shadow and curvilinear lines distilled American modern dance as expressing a youthful, exuberant spirit reflective of national attitudes.

 

While producing photographs of icons of American modern dance, she also produced a series of photomontages. In the 1940s, photomontage was an uncommon practice in American fine art photography. Aligned with Dada and Surrealism art movements, photomontages are composite images produced by layering several images on top of each other. She layered images of city buildings, parks, human bodies, and natural objects to make surreal, singular images.

 

This exhibition proposes aesthetic and conceptual relationships between Morgan’s photomontages and dance photography. They synthesize movement, bodies, curving lines, and contrasting forms into expressive portraits of energetic action. Morgan abstracts the content of her images in both her photomontages and dance photography, so dynamic motion surfaces. Thus, Morgan’s portrayal of repeating lines and abstract forms prefigures Minimalism in dance and visual arts.

Trine Søndergaard at the Museum on the Seam
Trine Søndergaard at the Museum on the Seam
Everyone Carries a Room Inside
December 13, 2013

Loneliness is a major contemporary phenomenon, gaining more and more impact on people’s lives. The exacting urban environment, in the face of social and technological changes, never leaves the individual in peace – it forever urges him, stimulates his nerves and attacks his senses in an endless sequence of fleeting perceptions and random impressions.


Many amongst us seek simulations of life that seem more exciting than life itself. We fear a reality which is not mediated by computers. Thousands of text messages sent daily by people all over the world, who spend endless hours in social networks, have created a new reality of social alienation, unparalleled in its dimensions compared to past generations. Thus we become victims of the illusion of virtual friendships on the web, where we collect thousands of friends whom we imagine to be human relationships that only lead us to further loneliness. The more technology advances, the more our mental lives retreat.


Loneliness and solitude are seemingly similar but are in fact very different scenarios, in which the individual is alone. Loneliness is a state of segregation of the individual, while solitude is a voluntary state in which the individual is independent and can appreciate the space surrounding him, and where perhaps, he might find the best possible company.


In his book "Between Man and Man" Martin Buber writes: “We have seen how in the history of the human spirit man again and again becomes solitary… that is, he seeks a divine form of being with which, solitary as he is, he can communicate ;he stretches his hands out beyond the world to meet this form. But we have also seen that there is a way leading from one edge of solitude to the next, that is, that each solitude is colder and stricter than the preceding, and salvation from it more difficult. But finally man reached a condition where he can no longer stretch his hands out from his solitude to meet a divine form. That is at the basis of Nietzsche’s saying, ‘God is dead’. Apparently, nothing more remains now to the solitary man but to seek an intimate communication with himself.”

Nathan Lyons at the Los Angeles County Museum of Art
Nathan Lyons at the Los Angeles County Museum of Art
See the Light—Photography, Perception, Cognition: The Marjorie and 
Leonard Vernon Collection

October 27, 2013 - March 23, 2014

Los Angeles residents Marjorie and Leonard Vernon began to collect photography in 1975, eventually building a collection of some 3,600 photographs spanning the entire history of the medium. In 2008 LACMA acquired the complete collection, making it possible for the museum to represent photography’s full range and its centrality in modern visual culture. This exhibition of 220 photographs from the Vernon Collection takes a historical perspective, identifying parallels between photography and vision science over time. The earliest commentaries on photography, published at the moment of its invention in the late 1830s, positioned the medium between art and science. As a scientific instrument, the camera operates as an infallible eye, augmenting physiological vision; as an artistic tool, it channels the imagination, recording creative vision. Much of photography’s authority and fascination resides in its interdisciplinary grounding. Whether we analyze it as a science or admire it as an art, photography’s power may never be fully explained, but it will always offer revelations about vision, perception, and cognition.

Marie Cosindas at the Art Gallery of Ontario
Marie Cosindas at the Art Gallery of Ontario
Light My Fire: Part II
October 26, 2013 – May 18, 2014

In Part II of Light My Fire: Some Propositions about Portraits and Photography – a show that Toronto Star art critic Murray Whyte called “utterly beguiling” – discover a fresh selection of more than 120 portraits from the AGO's permanent collection, along with select loans from local private collections. Organized under two new propositions, these works showcase the descriptive power of the medium but also its malleability.

