Joseph Sywenkyj Wins Eugene Smith Grant
Joseph Sywenkyj, from Verses from a Nation in Transition
Joseph Sywenkyj has been awarded the $30,000 W. Eugene Smith Grant for humanistic photography for 2014. He won for his project Verses from a Nation in Transition, about the ways families in Ukraine have been affected by the crisis in their country. A native of Ukraine who is a U.S. citizen, Sywenkyj has spent more than a decade traveling between Ukraine and New Hampshire to document his home country.
Also recognized were Moira Saman, who received a $5,000 fellowship for her project Discordia: The Arab Spring, and Murial Hasbun, who was awarded the Howard Chapnick Grant for laberinto project, documenting the history of artists working in Central American after the Salvadoran war.
— By Jean Dykstra 10/16/2014
United States Artist Fellowships Announced
LaToya Ruby Frazier, ©Aubrey J. Kauffman
LaToya Ruby Frazier and Leslie Hewitt were among the 34 artists who received United States Artists fellowships for 2014, each of whom will receive $50,000 of unrestricted financial support. Frazier’s first book, The Notion of Family, was released this year by Aperture, and she is the recipient of a 2014 Guggenheim Fellowship. Frazier will speaking with Dawoud Bey tonight at 6:30 pm Aperture.
Hewitt works with photography, sculpture, and site-specific installations and shows at Sikkema Jenkins.
Founded in 2006 by the Ford, Rockefeller, Rasmuson, and Prudential foundations, the grants are currently funded by a broad range of philanthropic organizations and individuals.
— By Jean Dykstra 10/15/2014
Ray Metzker, 1931-2014
The Estate of Ray K. Metzker, courtesy Laurence Miller Gallery
Photographer Ray Metzker died October 9, at the age of 83. Metzker was born in Milwaukee and attended Chicago’s Institute of Design, studying with Harry Callahan and Aaron Siskind, among others. He eventually settled in the Philadelphia area and set about making ambitious and graphic black-and-white photographs of street scenes and pedestrians, often using multiple exposures and serial imagery.
Metzker was given his first solo show at the Museum of Modern Art in 1967 and had a retrospective at the International Center of Photography in 1978. An exhibition of his work is on view at the Laurence Miller Gallery through October 25.
— By Jean Dykstra 10/14/2014
Lois Conner: The Long View
Gitterman Gallery, New York
Lois Conner, Bronx Botanical Garden, New York, 1990. ©Lois Conner, courtesy Gitterman Gallery
Landscape photographer Lois Conner is known for the elegant platinum prints she’s made over three decades of photographing in China, which she first visited in 1984 on a Guggenheim Fellowship. (Her book, Beijing: Contemporary and Imperial, was published this year by Princeton Architectural Press.) The works on view at Gitterman Gallery through November 15, however, are evidence of a consistency of vision no matter where Conner sets up camp, whether it is the Badlands in South Dakota, a Louisiana swamp, urban rooftops, or pondside, where she’s photographed lily pads floating on the still, velvety surface of the water.
Because the works on view are all platinum prints in greys and inky blacks, and because they were all made with a banquet camera, which elongates the images (they are either 7 by 17 inches or 17 by 7), they tend to have the formal, reserved qualities of Chinese scroll paintings, even if the subject is a twisted tree in the Bronx Botanical Garden. The shared qualities of these exquisite prints – the nearly cloudless grey skies standing in for blank canvases, the unpeopled scenes, the deep shadows and highly detailed texture of each image – can make it difficult to focus on the distinctive characteristics of each place.
Lois Conner, Baton Rouge, Louisiana, 1988. ©Lois Conner, courtesy Gitterman Gallery
Perhaps for this reason, it was the more unexpected, less conventionally scenic views that stood out for me: Baton Rouge, Louisiana, from 1988, a fog-enshrouded view of sight lines converging, with an oncoming train on curved tracks, the latticework of a low bridge in the distance, and a pickup truck listing on the embankment. Port Allen, Louisiana, 1988, gives a timeless quality to a scrap-filled yard dotted with a couple of chickens and an empty clothesline. And the dark, lonesome view of a long-abandoned canoe in a wooded grove, also in Louisiana, could be a 19th-century landscape painting, laden with symbolism.
— By Jean Dykstra 10/10/2014
Howard Greenberg / Steidl
The Howard Greenberg Gallery and Steidl publishers have teamed up to develop the Steidl/Howard Greenberg Library, a new imprint. The books will be conceptualized by Greenberg, who will be working with editor Bob Shamis and designer Gregory Wakabayshi. Upcoming books include monographs on Sid Grossman, Dan Weiner, Lewis Hine, and a two-volume project on Ruth Orkin and Morris Engel, who were married.
