Carrie Secrist Gallery, Chicago
Carson Fisk-Vittori, Women Weed & Weather, 2013. Courtesy the artist and Carrie Secrist Gallery
The gallery smells of the feminine hygiene products—Raspberry Rain shave gel and Japanese Cherry Blossom body spray—that are integral units in Carson Fisk-Vittori’s photo-and-sculpture assemblages, on view at Carrie Secrist Gallery through January 4. The saccharine scents are manufactured to signify cleanliness, and the artist coolly critiques the triumph of ersatz natural experiences. Fisk-Vittori’s artworks in Women Weed & Weather parody store product-displays and commercial advertising imagery to illustrate the extinction of the nature-culture divide.
The artist emerged several years ago with real-life still-lifes (as sculpture) that included houseplants adorned with inappropriate objects, such as thumbtacks. Now, her botanical interventions function as stage design for a new photo-based project. Fisk-Vittori’s photographs of urban nature, as spotted around Oakland, are supported (sometimes literally, as in Windshield Display) by bottled nature. In a twist on nature photography, the artist focuses her camera on instances where nature is a nuisance, such as weeds, and human attempts to beautify nature, such as gardening.
Carson Fisk-Vittori, Nature Window, 2013. Courtesy the artist and Carrie Secrist Gallery
Fisk-Vittori happily confuses the motives of commercial and art photography. In Nature Window, a smart phone seemingly sprouts from a plant. As an instance of product placement, it’s unclear which is the more desirable commodity: the phone or the plant. This puzzle is further complicated by Nature Window’s display upon an emerald green painted wall—the same green of the photo’s background and of green-screen technology, which productively substitutes the realistic for the real.
The artist’s images and objects have a second life beyond the gallery. An intentional consequence of the artist’s packaging of her photos—the prints are sandwiched between Plexiglas and aluminum—and integrated with readymade objects, is that the exhibition documentation, when viewed online, convincingly masquerades as a type of stock-photo collage that is now proliferating on Internet visual culture websites like Tumblr, in which the artist readily participates. The “weeds,” as referenced in the show, symbolize absurdist viral trends, and viewers are merely shoppers browsing for the truest distortion of aesthetic experience they can find.
— By Jason Foumberg 12/13/2013
Attention Photographers: Interested in the South of France this Summer?
La Bastide d'Esparon, France
If a week in the south of France reflecting on your photography and working with fellow photographers distinguished mentors sounds like a dream come true, keep reading.
The Photography Master Retreat is a one-week retreat for passionate photographersthat will be held on July 12 to 19, 2014, in the south of France. Participants will stay on the estate of La Bastide d’Esparon near Arles.
Guided by mentors critic, curator, and educator Lyle Rexer, curator, writer and editor Elisabeth Biondi (both of whom are also contributors to Photograph), and photographer Martine Fougeron, the retreat is designed as an opportunity for photographers to reflect on and refocus their work. Portfolio reviews, gentle critique, discussions and introspections are an integral part of the program. Between 12 and 14 people will be accepted, and applications are due before January 6, 2014. A link to more information, including the application, can be found here.
— By Jean Dykstra 12/11/2013
API Launches Online Exhibition
Kurt Caviezel, Insect 14, 2009, from his series, Animals, of video frames taken by publicly accessible net cams.
The Art Photo Index (API) has launched its inaugural online exhibition, Fear & Loathing. Curated by Katherine Ware, curator of photography at the New Mexico Museum of Art, the show includes 117 images by 94 photographers, some from the API site and some directly submitted by photographers. API is a searchable index of work by fine art photographers that includes more than 20,000 images. As the title might suggest, the squeamish and the faint of heart, beware.
— By Jean Dykstra 12/09/2013
Vivian Maier: Self-Portrait
Howard Greenberg Gallery, New York
Vivian Maier, Self-portrait, 1954. Vivan Maier / Maloof Collection. Courtesy Howard Greenberg Gallery
Vivian Maier's self-portraits couldn't be farther from the current “selfie” craze; her works are full of a strong sense of composition and pictorial narrative – qualities one doesn't associate with moments of self-indulgence shot on a smartphone camera. Howard Greenberg Gallery makes a fleeting reference to the term in its wall text in this well-focused show, up through January 4 (which includes 41 self portraits, in both black and white and color, shot by Maier between 1950 and 1979) all the better to throw her oeuvre into sharp relief.
