Chloe Dewe Mathews Wins Gardner Fellowship
Photo by Chloe Dewe Mathews. One of a growing number of young Russans who travel to the Caspian region to soak in oil for its cosmetic benefits.
British photographer Chloe Dewe Mathews was named the 2014 Robert Gardner Fellow in Photography at the Peabody Museum of Archaeology and Ethnology. Dewe Mathews earned her degree at Oxford’s Ruskin School of Fine Art, spent four years in the film industry, then hitchhiked and camped from China to Britain, taking photographs while she traveled. The Caspian region became an area of particular interest for Mathews, and she has returned there several times to photograph the people and their relationship to the resource-rich land. Mathews is represented by Panos Pictures, and her photographs on the Caspian region won the British Journal of Photography’s International Photography Award, which included a show at London’s Foto8 Gallery.
The Gardner Fellowship provides a stipend of $50,000 and funding for a book of photographs documenting the human condition anywhere in the world. Previous recipients have included Guy Tillim, Dayanita Singh, and Alessandra Sanguinetti.
— By Jean Dykstra 03/11/2014
Matthew Pillsbury: Nate and Me
Sasha Wolf Gallery, New York
Matthew Pillsbury, Nate, Matthew, and Ella at the Pink Cove, Thursday, May 19th, 2008, 9:11-9:22PM. ©Matthew Pillsbury, courtesy Sasha Wolf Gallery and Bonni Benrubi Gallery
In 1838, Louis Daguerre took a photograph, looking down on the Boulevard du Temple in Paris, considered the first to capture people on film. Two men were fixed on Daguerre’s silver plate because one of them paused long enough to have his shoes shined by the other. Everybody else passed by too quickly to leave a trace, and the men are, magically, alone in the world.
More than most contemporary photographers, Matthew Pillsbury is deeply engaged with the history of the medium and its elemental tools, and the subjects of his long expsures appear similarly enchanted. In his reflective exhibition Nate and Me, on view at the Sasha Wolf Gallery through April 20, the ethereal outlines of Pillsbury and his boyfriend at the time, Nathan Noland, are the only figures in the photographs, pausing long enough to leave an impression on the film, though their movements leave their likenesses blurred. Pillsbury was 30 years old and married when he met Noland in 2004, fell in love and came out as a gay man. Evanescent as their images are, they form a record of their relationship, and of Pillsbury’s then-newfound identity. The fact that the two are no longer together lends the show an elegiac tone.
Matthew Pillsbury, HBO's Rome, Thursday, October 13th, 2005, 12-12:50AM. ©Matthew Pillsbury, courtesy Sasha Wolf Gallery and Bonni Benrubi Gallery
Pillsbury uses an 8x10 view camera and available light, so his exposures can take anywhere from a few minutes to an hour. The settings – a beach, a bedroom, a garden looking over the expansive lights of Hollywood – emerge in rich, velvety black and white, while Matthew and Nate are like apparitions passing by in the glow of a cell phone or television screen.
Radiant screens appear somewhere in nearly all of these photographs, like smaller versions of Hiroshi Sugimoto’s photographs of enormous movie screens, luminous and romantic. But Pillsbury’s screens have an ambiguous allure; their glow is a constant presence, even during the most intimate moments.
In HBO’s Rome, the blurred motions of a sexual encounter between Matthew and Nate are captured in the light of the ever-present television. In Nate, Matthew, and Ella at the Pink Cove, the men are more captivated by their cell phones than each other, or the breathtaking scene in front of them. There are many barriers to intimacy, Pillsbury’s 11 photographs suggest, from figuring out who we are and who we love to our misplaced devotion to technology.
— By Jean Dykstra 03/08/2014
Getty Images Opens Up Library
This candid photograph of the Kennedys is one of the historic images in the Getty's collection that is now available for for free
The BBC News and Bloomberg BusinessWeek have reported that Getty Images has made some 35 million photographs from its library free to use to blogs and websites. An executive at Getty said that company leaders realized that thousands of its images were already being used without attribution. With a new “embed tool,” the images will now be available with a code that includes the Getty logo and the photographer credit. Commercial users of Getty Images, such as news corporations and advertisers, will continue to be charged.
— By Jean Dykstra 03/06/2014
Paula McCartney: A Field Guide to Snow and Ice
Klompching Gallery, Brooklyn
Paula McCartney, Queen Anne's Lace Snowflake #21, 2008. ©Paula McCartney, courtesy Klompching Gallery
All photographers invariably walk the line between truth and fiction, but few as imaginatively as Paula McCartney. The Minneapolis-based photographer's seasonably appropriate exhibition at Klompching Gallery, A Field Guide to Snow and Ice, is evidence of that.