This year the imprint has published three books, one on Saul Leiter, one on James Karales, and one on Leon Levinstein.
— By Jean Dykstra 10/09/2014
Magic on Earth: Jean-Claude Moschetti
M.I.A. Gallery, Seattle
Jean-Claude Moschetti, Ouri #2, 2010. Courtesy M.I.A. Gallery
Ancient secret societies of West Africa are normally hidden from outsiders. Yet here they are, costumed head to toe and dancing in broad daylight in photographs on view at Seattle's M.I.A. Gallery through October 25. In Pouni #1 (2010, from the series “Volta Noire,” taken in Burkina Faso), three figures--two wearing snake masks whose erect bodies double the height of their wearers--in shaggy pink raffia costumes crouch near a hamlet of mud buildings. The French photographer Jean-Claude Moschetti, who has photographed in Sierra Leone, Benin, and Burkina Faso, gained access to these secret animistic cults because he himself is an initiate, having been drawn to the belief system of the Egungun while working as a press photographer in Benin.
Jean-Claude Moschetti, Pouni #1, 2010. Courtesy M.I.A. Gallery
This ongoing series of works, begun in 2008 – seven of which fill the walls of this trim storefront gallery—stand as visual equivalents of the mindset of a people for whom a connection with the dead (their ancestors) is a regular part of life. Performing in transformative costumes of animal deities aides the transition between the supernatural and material world. Moschetti effectively translates these metaphysics into a spatial construction by fusing together skewed, similar, or altogether different views of the same scene in medium to large-sized diptychs and triptychs. The staging of one, two or at most three costumed figures isolated in purposely deserted locales adds to the surrealism of these images.
— By Melissa Feldman 10/09/2014
Blind Spot | Griffin Editions Project Space
Blind Spot and Griffin Editions have launched a new Project Space in the Gowanus neighborhood of Brooklyn for exhibitions and events. Blind Spot 20th Anniversary editions are on view in the space through December 1, and a reception will be held October 18 from 2 to 4 pm. The Griffin Editions | Blind Spot Projects Space will also be participating in the Gowanus Open Studio weekend, October 17-19.
— By Jean Dykstra 10/08/2014
Shannon Ebner: Public Surface Pattern
Altman Siegel Gallery, San Francisco
Shannon Ebner, Traffic Control Device, 2014. Courtesy the artist and Altman Siegel
Two large photographs in Shannon Ebner’s deceptively formal exhibition at Altman Siegel through November 1 depict illuminated road signs. It’s a familiar mechanism, which is usually parked on the side of the road—a matrix of bulbs that spell out phrases such as “Expect Delays,” which is the text in Ebner’s Portable Changeable Message Sign One Delays, 2014. Here, however, while the warning is the same, the form is visually tweaked, and fixed in a moment. The text is seen in negative, the words formed by black dots, which communicate a starker, more embodied emphasis than in its usual illuminated form. In the title, Ebner refers to the machine itself, and its portable, changeable condition. These signs are also termed “variable-message” a perfectly apt way to describe Ebner’s sly, slow burn aesthetic.
In previous work, often flatly lit studio shots, she’s constructed alphabet-like forms with bulky cinderblocks and what appears to be pegboard, inserting components of language into semi-orderly grids. These are punctuated with desolate landscapes and shots of graffiti.
Shannon Ebner, Portable Changeable Message Sign One Delays, 2014. Courtesy the artist and Altman Siegel
In this show, as before, the tone of the mostly black-and-white images is cool, yet the meanings and spirit purposefully waver: The six well-deployed works, all 2014, seem earnest and mischievous, flat and three-dimensional, vintage and contemporary. Rather than being constructed, all depict language and messaging, or the appearance thereof, as directly found in transit zones. The letterforms are deceptive in scale, due to the distorting abilities of photography. The Portable Changeable sign pieces in her current show, for example, are life size, but they seem strangely diminished as outdoor signs, yet outsized as framed art inside the gallery.
A greater transformation occurs with Public Surface Pattern, a tall, thin vertical piece that resembles a totem of alphabet blocks, though closer inspection reveals a panoramic, New Topographics-like shot rotated 90-degrees. It depicts an overpass construction zone, and the marks are formed from fabric stretched over a chain link fence, the slashes made to accommodate wind forming an accidental cuneiform. This work, along with the geometric shapes on the chain link matrix in the handsome Service Club Signs Verso, bring to mind John Baldessari’s genial conceptualism. While Ebner’s work is more tonally earnest, her flips, reverses, and shifts transport the gravity of message-bearing objects into surprisingly buoyant territory.