 

“We are Not Ourselves” highlights the ways artists have manipulated photographic materials to create or reveal strange states of being. Through collage, long exposure, darkroom doubling and retouching, among other techniques, each of these photographs lead us from the realm of the familiar and recognizable to other more mysterious planes of existence.

 

The artists included in “We are Always Ourselves”, in contrast, work through direct observation to exploit the descriptive power of the medium in their photographs. Moving through the public realm – streets, the subway, shops – some of these photographers are attuned to spontaneous encounters between passersby, from the flirtatious or the aggressive to moments of reverie or introspection. In so doing, each aims to communicate their perspective on the human condition. Others work in relatively controlled interior environments, from private homes or personal workspaces to professional photography studios. The act of sitting for a photograph, here, meets the act of making a photograph head on, as photographer and sitter work together to stage a portrait.

Erwin Blumenfeld at the Jeu de Paume
Erwin Blumenfeld at the Jeu de Paume
Erwin Blumenfeld: Photographs, drawings and photomontages
October 15, 2013 - January 26, 2014

Erwin Blumenfeld’s life and work impressively document the socio-political context of artistic development between the two World Wars, while highlighting the individual consequences of emigration. The exhibition devoted to Erwin Blumenfeld’s multi-layered œuvre brings together over 300 works and documents from the late 1910s to the 1960s, and encompasses the various media explored by the artist throughout his career: drawings, photographs, montages and collages.

 

This exhibition traces his visual creativity and encompasses the early drawings, the collages and montages, which mostly stem from the early 1920s, the beginnings of his portrait art in Holland, the first black and white fashion photographs of the Paris period, the masterful colour photography created in New York and the urban photos taken toward the end of his life.

 

The retrospective also showcases his drawings, many of which have never been shown before, as well as his early collages and photomontages, shedding fascinating light on the evolution of his photographic oeuvre and revealing the full extent of his creative genius. The now classic motifs of his experimental black-and-white photographs can be seen alongside his numerous selfportraits and portraits of famous and little-known people, as well as his fashion and advertising work.

Zoe Strauss at the International Center of Photography
Zoe Strauss at the International Center of Photography
Zoe Strauss: 10 Years
October 4, 2013 – January 19, 2014

For a decade between 2001 and 2010, Philadelphia photographer Zoe Strauss (b. 1970) showed her photographic works once a year in a public space beneath an I-95 highway overpass in South Philadelphia. In these annual one-day exhibitions, Strauss mounted her color photographs to the concrete bridge supports and viewers could buy photocopies for five dollars. Through portraits and documents of houses and signage, Strauss looked unflinchingly at the economic struggles and hardscrabble lives of residents in her own community and other parts of the United States. She describes her work as "an epic narrative about the beauty and struggle of everyday life." Strauss, a self-taught photographer and political activist, sees her work as a type of social intervention, and she has often used billboards and public meetings as venues. This exhibition is a mid-career retrospective and the first critical assessment of her decade-long project.

Michael Wolf at the Nelson-Atkins Museum
Michael Wolf at the Nelson-Atkins Museum
About Face: Contemporary Portraiture
August 9, 2013 – January 19, 2014

About Face will include works by twenty-nine artists from the United States, England, Canada, France, Germany, Russia, Japan, Iran and South Africa. Though each of these photographers approaches portrait-making differently, certain thematic threads resonate throughout the show, including questions of racial, cultural, ethnic, class and gender identity; the relationship between individuals and typologies; the way photographic processes themselves inform meaning; the relevance of historical precedents to contemporary practice; and the impact of media stereotypes on self-presentation. Considered collectively, the works in About Face offer a provocative and engaging forum for considering the question: how do we define portraiture today?

 

The project will present two distinct, simultaneous exhibitions: About Face, our in-gallery exhibition at the Nelson-Atkins, and Making Pictures of People, a digital exhibition presented online for web-based audiences worldwide. Visitors will be able to access the Flak Photo exhibition via touch screens in the gallery and on mobile devices outside the museum.

