Carolle Bénitah: Photos-Souvenirs
Sous Les Etoiles Gallery, New York
Carolle Bénitah, La cage dorée/The Golden Cage, 2012. Courtesy Sous Les Etoiles gallery
Moroccan photographer Carolle Benitah excavates memories from her family album and approaches photographs as unresolved material. She uses needlework to transform original snapshots with thread and pearls, disfiguring faces with red lines, putting parents and children in a golden thread cage, drawing flowers around the protagonists and plunging them into a fairytale.
Benitah describes her process as a kind of exorcism, piercing the picture until her pain is relieved and imbuing family photographs with a disquieting feeling. In one photograph, she is about six years old and holding hands with her smiling brother, but an army of cockroaches surrounds the children, and their hands are bound together in a ball of red wool.
Carolle Bénitah, Les cafards/The cockroaches, 2009. Courtesy Sous Les Etoiles Gallery
In this show at Sous Les Etoiles Gallery through May 17, the images are organized chronologically and unravel Benitah's personal history while outlining an inventory of amateur photography. Black and white snapshots from the early 1960s precede the warm colors of Kodak film from the '70s. As the years progress, people disappear from the pictures, leaving her alone, submerged in thought in a photograph in in front of the ocean, about to be engulfed by a needlepoint wave.
The artist's theme could be said to be love, and particularly the fear of not being loved that shapes and restrains women's desire at an early age. Unambiguously entitled What can't be said, a series of Benitah's photographs is comprised of close-ups of mouths, on which she wrote a series of silent desires. There is a dose of violence in Benitah's images, but in the end the prettiness of the needlepoint softens it.
— By Laurence Cornet 04/22/2014
A New Space for Photo-Eye
Photo-eye Gallery in Santa Fe is celebrating its 35th year with a move from Garcia Street to the Railyard Arts District in Santa Fe. As part of the transition, the bookstore will move into the current gallery space, now dubbed the Bookstore + Project Space.
— By Jean Dykstra 04/17/2014
Maroesjka Lavigne: Island
Robert Mann Gallery, New York
Maroesjka Lavigne, Viewpoint, Gullfoss, Reykjavik, 2011. ©Maroesjka Lavigne, courtesy Robert Mann Gallery
In a photograph that recalls Caspar David Friedrich's Wanderer Above the Sea of Fog, a lone figure overlooks Iceland's Gullfoss waterfall. Unlike Friedrich's wanderer, who towers confidently over the scene beneath him, Belgian photographer Maroesjka Lavigne's subject is nearly indiscernible in the landscape, his black clothing almost completely blanketed in snow.
He’s not the only person or man-made object made small by nature in Lavigne's series Island, on view at Robert Mann Gallery through May 17. A swimmer floating in a turquoise pool is rendered faceless by Lavigne's flash against the surface of the water. A red bus and a red roof are almost entirely veiled in white. Nature, if not humanity's superior, often seems at least its contemporary, a force with which to be reckoned.
But Lavigne's perspective is not so simplistic. Just as often, we are forced to consider humanity's influence on nature. In one photograph, a smattering of pink shrimp lie fetus-like across a clinically white kitchen sink. In another, taken at Reykjavik's Blue Lagoon, the tops of bodies are dots across the landscape, drifting in a cloud of steam rising from the water. Or is that haze from the industrial facility, just visible in the background, spewing clouds of smoke from a set of chimneys?
Maroesjka Lavigne, Shrimps, Reykjavik, 2011. ©Maroesjka Lavigne, courtesy Robert Mann Gallery
What is natural anyway? Amidst a flat environment of brown stone and leafless trees, Lavigne photographs a white arctic fox at suspiciously stiff attention, looking almost too perfect to be real (evoking her series Animal Cabinet, which includes images of actual taxidermied animals). In another photograph, a circle of partly melted snowmen stand in a Stonhenge-esque formation, raising questions about its origin and relation to the natural world.
Lavigne’s Iceland is frequently strange and phantasmagorical – more David Lynch than National Geographic. In perhaps her most cinematic portrait, a young woman gazes pensively out a car’s dark window, a small band of light framing her eyes like a masquerade mask.