Like her earlier series Bird Watching, which winkingly highlights the limitations of scientific observation through photographs of synthetic birds in natural environments, A Field Guide to Snow and Ice is a collection of images that slyly challenges notions of reality. On view through March 29, this is the first New York exhibition of the work.
McCartney says she sees winter everywhere, "in every environment, in every season." By variously documenting and re-creating visual themes associated with the season without explicitly acknowledging which is the document and which the re-creation, McCartney asks us to think about what we're seeing and then to re-think it. Is that delicate geometric configuration a snowflake or a pressed flower? Is that tumultuous accumulation of matter the icy tower of a frozen waterfall or a cave's towering collection of stalagmites?
Paula McCartney, Black Ice #1 and #2 (diptych), 2011. ©Paula McCartney, courtesy Klompching Gallery
McCartney's experimentation is not simply material, but technical. While some images are made using medium-format photography, others are photograms made in the darkroom with natural materials including ice and water droplets. Regardless, they’re gorgeous. All modestly sized, the photographs are a uniformly sparse display of clean architectural lines and boldly contrasting dark and light.
Seen side-by-side, the images can be disorienting. In one photograph, a massive piece of floating ice on Lake Superior appears to be as large as a fist-sized shard in a nearby picture. On another wall, two photographs of white mounds hang next to one another, looking nearly identical. Upon further inspection, it becomes clear that one mound is made of sand.
Indeed, in this photographer's vision of the world, distinctions of place, size, and perspective melt away, leaving us only with raw visual data. McCartney, clearly, delights in toying with viewer expectations. In an exhibition characterized by the questions it poses and the inconsistencies it presents, that playfulness may be the only quality not to doubt.
— By Jordan G. Teicher 03/05/2014
National Portrait Gallery, Washington, D.C.
Aram Avakian, Miles Davis, 1955. ©Aram Avakian, courtesy Aram Avakian Collection
I knew there was trouble ahead when I saw a photograph of Jimi Hendrix mischievously chewing his sunglasses on the cover of the National Portrait Gallery's American Cool exhibition catalog. Clearly the curators of Cool, on view through September 7, couldn't tell hot (Hendrix) from cool (Johnny Depp, on the catalog's back cover). In American Cool, every celebrity, past and present, is cool.
Yes, Miles Davis is cool. Debbie Harry, cool. Faye Dunaway, cool. Buster Keaton, super cool. Muhammad Ali, sure. But Frederick Douglas, not cool. Billie Holiday, not even close. Elvis Presley, no! That doesn't mean they're bad. In fact they’re great, but in a hot, fiery, steamy way – and this should disqualify them from American Cool.
On the exhibition's introductory wall text, the curators, Joel Dinerstein and Frank H. Goodyear III, offer up their own definitions of “cool” including: “an earned form of individuality;” having “a charismatic edge or dark side;” having “iconic power or instant visual recognition;” or leaving “a recognized cultural legacy.” After laying out these tepid terms, the curators admit that, actually, their selection of images “does not reflect our opinion of cool.” The term, as they use it seems to be a synonym for “great.”
Robert Mapplethorpe, Deborah Harry, 1978. ©Robert Mapplethorpe Foundation
But back when “cool” still meant something particular, Marshall McLuhan wrote about it in his essay titled “Media Hot and Cold,” which appeared in his 1964 book Understanding Media. While hot media, he noted, fill your senses so thoroughly that they require practically no participation from the audience, cool media give so little information that the audience must participate in them to complete them. Movies are hot; the telephone is cool. A lecture is hot; a seminar is cool. Photographs are hot; cartoons are cool.
In people, coolness comes down to being opaque. Take Calvin Coolidge, the prototypical “cool” president. As McLuhan wrote “Coolidge was so lacking in articulation of data in his public image that there was only one word for him. He was real cool.” That's why sunglasses are cool; as McLuhan noted, they “create the inscrutable and inaccessible image that invites a great deal of participation” – or projection, as one might say now.
Still, this show is fun and includes fantastic portraits by photographers as distinctive as William Paul Gottlieb, Linda McCartney, David LaChapelle, Lisette Model, Carl Van Vechten, and Edward Weston. And since it has no articulation, you shape it yourself. You know, it's real cool. ...