 

The goal of our collaboration is twofold: to celebrate the complementary experiences of engaging with photographs as objects and as images, and to connect museum visitors in Kansas City with an international community deeply engaged in thinking about portraiture and contemporary photographic practice.

Shinichi Maruyama at the Crow Collection
Shinichi Maruyama at the Crow Collection
Kusho
August 10 - November 4, 2013

In a tribute to the beauty and unpredictability of the art of ink painting, New York based Japanese artist Shinichi Maruyama (b. 1968) developed KUSHO, a series of photographs of momentary collisions between ink and water in mid-air named for a Japanese term for “writing in the sky.” This series freezes the microsecond in which the two liquids approach and intersect with each other. The images produced are documentary and scientific, as well as beautiful abstract compositions in black, white, and gray.

 

“Not knowing what you are going to get impresses me strongly,” Maruyama observes of the KUSHO pictures. “We do not know what we have until we look at the actual photograph. If these images are fundamentally graphic, even painterly, they are also a meditation on the material properties of photography. In its spatial illusionism and meticulous detail, the photograph inevitably points to a world outside of itself, a world of visual forms and sensations, always reminding us of its origin in it.”

 

In this series, the underlying subject is the principle of energetic interaction between forms. It is no wonder, then, that KUSHO became the basis of collaboration between Maruyama and Jessica Lang Dance, a New York based dance company. In their repertory piece entitled i.n.k., Jessica Lang Dance incorporates KUSHO video projections with the dancers’ movements. As the first of many collaborations between the Crow Collection of Asian Art and TITAS, the museum is showcasing photographs from Maruyama’s KUSHO series in concert with Jessica Lang Dance’s September 14 performances at the Winspear Opera House. It is this kind of trans-mediatic interplay that invites thorough investigation of artistic subjects, and this kind of collaboration among arts organizations that celebrates their moments of brilliant collision.

Frederick Sommer at the Akron Art Museum
Frederick Sommer at the Akron Art Museum
Real/Surreal
July 20 - November 3, 2013

During the years leading up to and following World War II, many American artists worked in styles that merged influences from European Surrealism with native realist traditions. On the face of it, Surrealists, who explored the subconscious in search of higher realities, and realist artists, who rely on motifs drawn from the observable world, may appear to pursue conflicting styles. However, a number of artists practicing during this tumultuous period married aspects of both approaches to create timely and compelling images.



Featuring more than 60 paintings, drawings, prints and photographs dating from 1930 to 1955 drawn from the collection of the Whitney Museum of American Art, Real/Surreal examines how American artists used strikingly naturalistic details to imaginative images inspired by dreams and how they introduced disconcerting undertones into compositions that featured seemingly ordinary scenes. The exhibition features works by both well-known artists, such as Charles Burchfield, Edward Hopper, Charles Sheeler and Grant Wood alongside engaging images by lesser-known talents, among them Francis Criss, Louis Gugliemi and Katherine Schmidt.



Real/Surreal offers viewers a journey though other realms, be it George Tooker’s eerie subway station or Man Ray’s pool table careening into space under pastel clouds. And often even ostensibly straightforward scenes, such as Edward Hopper’s Cape Cod Sunset, have a disturbing quality, here conveyed by the half-drawn blinds and untrimmed grass suggesting a house that has long been abandoned. The exhibition also offers insights into the challenges Americans faced during this critical era, including the ravages of the Dust Bowl depicted by Joe Jones in American Farm and the promises and threats of technology referenced by Peter Blume in Light of the World.

Todd Hido at Pier 24
Todd Hido at Pier 24
A Sense of Place
July, 2013 - May, 2014

Pier 24 Photography presents A Sense of Place, an exploration of how photographs shape the perception of our environments. Together, the exhibited works shift in scale from room size installations to small, quiet photographs, transporting the viewer through a variety of locations, memories, and emotive experiences.

 

Approaching the grand scale historically reserved for landscape paintings, photographs like Andreas Gurksy's F1 Pit Stop III, Thomas Demand's Grotto, and Jeff Wall's In Front of a Nightclub, immerse the viewer in an expansive environment - physically placing the viewer within the space of the photograph.