Lavigne’s brilliance lies in this interplay between the familiar and the extraordinary. At first glance, the hallmarks of Icelandic photography are immediately present and ubiquitous in her work: the vast, wintry landscapes, the soaring mountains, the quaint, isolated homes. But she is always looking beyond the expected. Her images, consequently, bring novelty and intelligence to a subject too often photographed beautifully but uninventively. Lavigne was only 21 years old when she photographed Island, but her complex vision transcends her age.
— By Jordan G. Teicher 04/16/2014
George Dureau, 1931-2014
George Dureau, Arthur Desilva, 1989. Courtesy Arthur Roger Gallery
New Orleans photographer George Dureau passed away on April 7 at the age of 83. In sculptures, drawings and photographs, Dureau focused on the human figure, but he was perhaps best known for his black-and-white nude portraits of men, some explicitly homoerotic, and some picturing men with missing limbs. "I think he had a way of depicting his subjects (including amputees and dwarves) that was very frank but very evocative at the same time," Miranda Lash, curator of contemporary art at the New Orleans Museum of Art, told the Times-Picayune. "He did it in a way that seemed powerful and heroic."
Born in New Orleans, Dureau attended Louisiana State University, earned a fine arts degree, and spent decorated department store windows for a time. After serving in the Army, he studied architecture at Tulane and became a fine artist.
Dureau, who influenced the work of Robert Mapplethorpe, among others, may have been better known had he moved to New York, but he remained a lifelong resident of New Orleans.
— By Jean Dykstra 04/15/2014
More AIPAD Picks from Elisabeth Biondi
Robert Mann Gallery, New York
Harry Bowers, Jane #1, 1978/2014. Courtesy Julie Saul Gallery
The colors of Harry Bowers's photo are bright and cheerful and there is an odd flatness to the photograph that reminded my of Japanese prints. Vaguely erotic, certainly a contemporary photograph, I thought. It turns out it was made in 1978, subsequently lost and then re-discovered in 2004. Harry Bowers, a pioneer in scanning, technology, devised a way to photograph the garments that makes them so vibrant and flat.
Jen Davis, Untitled No. 39, 2010. Courtesy Lee Marks Gallery
Like a vermeer painting, the composition is perfect, the light exquisitely beautiful. Jen Davis's self-portrait -- she photographed herself for 11 years -- went straight to my heart. I could not take my eyes off her defiant face and wondered what thoughts led to this complex expression.
— By Elisabeth Biondi 04/14/2014
Elisabeth Biondi's AIPAD Picks
Robert Mann Gallery, New York
Allen Frame, Mariachis, Mexico City, 2000. Courtesy Gitterman Gallery
I think of AIPAD as the Tiffany of Photography Fairs. It is tilted towards classical photography and vintage prints but each year more contemporary photography can be seen. It is a great stroll through the history of photography from its beginning until today. What follows is my subjective, idiosyncratic, insticntive choices.
I love the mystery of the photograph-late at night, outside, somewhere in mexico. It makes me dream up a short story filled with nocturnal pleasures.
Masao Yamamoto, #1529 Kawa=flow, 2007. Courtesy Fifty One Fine Art Photography
Masao Yamamoto's photography is a little jewel. It is an image reduced to its essentials, very japanese, very zen. I become calm and peaceful admiring it.
Michiko Kon, Rabbit and Eyes, 2013. Courtesy Photo Gallery International
This was the most surreal photograph I saw. I looked at it wondering how the artist created this strange alien easter bunny. The answer is that Michiko Kon, a photographer well known in Japan, constructs a sculpture with natural ingredients-- flowers, food, etc.-- and photographs it the same day and before it perishes.
— By Elisabeth Biondi 04/14/2014
Sarah Schmerler's Picks from AIPAD
Robert Mann Gallery, New York
James Welling, 4580, 2007. Courtesy David Zwirner Gallery
Photography has been chasing painting since its invention, or so the story goes. But not so at AIPAD this year. Art fairs give viewers a lot to look at in a limited space; they give us a snapshot that is as much about economic bottom lines as about artistic horizons. The closer those two extremes get, the healthier the medium. Images like the following, to me, close the gap.