The story behind the work is now legendary; Maier, who worked as a nanny for some three decades, shot truckloads of negatives and told almost no one, rarely, if ever, printing her work. In 2007, John Maloof, a Chicago-based historian, changed all that, buying up her negatives at auction and (with the help of Greenberg and others) having them printed posthumously. So: Maier herself never expected to exhibit a single one of her self-portraits – yet they are all the more intimate, and appealing for that fact. Watching Maier watching herself here is like voyeurism to the nth degree.
Maier's presence is so unapologetically lacking in vanity it's almost jarring; she’s pointy chinned and plain; her skinny figure clad in simple, functional clothes. Often she wears a scrunched-up man's hat, giving her a decidedly masculine outline. In one outdoor photograph, Maier looms as a large shadow over a convex stainless steel orb placed right where her sex should be. In another, her shadow is cast over a smooth beach where the tide has just gone out; sitting in the spot of her “heart” is a single horseshoe crab, all spiny armor and barnacles. Are these comments on Maier's inner feelings, or just excellent formal moments? Either way, Maier has a spot-on sense for how to drop herself out of the frame, and ease in the bits of photogenic, metaphor-rich marginalia that are shimmering around her. In one of the best shots here, Maier gets reflected, but just barely, in a scatter of bright shaving mirrors placed on a black store window display. The roundness of the mirrors is like a near surreal analog for the lens of the camera itself, and it, not Maier, gets the last word.
— By Sarah Schmerler 12/08/2013
David Vestal, 1924-2013
David Vestall, photo by Len Kowitz
Photographer, writer, and teacher David Vestal passed away this week at his home in Bethlehem, Connecticut. Vestal, who received two Guggenheim Fellowships, was involved in the Photo League in the 1940s. He wrote for various art publications and published two books, The Craft of Photography (1975) and The Art of Black-and-White Enlarging (1984). He taught at a number of institutions, including Pratt, Parsons, the School of Visual Arts, and his work is in the collections of the Metropolitan Museum of Art, the Whitney, and the Art Institute of Chicago, among other institutions, and he was represented by the Robert Mann Gallery.
— By Jean Dykstra 12/05/2013
Danny Custodio: Trees
Gallery Kayafas, Boston
Danny Custodio, Tecumseh St., 2010. Courtesy the artist and Gallery Kayafas
From the majestic honey locust trees dotting the battlefields at Gettysburg to the more humble arboreal urban survivors entwining themselves around chain-link fences, trees have a lot to teach us about patience and resilience. Canadian photographer Danny Custodio adds a novel chapter to this continuing saga by turning his observant lens on his hometown.
Danny Custodio, Welland Canal Pkwy. #2, 2013. Courtesy the artist and Gallery Kayafas
Once composed mostly of farmland, St. Catharines, Ontario, today supports extensive housing tracts and is a way station along the telecommunication highway between Canada and the US. To make way for the massive power lines stretching across the landscape, city workers are dispatched each spring to prune the encroaching limbs from neighborhood trees. They freely hack through the middle or lop off an entire side of a tree making coexistence between humans and nature a bittersweet arrangement. Despite this extreme pruning, the trees are flourishing resulting in bizarre forms that resemble topiaries on steroids. In this show on view in November at Gallery Kayafas, Custodio forced viewers to reconcile with what remains of the leafy splendor by composing the tree’s negative space against an overcast sky and a view of the manicured streets below. A large ash on Tecumsah St, its center removed, appears to be spreading a pair of leaf-covered wings, trying in vain to extricate itself from its rooted existence. A maple tree on Welland Canal Parkway recalls an oversized burgundy crescent moon and the top of a tree on Grantham Street with its left side chopped off, resembles a beast peering over electrical wires toward a distant land. Blue recycling containers and a bird house visible alongside the houses point to an environmentally conscious community, making the harsh terms inflicted upon their neighborhood trees appear even more paradoxical. By witnessing their resilience, Custodio restores some dignity to these otherwise tragic and comic survivors.