 

The pictures assembled in A Sense of Place demonstrate what photography does best: engage our attention with the everyday - to what we might otherwise bypass - inspiring us to take another, closer look at the places that surround us.

Frederick Sommer at the National Gallery of Art
Frederick Sommer at the National Gallery of Art
A World of Bonds: Frederick Sommer’s Photography and Friendships
June 16 – August 4, 2013

Frederick Sommer (1905–1999) explored an unusually broad array of subjects ranging from disorienting landscapes and macabre aspects of the natural world to surreal arrangements of found objects and virtual abstractions. Following his conviction that “the world is not a world of cleavages at all, / the world is a world of bonds,” the exhibition traces the formal and thematic continuities within Sommer’s heterogeneous oeuvre and puts it in dialogue with the work of artist-friends who helped shape his vision. Drawn largely from the Gallery’s collection, which includes significant works gifted by the artist himself in 1995, this one-room exhibition presents twenty-seven photographs, prints, collages, and drawings. It not only showcases the beauty and diversity of Sommer’s striking images but also places them in the context of his formative friendships with Edward Weston, Max Ernst, Man Ray, Charles Sheeler, and Aaron Siskind. “All rare things should be lent away / and I have borrowed very freely,” Sommer wrote of his art. Taking that sentiment to heart, this exhibition offers a glimpse into the ways in which Sommer shared ideas with his contemporaries as he created a body of work uniquely his own.

André Kertész and Lisette Model at the Israel Museum
André Kertész and Lisette Model at the Israel Museum
Displaced Visions Emigré Photographers of the 20th Century
May 28 - October 5, 2013

Many of the 20th century’s key figures in photography, such as André Kertész, Brassai, Bill Brandt, Man Ray, and Robert Frank among others, were immigrants – people uprooted from their native countries, whether by choice or by necessity. This exhibition explores how this affected their vision and creativity while also promoting the evolution of the photographic vernacular in general. Presenting some of the earliest photographs they took in their new country, it reassesses the work of such artists in light of the social, psychological, cultural, linguistic, environmental, and visual changes that took place in their lives, focusing on how this passage transformed them as persons and as creative artists.

Zoe Strauss speaking at the Moore College of Art and Design
Zoe Strauss speaking at the Moore College of Art and Design
Artist Talk
March 15, 2013 - 6:30 PM

You're invited to a public conversation between Nato Thompson, one of the foremost thought leaders on socially engaged art, and photographer Zoe Strauss, addressing the cultural processes related to community-based artistic practice. The conversation will be moderated by Glenn Harper, Editor-In-Chief of Sculpture Magazine.



The annual Studio Conversations series features leading artists and critics in conversation about artistic issues and practice across media and international boundaries. Supporting Moore’s MFA in Studio Art, the conversations address the globalization of the art world and what this means for artistic practice in the 21st century.

Marie Cosindas at the Amon Carter Museum
Marie Cosindas at the Amon Carter Museum
Marie Cosindas: Instant Color
February 28 – May 26, 2013

Cosindas initially thought of the camera as a means for making design notes. But as so often happens, several photographs she took on a visit to Greece convinced her that such prints could stand on their own as finished works. In 1961, she participated in one of Ansel Adams’s photography workshops in Yosemite Valley. The following year, when Polaroid sought photographers to test its new instant color film before bringing it to market, Adams recommended her.

Frank Paulin at the Carnegie Museum of Art
Frank Paulin at the Carnegie Museum of Art
Oh Snap!
February 15 – May 12, 2013

Oh Snap! is a collaborative photography project that let you share your work in our gallery. Starting February 21, 2013, Carnegie Museum of Art’s Forum Gallery will feature 13 works recently added to our photography collection meant to spark a creative response.

 

Visitors are invited to submit their own photographs inspired by one of the 13 works from the project. Every day, we will print out new photographs submitted by you and hang them alongside their inspirations in the gallery. Every contributor will be sent an email to let them know when their work is on view and receive a free pass to come visit it!