— By Glen Helfand 10/07/2014
Ruud van Empel: New Work
Jackson Fine Art, Atlanta
Ruud van Empel, Nude #2, 2014. Courtesy Jackson Fine Art, ©Ruud Van Empel
Photoshop trickery is so commonly used to improve bodies and faces, alter settings, or create convincing composites, that most of us take it for granted. Dutch artist Ruud van Empel intentionally goes overboard in manipulated works that are too eerily perfect or just subtly off.
Van Empel assembles his figures and scenes from bits and pieces of disparate images—dressed mannequins, faces, body parts, flowers. Colors are pumped up and settings digitally staged to create these surreal but believable fictions.
A number of new works in his current show at Jackson Fine Art, through November 29, are a continuation of his earlier series involving children, who all have blank expressions and flawless ebony or ivory skin. A nude black girl stands sideways amid an allover field of yellow flowers; the sparkling blue eyes of a blonde Dresden-dollish girl float in a sea of milky white skin.
It's not clear whether van Empel is commenting on artificiality and physical ideals, or simply showing off his technical prowess. He doesn’t offer answers, only luscious, saturated color, and studies in contrast, monochrome, or pattern.
Ruud van Empel, Still Life Meat, 2014. Courtesy Jackson Fine Art, ©Ruud van Empel
The most compelling work in the show has all these same qualities, yet looks nothing like the others. Both figurative and abstract, it is a still life from 2014 of a smorgasbord of raw, freshly butchered meat. A bisected pig’s head sits front and center, its cranial contents laid bare. The head faces back, as if the animal were surveying its deconstructed self. A popped-out eyeball has rolled off to the side and seems to stare at the viewer—j’accuse. Arranged behind it are piles of carved cuts and a slab of aged beef. Squishy-looking innards are dropped here and draped there. The pattern of marbled flesh continues in the marble table and backsplash. From a distance, the image looks painterly, with fat and blood glistening and striated muscle suggesting brushstrokes.
The work’s fleshy hues are echoed in two images, also from 2014, a nude women posed against peachy pink backgrounds. Their slender bodies are youthful but their heads clearly belong to other, likely older, women. Like a Mannerist painting, the proportions and perspective are a little off. Instead of enhancing their attributes, Van Empel has made these women exceedingly ordinary. Ultimately, all of van Empel’s works are still lifes, his subjects and models to be arranged and depicted according to his whims.
— By Stephanie Cash 10/03/2014
Getty Acquires Chris Killip Photographs
Chris Killip, Bever, Skinningrove, North Yorkshire, 1980. Courtesy the J. Paul Getty Museum, ©Chris Killip
The J. Paul Getty Museum has acquired 49 photographs by Chris Killip, the influential postwar documentary photographer. The museum now owns the complete set of 50 images in Killip’s 1988 book In Flagrante, giving it the most significant group of Killip prints in an American institution. Killip photographed in Northern England between 1973 and 1985, during that region’s serious economic downturn. His subjects included miners, working-class people, council estates, and parades and benefits organized to benefit the striking miners in 1984. Born and raised on the Isle of Man, Killip has spent his career photographing the people of Great Britain. On Sunday, October 18, Killip will speak about his work at the Getty Center at 4:30 pm.
— By Jean Dykstra 10/02/2014
Walther Collection Project Space, New York
Samuel Fosso, Self-portrait (from Self-portraits from the '70s), 1976. Courtesy The Walther Collection and Jean-Marc Patras Galerie
This past February, looters in Bangui, in the Central African Republic, destroyed the photography studio of Samuel Fosso, dumping negatives and prints into the street. Associated Press photographer Jerome Delay and photojournalist Marcus Bleasdale happened to notice the work scattered in the road and rescued as much of it as they could. The exhibition of Fosso’s photographs at the Walther Collection through January 17 underscores what a loss it would be if that work had been destroyed. Fosso, who was born in Cameroon, opened a photography studio in Bangui when he was all of 13-years-old. More than a dozen small vintage studio portraits are on view in the Walther Collection’s library, mounted on cardboard and displayed on bookshelves. From a photograph of a couple embracing to one of two small, smartly dressed children gazing solemnly at the camera to a young man striking a kung fu pose, they suggest a trusted photographer who enabled his subjects to perform their ideal selves for the camera. The photographs are stylish and playfully empowering.