— By Sarah Boxer 03/03/2014
Steichen/Warhol: Picturing Fame
Block Museum of Art, Evanston
Edward Steichen, Actress Clara Bow, 1929. Courtesy Mary and Leigh Block Museum of Art, ©Conde Nast
Greta Garbo’s “perfect and ephemeral” face—as Roland Barthes described it in his collection of essays, Mythologies—greets visitors to Steichen/Warhol: Picturing Fame (through April 6 at the Block Museum of Art). Shot by Edward Steichen in 1928, and reprinted on the cover of Life in 1955, Garbo’s face then fell into the hands of a young Andy Warhol at the height of his career as a shoe illustrator.
Imagine Warhol obsessively tracing, like a caress, the actress’s face on many sheets of white paper. The black ink tracings (four of them here) of Steichen’s Garbo are presented as the missing link in Warhol’s turn toward celebrity portraiture, inspired by Steichen’s command of that genre decades earlier as the chief photographer of Vanity Fair and Vogue. The Garbo connection is an elegant justification for this compare-and-contrast exhibition of photographs by Steichen and Warhol, and an art historically relevant take on the tricky concept of influence. It is a thoughtful use of two separate large gifts to the museum of works by each artist (155 Warhols in 2008, and 49 Steichens in 2012.)
Andy Warhol, Unidentifed Woman (wearing pearls), 1984. Courtesy Mary and Leigh Block Museum of Art, ©2013 The Andy Warhol Foundation for the Visual Arts, Inc., Artist Rights Society (ARS), New York
What does the pairing say about American celebrity worship in the 1930s versus the 1980s? Both were highly stylized periods, groomed by each era’s master stylist. Steichen and Warhol captured the zeitgeists each man dictated through his commercial, fashion, portrait, and society photos, each reinforcing his era’s gender branding. The exhibit’s gender-segregated sections emphasize the photographic manufacture of masculine and feminine traits.
Steichen’s formal portraits seem heavy and monumental, as if trying hard to be masterworks. Warhol’s casual snaps (mostly Polaroid sources from the 1970s and eighties for his screenprinted portrait commissions) in multiple feel breezy and slight, like ephemera from a shoebox. Warhol shot 150,000 photos in the last ten years of his life, foreshadowing our generation’s photomania.
— By Jason Foumberg 02/28/2014
ICP Announces Infinity Award Winners
Jurgen Schadeberg's photograph of Nelson Mandela's return to his cell on Robben Island IV, 1994
The International Center of Photography has announced the winners of the 2014 Infinity Awards, which will be presented on April 28. Jürgen Schadeberg, a German-born South African photographer, curator, editor, and teacher known for his depictions of Apartheid, particularly his iconic images of Neslon Mandela, will be presented with the Cornell Capa Lifetime Achievement Award. James Welling is the award-winner for fine art, Steven Klein for fashion, Stephanie Sinclair and Jessica Dimmock, photographers represented by the VII Photo Agency, are sharing the award for photojournalism for their project Too Young To Wed, about child marriage. Adam Broomberg and Oliver Chanarin are the winners in the publication category, for their book Holy Bible. And Samuel James is the winner for young photographer.
— By Jean Dykstra 02/24/2014
Onward in Philly
Ryota Kajita, Frozen Bubbles, Alaska #1. Kajita is one of the photographers in the ONWARD Summit's Compé exhibition.
The ONWARD Summit in Philadelphia, an annual conference and networking event designed to explore the medium of photography, takes place February 28 – March 3. This year’s theme is the Language of Place, and the keynote speaker is photographer Andrew Moore. Among the events on deck: a workshop on portraiture with Andrea Modica, and a panel discussion on why we photograph our surrounding, moderated by Peter Woodall, co-founder and co-editor of the Hidden City Daily, which covers architecture, preservation, and design in Philadelphia. Portfolio reviews and Compé, an exhibition of emerging photographers, selected by Andrew Moore.
— By Jean Dykstra 02/22/2014
Samuel Fosso Photographs Rescued
Self-portrait as an African chief by Samuel Fosso
The home and studio of photographer Samuel Fosso were attacked by looters in the war-torn Central African Republic, and some 30 years’ worth of work could have been destroyed were it not for the efforts of fellow photographers Jerome Delay and Marcus Bleasdale. The two men were covering the conflict and came upon Fosso’s studio, strewn with mud-covered, scorched prints and negatives. Fosso, who was born in Camaroon but lived in Bangui, in the Central African Republic, was in Paris at the time. Delay and Bleasdale rescued some 200 prints and close to 20,000 negatives from the studio, as reported in the Guardian.