Light is photo's material muse, and it was a show stopper in two photos by James Welling at David Zwirner's booth. Welling went to Philip Johnson's famed Glass House in New Canaan, Connecticut, and shot prismatically gorgeous, blown-out images like the ones you see here, on site, using gels but no manipulation post capture. What results is a triple threat: someone else's art from the past (Johnson's), inside a work of contemporary art (Welling's), that's about the medium itself (photography).
Inka Lindergard and Niclas Holmstrom, Becoming Wilderness IXA. Courtesy Grundemark Nilsson Gallery
Roman Signer-esque ephemeral gestures were captured on film by Finland-born Inka Lindergård and Swedish-born Niclas Holmström, who released a highly reflective powder into the air by the beach at night and made it look like mist caught in the camera's flash. On view at Grundmark Nilsson Gallery, both are under 30, and the fun they seem to be having fixing light onto paper is palpable.
Beatrice Helg, Crepuscule XVI, 2006. Courtesy Joel Soroka Gallery
Swiss-born artist Beatrice Helg (who showed at Joel Soroka Gallery) makes somewhat more ponderous images but with a nicely evasive shimmer in a series that, appropriately enough, is entitled "Crepuscule" (Twilight). The metal plates nest within one another as if on a proscenium stage set, and the corrosions are the result of the artist playing with acids and such before making the shots. Scale? Context? Who cares. Helg's facility with conveying visual weight (think: abstract oil painting) render questions like these moot.
Likewise, Lauren Semivan, brought by Bonni Benrubi Gallery, blurs the lines between fine art and photographic art -- quite literally. She makes ephemeral drawings in charcoal on the wall, photographs them, erases them by wiping down the wall, and starts again. The photos last; the drawings don't. We'll be hearing more from this young, Detroit-based artist.
And finally, in deference to the art of the photogram, that early, boundary-crossing process, we get an embarrassment of riches at Alan Klotz's booth in the form of Theodore Roszak's geometric compositions from the late 1930s. Museum curators buy them because they know that artists (like Roszak, who is better known for his sculptures) often prefer to work in more than one medium, and that all are equally valid -- and valued. Those who have an eagle eye for tracking an artist's vision, no matter the material in which it's expressed, beat the market at its own game.
— By Sarah Schmerler 04/14/2014
2014 Guggenheim Fellowships
Congrats to Robert Dawson, LaToya Frazier, Jason Fulford, Phyllis Galembo, Gregory Halpern, Brenda Kenneally, Andrew Moore, Lori Nix, Matthew Pillsbury, Mark Ruwedel, Rachel Sussman on receiving a 2014 Guggenheim fellowship http://bit.ly/1lNaXPM
— By Bill Mindlin 04/10/2014
Lisa Sette Relocating
The Lisa Sette Gallery is moving from its longtime home in Scottsdale, Arizona, to midtown Phoenix. The gallery will relocate to an Al Beadle-designed modernist building in downtown Phoenix this summer and its inaugural show there is scheduled for June. A 30-year celebration is slate for the following year. Sette’s roster includes work by conceptual photographers Fiona Pardington and Luis Molina-Pantin and shows by Masao Yamamoto and Mark Klett, among other artists.
— By Jean Dykstra 04/07/2014
Photo Eye: Avant-Garde Photography in Europe
Museum of Fine Arts, Boston
Josef Sudek, Labyrinths. Courtesy Museum of Fine Arts, Boston
The years between the two World Wars produced major experimental transformations in politics and in art. Surrealists sought to alter consciousness by viewing common sights askance and bringing the unconscious up for inspection. Photographers proposed to change the nature of vision: László Moholy-Nagy coined the term “the new vision” for his belief that photography could revolutionize perception by seeing the world in a way that eyes could not.
Photo Eye: Avant-Garde Photography in Europe at the Museum of Fine Arts, Boston, through July 6 is a relatively small show – 45 images, mostly from the museum’s holdings – that touches on a large topic. The show strays beyond the dates occasionally and includes a few images that don’t seem to fit, but there are many pleasures and some revelations, including several by little-known photographers – a clever photomontage by the German Friedrich Vordemberge-Gildewart; two Czech amateurs, Jan Lauschmann and Eugen Wiskovsky; and Ivan Shagin’s stunning image, part photojournalism, part propaganda, of a scientific experiment to send an enormous balloon into the stratosphere, powered by advanced Soviet science.