Samuel Fosso, Le chef qui a vendu l'Afrique aux colons, 1997. Courtesy The Walther Collection and Jean Marc Patras Galerie
Those same elements inform Fosso’s self-portraits, which invite comparisons with studio photographers Seydou Keita and Malick Sidibé, but also with the performative self-portraits of Yasumasa Morimura, Cindy Sherman, or the Nigerian-born Ike Ude. Fosso’s black-and-white self-portraits from the 1970s show him adopting various incarnations of cool, wearing bell bottoms, a Kodak cap, and sunglasses, or, in an image that looks ahead to his African Spirits series from the late 2000s, wearing a t-shirt with the faces of Barthélemy Boganda, the first prime minister of the Central African Republic, and Jean-Bédel Bokassa, military ruler of CAR, slyly introducing iconic imagery of political figures into his work. In African Spirits (2008), Fosso recreates well-known images of Malcolm X, Angela Davis, Muhammad Ali, Kwame Nkrumah, the first president of Ghana, and others, reflecting on style versus substance and the way such images shape the public imagination.
Similar themes underscore the vibrant color photographs commissioned by the Paris department store Magasins Tati in 1997. The sharp political commentary (about class, race, and colonialism) is couched in opulent imagery. In one, he embodies a natty golfer surrounded by plastic potted plants – smartly dressed but full of fakery -- in another (titled Le chef qui a vendu l’Afrique aux colons), a bejeweled, self-satisfied chief in animal skins and white plastic sunglasses. The backdrop is hung with African textiles, which feature a repeating motif of hand-held mirrors, suggesting the chief look hard at himself.
— By Jean Dykstra 10/01/2014
Yvonne Venegas: San Pedro Garza Garcia
Shoshana Wayne Gallery, Santa Monica
Yvonne Venegas, Zally, 2013. Courtesy Shoshana Wayne Gallery
After finishing school, the Mexico City-based photographer Yvonne Venegas worked for a few years for fashion photographers in New York, assisting Jüergen Teller and Dana Lixenberg, two photographers known for walking the line between glamour and grit. Without reading too much into those years, it’s worth noting the respect she gives to her subjects’ beauty, and their desire to be beautiful. She frames her subjects in ways that make them immensely pleasing to look at, even when her images have complicated undertones. In the early 2000s, for instance, she photographed the wealthy matriarch Maria Elvia Hank, looking glamorous and composed, placing Christmas candles on a Reindeer-shaped candelabrum. But a servant bends down behind Mrs. Hank, picking up a candle she has dropped, revealing the infrastructure supporting the smooth presentation.
Venegas’s current exhibition, on view through October 25 at Shoshana Wayne Gallery, is called San Pedro Garza Garcia, after the community it depicts. A suburb of Monterrey in the Mexican state of Nuevo León, San Pedro Garza García has a population of about 150,000 and the highest per capita income of any Latin American municipality. This attracted Venegas to it, as did the city’s singular ability to ward off the effects of the drug war that has ravaged so many other Mexican communities.
Yvonne Venegas, Rosina and Models, 2013. Courtesy Shoshana Wayne Gallery
Her photographs don’t allude explicitly to this socioeconomic context. Instead, they portray in between moments in an attractive world that appears relatively self-contained. A group of seven models, all brunette and all in white shirts and jeans, look at fashion magazines underneath a chandelier. Three of them level gazes at the camera. A bride, alone underneath a romantic painting of cupid and a candelabrum, adjusts her dress. Two adolescent girls, lanky and maybe bored, sit on a wrap-around beige couch in a living room that’s impressively clutter-free. It’s pristine but languid: The Truman Show meets The Ice Storm. Even her cityscapes, which suggest the existence of a bigger, rougher world, are suspiciously calm.
Venegas’s subjects are mostly unattainable anomalies but her portrayal of relatable moments behind the scenes blurs the abnormality into normality and makes her work compelling. Her images invite you to try to pick apart the roles people are playing, especially in San Pedro Garcia, where it’s clear class and hierarchy matter, but it’s never clear who has what power in the various moments she’s portrayed.
— By Catherine Wagley 09/29/2014
Guarapuava: Valdir Cruz
Throckmorton Fine Art, New York
Valdir Cruz, Gypsy Woman I / Mulher cigana I, Guarapuava series, 1991. Courtesy Throckmorton Fine Art
For Valdir Cruz, Guarapuava will always be home. It is the place where he learned to hunt with a slingshot and fish with his hands. It is where he recognizes the songs of the birds and knows the names of the rivers and trees. It is where he sold oranges on the streets and snuck into movies and fell in love for the first time.