Marie Cosindas at the Milwaukee Art Museum
Marie Cosindas at the Milwaukee Art Museum
Color Rush
February 22, 2013–May 19, 2013

Today color photography is so pervasive that it is hard to believe there was a time when this was not the case. This exhibition and catalogue explore the historical developments that led to color photography becoming the norm in popular culture and fine art.

 

This project charts—from magazine pages to gallery walls, from advertisements to photojournalism—the interconnected history of color photography in the United States from 1907 to 1981. Respectively, these years mark the introduction of the first commercially available color photographic process and the published survey that signified the widespread acceptance of contemporary art photography in color. In the intervening years, color photography captured the popular imagination through its visibility in magazines such as Life and Vogue, as well as through its accessibility on the marketplace thanks to companies such as Kodak.

André Kertész and Aaron Siskind at the Nasher Museum of Art
André Kertész and Aaron Siskind at the Nasher Museum of Art
Light Sensitive
February 14 - May 12, 2013

Light Sensitive includes over 100 works, from tiny early daguerreotypes to large-scale contemporary color prints and videos, and is drawn from twelve public and private North Carolina collections. The exhibition is structured to challenge the widespread notion of the photographic medium as a form of mere realism. Understanding of photographic media suffers from the long-standing myth that a camera is an ‘innocent eye’ that transparently records an image of the world as if through an open window. Some of the power of photography comes precisely from faith in this myth, a myth that has been extremely useful in photographic journalism, in courtrooms, on television and on the internet, despite a long history of visual alteration ranging from subtle artistic manipulation to deliberate propagandistic deceit. Though the camera is capable of recording images of the world in astonishing detail, a great variety of photographic tools and techniques can work to take ordinary features of a photograph—light and dark, shape and form, depth and space, size and scale, soft and sharp focus—and transform them into elements that alter our vision.

 

To emphasize how these aspects of the photographic medium operate, works from across the history of this medium and photography-based media are organized into the following sections, each highlighting the ability of artists to wield the camera as a social and aesthetic tool. Light Magic reveals alterations of light, and its consequences; Intensified Vision ranges through other transformative techniques, such as angle of vision, focus, color and distortions of scale; Metamorphosis presents even bolder manipulations such as long exposures, printing from several negatives and frankly fictional works; Emulations showcases artists’ open engagement with other media, including painting, printmaking, literature and film; and Constructed Identities,focused on portraiture, shows how photographers construct identity for their subjects, or how they convey the subtle ways their subjects are shaped by their society and circumstances. These sections raise questions about how artists use photography as an aesthetic medium, employing their sophisticated arsenal of techniques to persuade us of their unique perceptions.

Nathan Lyons speaking at the Center for Creative Photography
Nathan Lyons speaking at the Center for Creative Photography
Artist talk
February 19, 2013 - 5:30PM

Jessica S. McDonald will speak with photographer, curator, and educator Nathan Lyons about his career and role in the expansion of American photography. As a curator, theorist, educator, artist, and advocate, Nathan Lyons has played a central role in the expansion of photography over the last five decades. After producing seminal exhibitions and publications as curator at George Eastman House in Rochester, New York, in the 1960s, he founded the Visual Studies Workshop, an independent arts organization where his innovative programs trained a new generation of photographers, critics, curators, and historians.

 

McDonald is Chief Curator of Photography at the Harry Ransom Center, University of Texas at Austin, and formerly held curatorial posts at the San Francisco Museum of Modern Art and George Eastman House International Museum of Photography and Film. She is the editor of Nathan Lyons: Selected Essays, Lectures, and Interviews (UT Press, 2012), which provides the first comprehensive overview of Lyons's career as one of the most important voices in American photography. The book will be available for purchase and signing at the event.