Man Ray, Untitled (The Primacy of Matter over Thought). Courtesy Museum of Fine Arts, Boston
Experimental approaches were immensely varied and included the photogram, bird’s-eye angles, photo-montage, and a bit of Surrealism, including Herbert List’s deadpan image of half an ancient stone leg and a lonesome stone foot in a museum garden. Light, shadow, and reflection often outweighed the nominal subject, and common objects were made strange or combined with abstract forms. Extreme close-ups, color, and solarization were other techniques -- Man Ray’s lovely The Primacy of Matter over Thought straightforwardly depicts a woman’s face, but a gray cloud, perhaps her mind, springs from her forehead.
A few photographers acknowledged current events, glorifying industry, machines, and technology, and both Brassaï and Kertész photographed homeless men beside posters touting the good life.
The dominance of experiment sets European modernism apart from American photography of the period. Americans like Edward Weston, and Ansel Adams at times, were modernists, but the preeminent American mode during the Depression was documentary – from the FSA and WPA to the Photo League. Experiment here was marginal, as had long been true of American arts and its conservative audience. When European artists and photographers immigrated in force, packing contagious experimentation in their bags, American art was primed to catch the fever.
— By Vicki Goldberg 04/07/2014
Lower East Side Photo Walk
The number of galleries on the Lower East Side continues to grow, and the dealers have organized a Lower East Side Photo Walk on Sunday, April 13, to coincide with the AIPAD Photography Show. So leave some time to venture downtown, because more than 25 galleries with photography shows are participating in the walk, from Anastasia Photo and BOSI Contemporary to Sasha Wolf Gallery and LMAK. Galleries are open from 12 to 6 pm.
— By Jean Dykstra 04/04/2014
Roe Ethridge: Sacrifice Your Body
Andrew Kreps Gallery, New York
Roe Ethridge, Double Ramen, 2013. Courtesy the artist and Andrew Kreps Gallery
Other things this exhibition at Andrew Kreps asked viewers to sacrifice were: residual notions of originality in photography, good taste, a sense of history, belief in the cognitive value of art, and the comforting irony of camp.
Have we cleared the decks? That seems to be Roe Ethridge’s ongoing intention -- to demonstrate the exhaustion of virtually every genre of photography, from the commercial still to the art photograph. How else to explain, for example, two versions of the same image of a flounder, one simply a crop of the other, or a diptych of ramen noodles that involves the side-by-side juxtaposition of the same banal image? One good thing about Ethridge is that he seems not have subscribed to any platitudes about the “transformation” of photography and its turn to abstraction, process, or sculpture. He keeps his eye squarely on the ball: how do we make pictures now, of what, and why?
Confronted by photographs that happily engage their roots in advertising, fashion, product still life, and vernacular imagery without ever promising to breathe new life into these convention-bound containers, viewers are by now apt to see in this work a terrible atavism. Even mortality – especially mortality – is a contentless cliché.
Roe Ethridge, Football and Lavender, 2013. Courtesy the artist and Andrew Kreps Gallery
The skeleton in the title image is a jumble of plastic bones and a skull adorned with a Florida Seminoles baseball cap; “sacrifice your body” sounds like a football injunction. But Ethridge’s enormous influence on younger photographers reveals a struggle beneath the surface of contemporary photography to recover a distinctive value for its pursuit. There’s no going back to the prelapsarian days of the New Color, of the unphotographed and unconsecrated universe of places and things, and we can see photographers from Elad Lassry to Thomas Demand facing up to art photography’s irrelevancy in the face of a tsunami of image exchange. They’ve made probing pictures, but neither one has confronted the sheer familiarity of contemporary imagery as directly as Ethridge has. He has bent each stereotype he engages, and in doing so has shown younger photographers how to open up a space of discovery and pleasure, how not to be crippled by a sense that all the pictures have already been taken. Freedom involves deliberate forgetting of the past, recognizing that photographs are beautiful, and believing that the world is the best thing that ever happened to a camera, and vice versa.