Even after Cruz left the Brazilian countryside, at the age of 23, for the United States, Guarapuava remained a photographic base of sorts, a place where he could return again and again with his camera to flex his photographic muscle. Over the last 30 years, he's brought with him the knowing eye of a native son along with the political and social scrutiny of an anthropologist.
His exhibition at Throckmorton Fine Art through November 1 feels at once intimate and sweeping, personal yet documentary in style. As Cruz's lens traverses the rural landscape of his past, faces seem to peer out of a family album -- albeit a diverse one, made up of indigenous peoples, cattle drivers, potato pickers, Gypsies, and African and German immigrants. They are by turns joyful, somber, and proud. In one, the gaze of an anonymous Gypsy woman pierces the camera, her expression a mystery.
Valdir Cruz, Pinus Araucaria, Guarapuava series, 1991. Courtesy Throckmorton Fine Art
Amongst these portraits, in a sign of the peoples' strong connection to their environment, hang photos of Guarapuava's natural beauty. A lone white horse grazes along the still Jordāo River; water, made silky and smooth through long exposure, glides over dark cliffs; a small wooden chapel at the back of a farm peeks through the morning fog.
Cruz's black-and-white photos speak not just of life, but of destruction. The body of water, for instance, in Cruz's photo, Landscape with Trees and Lake, is artificial, created by an electrical dam. The view, Cruz said in an interview, "used to be beautiful." A portrait of an indigenous Guarani man, meanwhile, contains the history of a people whose population has been decimated through the years by colonialism and slavery. The traditional cattle driving Cruz depicts, likewise, is increasingly rare, replaced mostly by trucking.
"Photography is a vision; the rest is technique," Cruz's recounts his friend George Stone telling him in the afterward to his book, Guarapuava. Indeed, while Cruz's technique has improved over the course of 30 years as he evolved from a novice to a master, his vision is consistent, telling a story of timeless grace amid change and ruination.
— By Jordan G. Teicher 09/28/2014
ICP to Bowery
Part of the ICP's collection of more than 150,000 images: David Scherman, Robert Capa, Weymouth, England, 1944. ©David Scherman
The International Center of Photography has decided to relocate to a building on the Bowery, near the New Museum, when the lease expires on its Midtown building next year, according to the New York Times. The center’s board approved a plan to buy the building near the New Museum last week, according to the Times, and the aim is the have the building ready by mid-2015.
“This location provides a real frontage so that we can have a direct dialogue with the street, and that’s key to our mission going forward,” Mark Lubell, the center’s executive director, told the Times. Regarding the neighborhood, he said: “There’s openness to experimentation and ideas in that part of town. Chelsea is a wonderful place, but it’s already done and established. We’d be following, and I don’t want to follow.”
In addition, in January 2015, the ICP will open a 15,000-square-foot collections facility and media lab at Mana Contemporary in Jersey City. The space will house the ICP’s collection of more than 150,000 works by Cornell Capa, Robert Capa, Weegee, Chim, and Gerda Taro. Mana Contemporary is home to the Richard Meier Model Museum, Gary Lichtenstein Editions silkscreen studio, the Eileen S. Kaminsky Family Foundation, the Middle East Center for the Arts, Shen Wei Dance Arts, the Keating Foundry, and more.
— By Jean Dykstra 09/27/2014
Whitney Museum Gets Major Photography Gift
Walker Evans, Torn Movie Poster, 1931.
The photography collection at the Whitney Museum of American Art has gotten a significant boost, with a promised gift of 75 iconic American photographs from the collection of Sondra Gilman Gonzalez-Falla and Celso Gonzalez-Falla.
The gift includes 12 work by Walk Evans, Alfred Stieglitz, Robert Frank, Diane Arbus, William Eggleston, and Imogen Cunningham, among other photographers. Sondra Gillman Gonzalez- Falla originated the acquisition committee at the Whitney in 1991 devoted to collecting 20th-century American photography. The photography collection has grown from 50 works in 1991 to several thousand.