Shinichi Maruyama at the Joel and Lila Harnett Museum of Art
Shinichi Maruyama at the Joel and Lila Harnett Museum of Art
Flow, Just Flow
January 29 - June 28, 2013

The exhibition includes photographs by Shinichi Maruyama, a Japanese photographer currently based in New York. The exhibition will have works from two of his photographic series, Kusho (2006) and NUDE (2012). Both series highlight abstract moments of ephemerality and freeze them, giving a sense of permanence to movements that are typically fleeting. Kusho, literally meaning “writing in the sky,” shows a collision between sumi calligraphy ink and water being flung into the air. In conjunction with his Kusho series, Maruyama produced an artistic collaboration with choreographer Jessica Lang [who gave a performance of their collaboration at the Modlin Center of the Arts at the University of Richmond in September 2012]. Maruyama used the human figure as the subject for his most recent collection of photographs entitled NUDE, where he blurs and distorts the body performing a series of rapid, spontaneous movements. The figure is indiscernible, what is left is the flow of the body’s dynamism.

Barbara Morgan at the Reading Public Museum
Barbara Morgan at the Reading Public Museum
Barbara Morgan Photographs
January 26 - May 5, 2013

The Museum's Works on Paper Gallery features a gathering of twenty-two black and white photographs from the 1930s through 1950, documenting her primary subject matter: dancers, portraits, landscapes and photomontages. The images are part of a recent gift/purchase courtesy of William and Leena Kipp of Berks County.

 

Trained as a painter and printmaker at UCLA, Barbara Morgan (1900 – 1992) took up photography in the 1920s, encouraged, no doubt, by her husband Willard Morgan, who was a photographer and publisher. Many of the photographs, which are vintage prints made during her lifetime, explore the theme of the dance. Morgan came to New York in the 1930s just as Martha Graham was becoming a rising star as a choreographer and dancer. In the mid-thirties, Morgan documented Graham's dance company through a series of photographs, some of which are featured in the exhibition.

 

Her most famous image, the visually striking Martha Graham: Letter to the World (The Kick) from 1940, is included in the exhibition. Other photographs feature dancers Jose Limon and Doris Humphries. The exhibition also features portraits of fellow photographers Ansel Adams (1942) and Berenice Abbott (1942), and a portrait of architect Le Corbusier (1946).

Aaron Siskind at the Virginia Museum of Fine Arts
Aaron Siskind at the Virginia Museum of Fine Arts
Aaron Siskind and Abstract Photography of the 1950s and 60s
January 12 - June 16, 2013

In a 1951 essay, the artist and art critic Elaine de Kooning described Aaron Siskind as a “painter’s photographer.” Over 60 years later he remains the photographer most closely associated with mid-20th-century Abstract Expressionism. His flat picture planes, shallow depth of field, and focus on surface textures resonate with the gestural paintings of artists such as Jackson Pollock, Willem de Kooning, and Franz Kline. Siskind also shared an artistic ethos with many of these painters: he emphasized the way his own feelings shaped the image as he made it and became part of the work itself.

 

Siskind, along with other abstract photographers of this period—such as Harry Callahan, Minor White, and Gita Lenz—broadened the expressive potential of photography and expanded the definition of abstraction. Unlike painters, these artists composed their images directly from the environment around them, actively looking and moving their camera lens as they sought inspiration in subjects as seemingly mundane as rocks and peeling letters. For the most part their subjects can be easily identified, yet they are considered abstract because extreme close-ups or unusual angles take the image out of a narrative context, allowing the viewer to experience something familiar in a new way.

Nicolai Howalt and Trine Søndergaard at Kunsthal Nord
Nicolai Howalt and Trine Søndergaard at Kunsthal Nord
Birds, Trees, and Hunting Scenes
January 19 - March 3, 2013

In Denmark, it has for many years been good form to refer the photograph to the domain of mass media and documentary and thus away from the real painting. But just as the boundaries between "real" and "wrong", between "high" and "low" art in late modernity is eroded, are also documentaries undergone a change where the distinction between objective and subjective is not such a completely unique. It is also a characteristic of the two artists' individual works, Nicolai Howalt 141 Boxers, Car Crash Studies, Reports and Endings and Trine Søndergaard's Interior, Monochrome Portraits and Strude. Like the common exhibits on display at Kunsthal Nord, convinces us that the photograph on an equal footing with all other arts provide for recognition and reflection.