— By Edie Bresler 12/04/2013
Barry Friedman Retiring
After nearly 50 years in business, dealer Barry Friedman has announced that he is closing his gallery in March. Christie’s New York will host several auctions of artworks from his holdings on March 25, 26, and 27 titled Barry Friedman: The Eclectic Eye.
“I turned 70 earlier this year,” said Friedman in a statement released by the gallery, “and as I am in good health with lots of energy, I would like to take advantage of this and spend more time with my family and travel the world. In addition, I am looking forward to having the time to work on a project that I have been talking about for years – writing a book that chronicles the incredible works of art that have passed through my hands during my career.”
In addition to collecting and dealing in design and the decorative arts, Friedman began collecting avant-garde photography in the 1980s. He and Edwynn Houk formed the Houk Friedman Gallery for a time, and Friedman continued to show photography in his gallery, including work by Michael Eastman and Arno Rafael Minkkinen, among others.
— By Jean Dykstra 12/04/2013
Meet Me in Miami
On view at Jackson Fine Art at Art Miami: Jeannette Montgomery Barron, Willem DaFoe, 1980. Courtesy the artist and Jackson Fine Art.
As the temperature drops, collectors, dealers, and curators are heading to Miami this week for the proliferating art fairs, and maybe a little sun and sea air. Art Basel Miami Beach (December 5-8) has more than 250 participating galleries, and among the photography highlights is the United States premiere of the film Nan Goldin: I Remember Your Face, by Sabine Lidl. Art Miami (December 3-8) returns to Miami’s Wynwood Arts District with galleries such as Bonni Benrubi Gallery, C. Grimaldis Gallery, and Jackson Fine Art. If that’s not enough to keep you busy, the city is also hosting the Miami Project (December 3-8), Red Dot Miami (December 3-8), NADA Miami (December 5-8), Pulse Miami (December 5-8), and SCOPE Miami (December 5-8).
— By Jean Dykstra 12/03/2013
Thomas Demand: Dailies
Matthew Marks Gallery (526), New York
Thomas Demand, Daily #15, 2011. ©Thomas Demand / Artists Rights Society (ARS) New York / Courtesy Matthew Marks Gallery
This was easily the most unsettling photographic project on view in New York this fall. The hints had been there all along in Thomas Demand’s work, but in some sense the subjects of those pictures had obscured the full implications. No running away now. As everyone resident on the art planet knows, Demand has carved out a niche in photography by creating minimal paper and cardboard models of culturally loaded mises-en-scene (the tunnel where Princess Diana was killed, the Oval Office of Barack Obama) and photographing them. These “documents” have a peculiar status. Stripped of much of their specific information, they seem like postcards from the future, when viewers will no longer recognize, much less identify with, what is depicted. In a sense, this is the fate of photographs, to lose information the farther they are in time from their audience. That’s one interpretation. The other has to do with the circulation of images in the mass media, so common that their vague outlines form a kind of test pattern to our consciousness.
Thomas Demand, Daily #2, 2008. ©Thomas Demand / Artists Rights Society (ARS) New York / Courtesy Matthew Marks Gallery
All these works presumed a fairly straightforward role for the camera at a literal level and an only slightly more complicated one for photography generally, involving memory on the one hand and desire on the other (why look?). “Dailies,” at Matthew Marks through December 21, turns the photograph itself into a paper model. Demand’s method hasn’t changed but his focus has shifted. Photography is the subject, and the unsettling question has become: why are we taking all these pictures? For some time Demand has been shooting with a cell phone camera, and these diaristic images serve as models for the recent work. He selects the images from his archive (say, a paper cup stuck in a fence or cigarette butts in a floor ashtray), then recreates them in paper and photographs the new scene. The simplicity and quotidian character of the subjects reflect the possible influence of the Italian photographer Luigi Ghirri, whose eye for the ordinary most often focused on events of representation in the real world. Even more prominent, however, is Demand’s engagement with cell phone photos – their celebratory triviality, ubiquity and stereotypical character. We’ve seen all these “dailies” a million times on the Internet, as a younger generation grows up ratifying the facts of existence with a picture. “Ratify” is really too strong a word. The generic blankness of Demand’s images suggests that no ghosts of memory or longing haunt photography today, only a desire to register some slight epiphany. It caught your attention for a moment, the concatenation of time, light and form. Perhaps there was a mystery there, or an oracle about to be delivered. It was beautiful, wasn’t it? But then you moved on.