— By Jean Dykstra 09/24/2014
at Gitterman Gallery, New YorkHoward Greenberg / SteidlMagic on Earth: Jean-Claude Moschetti
at M.I.A. Gallery, SeattleBlind Spot | Griffin Editions Project SpaceShannon Ebner: Public Surface Pattern
at Altman Siegel Gallery, San FranciscoRuud van Empel: New Work
at Jackson Fine Art, AtlantaGetty Acquires Chris Killip PhotographsSamuel Fosso
at Walther Collection Project Space, New York
at Shoshana Wayne Gallery, Santa MonicaGuarapuava: Valdir Cruz
at Throckmorton Fine Art, New YorkICP to BoweryWhitney Museum Gets Major Photography GiftAmon Carter Museum Digitizes Trove of ArtworksClimate Week NYC at ICPFilter Photo FestivalRichard Mosse at Indianapolis Museum of Contemporary ArtErnest Cole: Photographer
at Grey Art Gallery, New YorkAugust Sander: Just Women / Jess T. Dugan: Every Breath We Drew
at Gallery Kayafas, Boston
at High Museum of Art, AtlantaWhere There's Smoke. John Gossage: Who Do You Love
at Fraenkel Gallery, San FranciscoAllan Sekula: Ship of Fools
at Christopher Grimes Gallery, Santa MonicaCantor Art Center Receives Warhol ArchiveJack Leigh: Full Circle, Low Country Photographs, 1972-2004
at SCAD Museum of Art, SavannahJosef Koudelka: Nationality Doubtful
at Art Institute of Chicago, ChicagoStephen Wirtz Gallery ClosingJustin Kimball: Where We Find Ourselves
at Carroll And Sons, BostonJacques Sonck: Archetypes
at L. Parker Stephenson Photographs, New YorkThe Invisible PhotographGetty Acquires Robert McElroy ArchiveOresick Joins Silver Eye CenterLiz Deschenes Awarded Rappaport PrizeNew Avedon AppBonjour Arles!Doug Hall: Bodies in Space
at Benrubi Gallery, New YorkCahiers d'Art Devoted to SugimotoPhoto Espana Prize Goes to Aitor Lara
at de Young Museum, San Francisco2014 Prix HSBC Awarded to Two PhotographersRudolf Kicken, 1947-2014"Biggest Photography Class in History"Puppies and PicturesDomesticated: Photographs by Amy Stein
at National Academy of Sciences, WashingtonSteel Stillman: Incidents, 1969-2014
at Show Room Gowanus, BrooklynCallahan Collection Donated to Vancouver Art GalleryBrandon Thibodeaux Wins Michael P. Smith GrantRoger Mayne, 1929-2014The Fence Goes on View in BrooklynKa-Man Tse Wins Robert Giard FellowshipMultiple Exposures: Jewelry and Photography / The Embroidered Image
at Museum of Arts and Design / Robert Mann Gallery, New YorkTim Barber: Relations
at Capricious 88, New York
at Boite Noire Gallery, West HollywoodSze Tsung Leong: Horizons
at Yossi Milo Gallery, New YorkPortland Art Museum Acquires Robert Adams PhotographsMichael Schmidt, 1945-2014Paul Anthony Smith: Mangos and Crab
at Carrie Secrist Gallery, ChicagoMichael Schmidt Wins Prix PictetJaimie Warren
at SF Camerawork, San FranciscoSymposium at Getty Celebrates 175th Anniversary of PhotographyZoe Leonard Receives Buckbaum AwardAndre Serrano Creates Public Art ProjectLuigi Ghirri: La Città
at Matthew Marks Gallery (LA), Los AngelesRichard Mosse Wins Deutsche Börse PrizePoetics of Light: Pinhole Photography
at New Mexico History Museum, Santa FePrix Pictet Finalists On View at V&ARichard Renaldi: Touching Strangers / This Grand Show
at Aperture Gallery / Bonni Benrubi Gallery, New YorkHillman Photography Initiative Explores Future of PhotographyWalking in Their ShoesMark Ruwedel Wins Scotiabank Photography Award
at Sous Les Etoiles Gallery, New YorkA New Space for Photo-EyeMaroesjka Lavigne: Island
at Robert Mann Gallery, New YorkGeorge Dureau, 1931-2014More AIPAD Picks from Elisabeth BiondiElisabeth Biondi's AIPAD PicksSarah Schmerler's Picks from AIPAD2014 Guggenheim FellowshipsLisa Sette RelocatingPhoto Eye: Avant-Garde Photography in Europe
at Museum of Fine Arts, BostonLower East Side Photo WalkRoe Ethridge: Sacrifice Your Body
at Andrew Kreps Gallery, New York
at Salon 94 Bowery, New YorkGetty Museum Acquires Tress PhotographsAmy Elkins Wins Aperture Portfolio PrizeMoutoussamy-Ashe Photos Go to SmithsonianWalead Beshty: Selected Bodies of Work
at Regen Projects, Los AngelesPublic Intimacy: Art and Other Ordinary Acts in South Africa
at Yerba Buena Center for the Arts, San FranciscoPrince/Cariou Case SettledDaniel Gordon Wins Paul Huf AwardNew Photo Gallery in WilliamsburgICP on the MoveNational Gallery of Art Receives Gift of PhotographsJamie Warren Wins Baum AwardChloe Dewe Mathews Wins Gardner FellowshipMatthew Pillsbury: Nate and Me
at Sasha Wolf Gallery, New YorkGetty Images Opens Up LibraryPaula McCartney: A Field Guide to Snow and Ice
at Klompching Gallery, BrooklynAmerican Cool
at National Portrait Gallery, Washington, D.C.