— By Lyle Rexer 04/02/2014
Laurie Simmons: Kigurumi, Dollers and How We See
Salon 94 Bowery, New York
Laurie Simmons, Redhead/ Red Dress / Selfie, 2014. Courtesy Salon 94
Since her seminal disquieting photographic tableaus from the Seventies, Laurie Simmons has employed dolls as psychological surrogates for emotionally fraught social interrogations of the human condition. In a delightful twist, Simmons shifts, in her latest work, on view at Salon 94 through April 28, to the subject of people who dress as dolls to enter into elaborate role-playing fantasies. Consistent throughout is a wonderful sense of play, of artifice and humanness converging into an almost formalist frisson, and a potent double dose of visual seduction and disturbing subtext. But while people have played with dolls for centuries, Simmons’s appropriation of these relatively recent subcultural behaviors raises perplexing questions about the nature of identity in this highly mediated reality.
Titled Kigurumi, Dollers and How We See, Simmons’s portraits of people/personae take their cue directly from the massive field of Cosplay, a contraction of “costume” and “play” that has emerged from Japanese youth culture. Born of the characters and storylines created in manga comics, anime, and video games, Cosplay has spread like a viral meme among youth around the globe. This is a hybrid that seemingly begs hybridity, easily absorbing the latent energies of escapism we might find anywhere, from Renaissance Fairs and Civil War reenactments to Trekies or the audience participation in midnight Rocky Horror Picture Show screenings of yore. Imagine the utter suspension of disbelief that children exercise magnified beyond imagination into a massive DIY industry of costume production, conventions, lifestyle identifications, and a highly mobilized social interconnectivity, and you get a small picture of the immense pathology that Simmons has tapped into.
Laurie Simmons, Blonde/ Pink Dress/ Standing Corner, 2014. Courtesy Salon 94
Less about social anthropology than adapting this language to her own artistic vision, Simmons’s large-scale photographs of Kigurumi (a performance-based subgenre of Cosplay) irons out the disjunctive aspects of the medium into a far more aesthetic plane. While Cosplay is often unintentionally hilarious as short fat kids transform themselves into impossible anatomical ideals as only animation can create, Simmons is all about invoking as believable a fiction as possible. Hiring her own models/actors keen on this game of pretend, commissioning masks from a Cosplayer in Russia, and adorning her characters not simply in the usual “zentai” skin-tight full bodysuits but also with latex fetishwear, Simmons conjures archetypes of skewered meaning, at once cloyingly super-cute and deeply eroticized, figures of poetic innocence and profound perversity. In a bow to the mass projection and malleability of identity today, one suite of Simmons’s photographs are in fact selfies taken by the characters themselves, a perfectly post-modern bit of authorship from this formidable voice of the Pictures Generation.
— By Carlo McCormick 03/29/2014
Getty Museum Acquires Tress Photographs
Arthur Tress, Child Buried in Sand, Coney Island, 1968. ©Arthur Tess, courtesy the J. Paul Getty Museum
The J. Paul Getty Museum has acquired 66 gelatin silver prints by photographer Arthur Tress. The bulk of the acquisition consists of staged images of children from his series The Dream Collector (1972) and Theater of the Mind (1976). They are the first photographs by Tress to enter the Getty’s collection.
Tress began his career as a street photographer but eventually became more interested in staged, more theatrical images.
— By Jean Dykstra 03/28/2014
Amy Elkins Wins Aperture Portfolio Prize
Amy Elkins, Eliot Johnson, Executed June 24, 1987; age 38.
Parting Words consists of black-and-white portraits of inmates who were executed, constructed using the subjects’ own final words.
Black is the Day, Black is the Night intersperses letters exchanged with inmates with images that attempt to capture the interior landscape evoked in the letters, from imagined seascapes to items described by inmates. She has also created color portraits of inmates in which their faces are pixilated and obscured based on the length of time they’ve been incarcerated.
“A system that uses long-term solitary confinement and capital punishment is broken,” Elkins has observed. The work, thoughtful and elegiac, asks viewers to contemplate the dehumanizing aspects of capital punishment.
— By Jean Dykstra 03/28/2014
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 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