— By Lyle Rexer 12/02/2013
Chuck Mobley Leaving SF Camerawork
Chuck Mobley, director of SF Camerawork, the nonprofit organization that supports emerging photographers, is leaving the post at the end of January. Mobley joined SF Camerawork 14 years ago as an intern, then became a gallery manager, associate director, and then director. The position has been posted on the SF Camerawork website.
— By Jean Dykstra 12/02/2013
Catherine Evans Named Chief Curator of the Carnegie Museum of Art
Courtesy Carnegie Museum of Art
Catherine Evans has been appointed chief curator at Pittsburgh’s Carnegie Museum of Art. Evans, who begins her new job in February, is leaving her post at the Columbus Museum of Art, where she was chief curator from 1996 to 2011, and curator of photography since then. Previously, Evans was an assistant curator at the Museum of Modern Art and at the Canadian Centre for Architecture in Montreal. Most recently, she organized the exhibition Radical Camera: New York’s Photo League, 1936-1951, together with Mason Klein of the Jewish Museum.
— By Jean Dykstra 12/01/2013
Balthus: The Last Studies
Gagosian Gallery (Mad Ave), New York
©Harumi Klossowska de Rola, Courtesy Gagosian Gallery
Balthus The Last Studies, at Gagosian‘s uptown gallery through December 21, features more than 100 Polaroids taken by the artist from 1990 to 2000. Most are grouped, or paired, according to subject and formal similarities. With a few exceptions, the photographs present the young model Anna in varying degrees of nudity. We can only guess her age in each image. (I guessed between 12 and 16 and hoped for 18.) These studies — for Balthus paintings of the same subject — are visually intelligent despite containing every cliché of pictorial photography: the muddy palette, the spider webs created by blotches of developing chemicals on the emulsion, the brocaded fabrics.
But no matter how painterly their aesthetic, these images are straight analog photographs, and as such, they describe an actual event. Balthus paintings might be interpreted as his fantasies, but confronted with Polaroids of a young girl with her head reclined and her legs spread, we can’t help imagining the artist, five time her senior, hovering over her with a camera.
©Harumi Klossowska de Rola, Courtesy Gagosian Gallery
This scenario is embellished by the wall label with Anna’s account of the ten years she spent modeling. The text reveals a complex relationship in which the adult Anna describes what she sees as an equal dynamics of power, despite her youth, between her and her portrayer.
We learn that Balthus started using a Polaroid because he couldn’t capably hold a pencil any longer to make preparatory sketches — he was not a photographer and didn’t intend to be one. Nonetheless, his estate decided that the pictures should not only be shown, but also reproduced in a lush two-volume publication (Steidl). One volume contains the complete corpus of Polaroids, the second reproduces select images at blown-up scale, bringing to mind David Hamilton’s 1971 Dreams of a Young Girl, possibly one of the more exploitative photo books published.
This exhibition and publication raise issues of authorship and the artist’s intention also relevant in other recent instances in which photographs and negatives are re-contextualized, enlarged or re-edited after the author’s death: the publication of Francesca Woodman’s Juvenilia, for instance, or the private color slides of Morton Bartlett made into large prints. In the end, Balthus the artist may be absolved, since he had no control over the handling of this material. As for Balthus the man, may we all live to 90 to find out if our response to old age would be undressing and photographing young girls.