at Block Museum of Art, EvanstonICP Announces Infinity Award WinnersOnward in PhillySamuel Fosso Photographs RescuedJ. Shimon & J. Lindemann: We Go From Where We Know
at John Michael Kohler Art Center, SheboyganJohn Stanmeyer Wins World Press Photo AwardNot Your Grandmother's LibrarianPatrick Nagatani: Outer and Inner: Contemplations on the Physical and the Spiritual
at Andrew Smith Gallery (annex), Santa FeNew Photo Gallery in BostonFred McDarrah: Save the Village
at Steven Kasher Gallery, New YorkJ.D. 'Okhai Ojeikere, 1930-2014Kevin Cooley and Phillip Andrew Lewis: Unexplored Territory
at Kopeikin Gallery, Los Angeles
at Guggenheim Museum, New YorkGetty Acquires Pictorialist PhotographsPeter Hujar: Love & Lust
at Fraenkel Gallery, San FranciscoChild Identified in 1908 Lewis Hine PhotoHeather Snider Joins SF CameraworkThe Sochi Project: An Atlas of War and Tourism in the Caucasus
at DePaul Art Museum, ChicagoPhillip Prodger Joins London's National Portrait GalleryTanya Marcuse: Fallen
at Julie Saul Gallery, New YorkJoshua Chuang Joins CCPSophie Calle: Last Seen
at Isabella Stewart Gardner Museum, BostonDanielle Durchslag: Relative Unknowns
at Denny Gallery, New YorkCarnegie Museum Founds Hillman Photography InitiativeSoo Kim Awarded Gutmann FellowshipSymposium on March on Washington
at Nailya Alexander Gallery, New YorkNelson Mandela, 1918 - 2013Sylvie Pénichon New Photo Conservator at Art InstituteICP Awarded Ford Foundation Grant for "Rise and Fall of Apartheid"Carson Fisk-Vittori
at Carrie Secrist Gallery, ChicagoAttention Photographers: Interested in the South of France this Summer?API Launches Online ExhibitionVivian Maier: Self-Portrait
at Howard Greenberg Gallery, New YorkDavid Vestal, 1924-2013Danny Custodio: Trees
at Gallery Kayafas, BostonBarry Friedman RetiringMeet Me in MiamiThomas Demand: Dailies
at Matthew Marks Gallery (526), New YorkChuck Mobley Leaving SF CameraworkCatherine Evans Named Chief Curator of the Carnegie Museum of Art
at Gagosian Gallery (Mad Ave), New YorkSaul Leiter, 1923-2013Maine Philanthropists Give Collection to Portland Museum of ArtDaniel Morel Wins Suit Against Getty Images/AFPSean McFarland: Glass Mountains
at Stephen Wirtz Gallery, San FranciscoJohn Divola: As Far As I Could get
at Santa Barbara Museum of Art, LACMA, Pomona Museum of Art,Eileen Quinlan: Curtains
at Miguel Abreu Gallery, New YorkICP Names New Executive DirectorClarence John Laughlin Award AnnouncedPrix Pictet Shortlist AnnouncedAnd the Winner Is ....Libération's Powerful Homage to PhotographyTanja Hollander: The Landscapes of Are You Really My Friend?