— By Jean Dykstra 02/21/2014
J. Shimon & J. Lindemann: We Go From Where We Know
John Michael Kohler Art Center, Sheboygan
J. Shimon and J. Lindemann, Laura M. Courtesy John Michael Kohler Art Center
For 25 years, the photographic team of John Shimon and Julie Lindemann has been documenting and celebrating a particular locale, central Wisconsin. A selection of their work is on display at the Kohler Art Center in Sheboygan through February 23. The Kohler is dedicated to the preservation of vernacular art, and for this show, Shimon and Lindemann straddle a line between photography and outsider art. The core of their work is portraiture, and the couple has created a gallery of the people they know-- ordinary, visionary, and just plain eccentric. For this show, however, they supplemented full-length color portraits with a variety of installed works to create a sort of environmental experience of Wisconsin. In the center of the main exhibition space, for example, stands a salvaged 1949 Nash Ambassador, made in Kenosha, now loaded with cement corncobs. A collection of vintage Wisconsin postcards covers part of one wall, supplemented by additional postcard backs where visitors can write their own impressions and memories of the places. These are complemented by the artists’ own “postcards,” half done in platinum and half in cyanotype, showing Wisconsin houses and the changing Lake Michigan sky.
J. Shimon and J. Lindemann, We Go From Where We Know installation view. Courtesy John Michael Kohler Art Center
It is possible to see the entire installation as a response to an historian who has dealt famously with the nearby Midwest, Michael Lesy, whose book Wisconsin Death Trip (1973), assembled largely from a Wisconsin newspaper archive, forever labeled the state as a place of morbidity and madness. Shimon and Lindemann’s work makes the point that residency and duration are essential to engaging with the lives lived in a place, the stories told, and more importantly, the imaginative landscape. Their work is probably closer in spirit to Nancy Rexroth’s Iowa of the 1970s, and as entertaining as installed work can be, the one regret of the Kohler show is that there was not a full presentation of the couple’s photographic work. Only when that happens – and it travels beyond local boundaries – can the rest of the country appreciate their distinctive contribution to American photography.
— By Lyle Rexer 02/17/2014
John Stanmeyer Wins World Press Photo Award
John Stanmeyer / VII for National Geographic
Congratulations to John Stanmeyer, with VII Photo Agency, the winner of the 2013 World Press Photo Award for his photograph, taken for National Geographic, of a group of African migrant workers in Djibuti trying to get a cell phone signal from nearby Somalia to reach family abroad. Djibuti is a common stop-off point for migrants from such countries as Somalia, Ethiopia, and Eritrea. Jillian Edelstein, a juror from the UK/South Africa, commented:“It’s a photo that is connected to so many other stories—it opens up discussions about technology, globalization, migration, poverty, desperation, alienation, humanity. It’s a very sophisticated, powerfully nuanced image. It is so subtly done, so poetic, yet instilled with meaning, conveying issues of great gravity and concern in the world today.”
— By Jean Dykstra 02/15/2014
Not Your Grandmother's Librarian
Photo of Ingrid Adams by Kyle Cassidy
Photographer Kyle Cassidy attended the American Library Association's Midwinter Meeting and took portraits of the librarians in attendance. As Slate said in a story on the pictures, the were few "humorless, shushing curmudgeous" in attendance. From Brooklyn to Escondido, the librarians in his series are fighting budget cuts and understaffing to provide tools and access to knowledge.
— By Jean Dykstra 02/14/2014
Patrick Nagatani: Outer and Inner: Contemplations on the Physical and the Spiritual
Andrew Smith Gallery (annex), Santa Fe
Patrick Nagatani, Yellow / 13 from The Race, 2013. © Patrick Nagatani, courtesy Andrew Smith Gallery
Patrick Nagatani is known for the biting wit expressed in his distinctive and theatrical visual commentaries. He fabricates fact-based, fictionalized narratives into seamless color images such as Nuclear Enchantment (1991), in which he addressed New Mexico’s nuclear industry, and Japanese American Concentration Camps (1995), in which he explored his family’s experiences during World War II in America. In his latest work, Nagatani has taken on the roles of producer, director, photographer, and editor of a photo-novel in collaboration with pilot/videographer Scott Rankin and artist/designer Randi Ganulin.
Taking up the entire space at the Andrew Smith Gallery Annex through April 30, the show samples three bodies of Nagatani’s work: Novellas (1992-2004), The Buddhist Tape-estries (2000-2010), and the still-in-production photo-novel The Race. The inspiration for this highly reflective exhibition is health related: “In dealing with metastatic cancer stage 4 for five months,” Nagatani stated in the gallery’s press release, “I have been dealing with the realization of impermanence and have been introspective of the spiritual and the physical aspect of my life as it is.”