— By Paola Ferrario 11/27/2013
Saul Leiter, 1923-2013
© Roger Szmulewicz
Photographer Saul Leiter died November 26 in New York. Originally a painter, Leiter ultimately photographed for such publications as Vogue, Esquire, and Harper’s Bazaar, but more importantly perhaps, he built a body of extraordinarily evocative street photography. Though he worked in color and black and white, he is known as one of the pioneers of color photography. Notoriously uninterested in seeking recognition, he worked somewhat under the radar until 2006, when the monograph Saul Leiter: Early Color was published by Steidl, and exhibitions of his work traveled throughout the United States and Europe. “Being ignored is a great privilege,” he once said. “That is how I think I learnt to see things others do not see….”
A documentary about the photographer, In No Great Hurry: 13 Lessons in Life with Saul Leiter, directed by Thomas Leach, was shown earlier this month at the New York Doc film festival.
— By Jean Dykstra 11/27/2013
Maine Philanthropists Give Collection to Portland Museum of Art
Eliot Porter, Redbud Tree in Bottomland, 1979. Portland Museum of Art, Maine. ©Amon Carter Museum of American Art
Philanthropists and photography collectors Owen and Anna Wells have donated 69 photographs to the Portland Museum of Art in Portland, Maine. American Vision: Photographs from the Collection of Owen and Anna Wells, on view from December 21 to February 23, 2014, will show 45 of the photographs in the collection, which includes many 20th-century photographers with ties to Maine.
Owen Wells is vice chair of the Libra Foundation, and Anna Wells is president of the Board of Trustees at the Portland Museum of Art. They began collecting in the 1990s and assembled a survey of photographic practice that includes such artists as Ansel Adams, Margaret Bourke-White, Paul Strand, Eliot Porter, and William Wegman.
— By Jean Dykstra 11/26/2013
Daniel Morel Wins Suit Against Getty Images/AFP
One of Daniel Morel's photographs of the 2010 earthquake in Haiti/ ©Daniel Morel
In a trial likely to be a landmark in terms of strengthening copyright protection for photographers, photojournalist Daniel Morel has won his suit against Getty Images and Agence France Presse (AFP). Morel was awarded $1.2 million in damages for copyright infringement of photographs he took in the aftermath of the 2010 earthquake in Haiti.
A Federal judge had ruled in January that Getty and AFP infringed on Morel’s copyright by distributing his images without his permission; this trial was held to determine whether the infringement was “willful and intentional.”
Morel was in Haiti at the time of the January 2010 earthquake, and he posted images of the destruction on his Twitter account. Those images were lifted from his account and re-posted under the name of another Twitter user, Lisandro Suero, and AFP picked up the images and distributed them through its own image service and through Getty, crediting them to AFP/Getty Images.
Morel’s agent, Corbis, sent take-down notices to Getty and AFP, but it took AFP two days to issue a kill notice, according to PDN Pulse, and when they did, they told clients and partners to kill images credited to Morel, but not the identical images that had been sent out initially under the false credit. Getty allegedly didn’t purge the images with the false credits, and continued to distribute them.
After Morel sued AFP, the company in turn sued Morel for “commercial disparagement,” sought to strip him of any copyright protection in his photographs, and requested compensatory and punitive damages against the photojournalist. The judge dismissed the claim that Morel forfeited his copyright in the photographs by posting them on Twitter.
Morel was represented by Joseph T. Baio, himself a collector of photography, and Emma J. James, both of Willkie Farr & Gallagher LLP.
According to a statement from Baio, “We and Mr. Morel are extremely grateful for the jury's careful evaluation of the evidence and the damages awards they have rendered against Agence France Presse and Getty Images for their conduct. Particularly satisfying to Mr. Morel are the jury's findings that these major agencies violated the Digital Millennium Copyright Act and willfully violated the Copyright Act when they wrongfully downloaded, misidentified, and licensed his iconic images of the immediate aftermath of the catastrophic 2010 Haiti earthquake.”
— By Jean Dykstra 11/24/2013
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