at Carroll And Sons, BostonWar/Photography: Images of Armed Conflict and its Aftermath
at Brooklyn Museum of Art, BrooklynLisa Hostetler to Eastman HouseDispatched to TexasFinding Vivian MaierQueens Museum Reopens with Photos by Jeff Chien-Hsing LiaoNew E-Book from Library of CongressHello, Goodbye
at Leila Heller Gallery, New YorkDeborah Turbeville, 1932-2013ICP Celebrates Robert Capa's CentenaryOf Walking
at Museum of Contemporary Photography, ChicagoHere is New YorkPolly Borland: You
at PK Shop, New YorkExhibition Showcases Martin Weinstein's CollectionThey Are Us: Animal Identity and the Anthropomorphic Urge
at Rick Wester Fine Art, New YorkRoxana Marcoci Named Senior Curator at MoMAMuseum of Fine Arts, Houston, Acquires Manfred Heiting Photo Book CollectionDocumerica Looks BackMatthew Porter: Greet the Dust
at M+B Gallery, Los AngelesGeorge Tice: 60 Years of Photography
at Nailya Alexander Gallery, New York
at Edwynn Houk Gallery, New YorkCarrie Mae Weems Is a MacArthur GeniusWe Shall: Photographs by Paul D'Amato
at DePaul Art Museum, ChicagoShe Who Tells a Story: Women Photographers from Iran and the Arab World
at Museum of Fine Arts, BostonMalcolm Daniel Heading to TexasRyan McGinley: Yearbook
at Ratio 3, San FranciscoBrian Sholis Joins Cincinnati Art MuseumPieter Hugo: Kin
at Yossi Milo Gallery, New YorkAdieu to Le Journal de la PhotographieNadia Sablin Wins Firecracker Photography AwardGetty Acquires Baltz Archive
at Hosfelt Gallery, San FranciscoParty Picks: Estate of Jimmy DeSana
at Salon 94 Bowery, New YorkIn The Studio
at John Messinger, East HamptonThat Which Is: Marcia Lippman
at KMR Arts, Washington DepotBen Lifson, 1941-2013Jan Banning: Down and Out in the South
at Hagedorn Foundation Gallery, AtlantaTom Wood: Men and Women
at Thomas Erben Gallery, New YorkFrom the Ground Up: The Tent Camera Photographs of Abelardo Morell
at Stephen Daiter Gallery, ChicagoPortion Control: Chrisopher Boffoli
at Winston Wachter Fine Art, New York
at James Harris Gallery, SeattleA Different Kind of Order: The International Center of Photography Triennial
at International Center of Photography, New YorkJR / Jose Parla, Wrinkles of the City, Havana Cuba
at Bryce Wolkowitz Gallery, New York
at Carroll And Sons, BostonJapan's Modern Divide: Photographs by Hiroshi Hamaya and Kansuke Yamamoto
at Getty Center, Los AngelesMichael Jang: The Jangs
at Stephen Wirtz Gallery, San FranciscoDavid Levinthal: War Games
at Corcoran Gallery of Art, Washington, D.C.Mike Brodie's Period of Juvenile ProsperitySpectator Sports
at Museum of Contemporary Photography, ChicagoJoshua Lutz: Hesitating Beauty
at ClampArt, New York
at Museum of Modern Art, New YorkIwan Baan: The Way We Live
at Perry Rubenstein Gallery, Los AngelesSuburbia
at Hagedorn Foundation Gallery, AtlantaJulie Weitz
at The Suburban, Oak ParkArmory Show 2013
at Armory Show, New YorkScope New York 2013
at SCOPE New York, New YorkADAA Art Show 2013
at ADAA Art Show, New YorkShooting Stars: Publicity Stills from Early Hollywood and Portraits by Andy Warhol
at Corcoran Gallery of Art, Washington, D.C.
at G. Gibson Gallery, SeattleMiles Barth Joins ArtnetThe Unphotographable
at Fraenkel Gallery, San FranciscoKatrina del Mar: Girls Girls Girls
at Participant, Inc., New YorkRobin Rhode: Take Your Mind off the Street
at Lehmann Maupin (26th St), New YorkArne Svenson: The Neighbors
at Western Project, Culver City
at Bruce Silverstein Gallery, New YorkBeat Memories: The Photographs of Allen Ginsberg
at Grey Art Gallery, New YorkKatherine Bussard Named Curator at
Princeton Art MuseumCatherine Wagner: trans/literate.
at Stephen Wirtz Gallery, San FranciscoKarl Baden: Roadside Attractions
at Miller Yezerski Gallery, BostonViviane Sassen on ViewJanuary is for Hot ShotsRichard Pare: The Lost Vanguard: Soviet Modernist Architecture, 1922–32
at Graham Foundation, Chicago
at Metropolitan Museum of Art, New YorkIdris Khan: New Photographs
at Fraenkel Gallery, San FranciscoJessica Eaton: Polytopes
at M+B Gallery, Los AngelesNadav Kander: Yangtze: The Long River
at Flowers, New YorkOri Gersht: History Repeating
at Museum of Fine Arts, Boston, BostonAttachments
at The Hole, New York1979:1—2012:21: Jan Tichy Works with the MoCP Collection
at Museum of Contemporary Photography, ChicagoBonni Benrubi, 1953-2012