Patrick Nagatani, 436-N Untitled (Novellas), 1997. © Patrick Nagatani, courtesy Andrew Smith Gallery
Nagatani studied with Robert Heinecken at UCLA and was influenced by Heinecken’s photo constructs. The Race is itself an imaginary construct that presents 15 sequential color prints depicting a single, scale-model Spitfire floatplane flying in open skies amid various cloud formations. Each image will illustrate a chapter in the novel dedicated to 15 fictional female pilots, all of whom are participating in a trans-Pacific race from Tokyo to San Francisco. Each plane is identified by color and number as marked on the fuselage. Printed below each photo is a synoptic bio of the pilot. For example, "Copper/4 is piloted by Raya Sol del Mundo, b. 1952, Southwest U.S. of Native American and Mexican descent learned to fly while attending UCLA. Personal statement: I saw my body free of any physical bonds. I could soar in the sky and touch the clouds of my childhood dreams. I wanted to break free of gravity and metaphorically break free of ties to location. I wanted to soar above my ‘mundo.’" In this expansive show, Nagatani’s new work soars above his own fictional world.
— By Douglas Fairfield 02/13/2014
New Photo Gallery in Boston
Photo by David Mattox
Boston is home to a new gallery for photography, 555 Gallery, at 555 East 2nd Street in South Boston. The first exhibition at the gallery, which is housed in a renovated 1950s manufacturing plant, is Barbarous Coasts, with photographs by David Mattox and Neal Rantoul, which opens February 13. There will be a reception with Mattox on February 15, from 5 to 8. Susan Nalband is the gallery's director and Glen Ruga is a consulting curator.
— By Jean Dykstra 02/05/2014
Fred McDarrah: Save the Village
Steven Kasher Gallery, New York
Fred W. McDarrah, Bob Dylan in Sheridan Square Park NYC, January 22, 1965. ©Estate of Fred W. McDarrah, courtesy Steven Kasher Gallery
Bob Dylan squints in the sun as he sits, cross-legged and pensive, on a bench in Sheridan Square; Bob Rauschenberg, wearing a trench coat, grabs a quick smoke in an abandoned lot; and Andy Warhol, clad in a leather jacket, takes a picture of “us” on a sunny sidewalk outside the offices of the Village Voice. To be accurate, Warhol isn’t taking a picture of us, but of Fred McDarrah, and it’s a nice bit of solipsism. Celebrity can be over-done, but not in this smartly installed show of the under-sung Village Voice photographer’s oeuvre on view at Steven Kasher Gallery through March 8. Seen in aggregate, what lingers is the humanity in every scene, no matter how famous its subject.
McDarrah, prolific and highly organized, kept a thorough archive of his work from the 1950s to the 1980s (some 35,000 prints), and his images have graced many a Voice cover. That said, there has yet to be a comprehensive exhibit devoted to him. This show marks McDarrah's largest survey to date, and despite the fact that there are more than 140 prints on view, not a single image feels superfluous. Kasher shrewdly clusters the vintage gelatin-silver prints into loose typologies around the entire gallery space: full-body shots of folks like Ed Koch and Bella Abzug marching; interior group scenes with a theatrical edge (Warhol’s Factory actresses--one topless — in a green room); and perhaps best, candid portraits and head shots that are just plain fun to look at (a somewhat agog Fred Trump; a blithe Nicky Barnes, Harlem drug kingpin turned informer, outside the Federal Courthouse). McDarrah developed his own film and made prints in the West Village apartment where he lived for many years, and the call of the sidewalks outside is almost palpable.
Fred W. McDarrah, Women of the World Unite, Women's Liberation Demonstration, August 26, 1970. ©Estate of Fred W. McDarrah, courtesy Steven Kasher Gallery
My favorite shots focus not on individuals but anonymous folks and their hopes, like “Women's Liberation Demonstration, August 26, 1970.” The latter gives us a sea of women raising their fists in power salute. The “bunting” of a WOMEN OF THE WORLD UNITE! banner isn’t pinned; its scalloped edges are the result of so many grabbing hands. It's ideas that make up change in a society. Not charismatic individuals, but a certain collective spirit. Somehow, McDarrah makes a portrait of that, too.
— By Sarah Schmerler 02/04/2014
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 Gallery, 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