Doug Hall: Love and Architecture
Rena Bransten Projects, San Francisco
Doug Hall, Olympia of the Department Store, 1991/2015. Courtesy Rena Bransten Projects
Since the 1970s, Doug Hall’s work has addressed large power structures, from presidential politics to literal voltage, as seen in his notorious 1987 installation, The Terrible Uncertainty of the Thing Described, currently on view at the San Francisco Art Institute as part of SFMOMA’s off-site programming. His interest in more subtle power dynamics is visible in a compact show of photographs at Rena Bransten through May 16. Working with photographs culled from projects realized over the last 25 years, Hall has composed an elusive, layered meditation on commerce, buildings, and romantic desire—as well as on the artist’s own career.
Hall has taken the physical gallery space-- a modest ground-level storefront—as inspiration. He utilizes the shop window to display Olympia of the Department Store, a 1991/2015 C-print of a reclining female mannequin in a swanky but eerily empty retail setting. Nearby Hall nods to Walter Benjamin in The First Chapter, 2015, a slightly larger-than-life image of an open book, which features, on the left page, an image of an enclosed arcade, and on the right, a statuesque nude who could have walked off a Helmut Newton shoot. This mixture of image and text is part of a stated reference to André Breton’s 1928 Nadja, pages of which Hall re-photographed for a 2015 triptych in which he groups images of a hotel, black leather gloves, and a public park, together forming a loose narrative of a kinky European tryst.
Doug Hall, And then the torpor spread like smoke, 2015. Courtesy Rena Bransten Projects
The show has an intellectual vibe, tempered with more romantic imagery. This is perhaps best expressed in And then the torpor spread like smoke, 2015, an arrangement of nine smallish images -- of cigarette puffs, embracing couples, and fading flowers-- sourced from the Internet, itself an insidious form of information architecture. This works fits into a contemporary art vernacular, though, while others do not-- The Lonely Heart I 1989/2015, a grid of black-and-white photographs of gleaming suburban office towers and text panels featuring letters to advice columnists, feels anachronistic, an early example the artist’s dialogue with the Dusseldorf school of photographers. The gesture of tackling his archives seems promising at this point in his career, but Hall seems stymied by the gallery’s spatial restrictions. There’s just not enough room for his large themes and decades of material to coalesce.
— By Glen Helfand 04/20/2015
Court Rules in Favor of Arne Svenson
Arne Svenson, from his series The Neighbors, 2012.
A New York State Supreme Court has ruled in favor of photographer Arne Svenson, who was sued by a number of people he photographed with a telephoto lens for his series The Neighbors. After the work was shown at the Julie Saul Gallery in 2013, several of the subjects filed a lawsuit, alleging that the photographs violated their constitutional right to privacy. Svenson used a telephoto lens to take pictures of people inside their Manhattan apartments, without their knowledge. Svenson's latest series, The Workers, is on view at Julie Saul through May 30.
The verdict was based on Svenson’s first-amendment rights as an artist. The value of artistic ideas conveyed in an artworks are regarded as a matter of public interest, though the judges also described Svenson’s photographs as “disturbing,” according to artnet news.
— By Jean Dykstra 04/13/2015
2015 Guggenheim Fellows Announced
Richard Renaldi, from the series Touching Strangers. Renaldi is one of this year's Guggenheim Fellows.
Congratulations to the winners of this year’s Guggenheim Fellows, including the 12 photographers who were named fellows this year: Gary Briechle, Miles Coolidge, Susan Lipper, Susan Meiselas, Arno Rafael Minkkinen, Richard Renaldi, Stuart Rome, Richard Rothman, Moises Saman, Kim Stringfellow, William S. Sutton, and Terri Weifenbach.
— By Jean Dykstra 04/10/2015
Aperture Portfolio Prize Winner Announced
Drew Nikonowicz, from The World and Others Like I
Congratulations to Drew Nikonowicz, winner of the 2015 Aperture Portfolio Prize, for his series The World and Others Like It. The series, in which he employs computer simulations as well as analog processes, focuses on the growing gap between reality and mediated fiction. The only human figure in his photographs of a fictional, possibly extraterrestrial landscape is an astronaut.
— By Jean Dykstra 04/10/2015
Assaf Evron: The Sea Was Smooth, Perfectly Mirroring the Sky
Andrea Meislin Gallery, New York
Assaf Evron, Visual Pyramid after Alberti, 2013-2014. Courtesy Andrea Meislin Gallery
Assaf Evron’s work arrived with all its papers in order: prizes and commissions from Israel, the imprimatur of the Art Institute of Chicago, and a sheaf of art historical references, from Leon Batista Alberti and Albrecht Dürer to Robert Smithson. The installation work looked forward to a time in the near future when photographers will become sculptors and installation artists, working outside the 2D box, and backward to a time when artists were polymathic investigators, combining the study of natural science, philosophy, and optics. The pieces stood out from the wall or occupied the floor, and their connection to photographic roots felt attenuated, sometimes barely perceptible.
Assaf Evron, Visual Pyramid after Alberti, 2013-2014. Courtesy Andrea Meislin Gallery
Evron’s work, on view at Andrea Meislin through May 2, focuses on perception and cognition – how do we see and how do we know what we see? At the heart of the exhibition was a sculpture composed of a photographic stand with a cantilevered arm holding a piece of glass on which was printed the picture of a rainbow. It was the reification of an illusion – a phenomenon that is purely optical, translated as a picture to a medium that is physical but transparent and reflective. A thing was there but at its center was an illusion, a kind of nothing. The theme was reflected in other works, including wall panels that bore images created by an infrared camera that captured the mapping effects of an X-Box Kinect. In many ways this series, Visual Pyramid (After Alberti), presented the most challenges because it suggested so many things at once: design objects (they were carefully and even elaborately mounted), abstract photographs, virtual noise, pointillist drawing. A handout essay by Abigail Winograd read: “The visual simplicity of Evron’s art belies an intricate working method.” But that was not correct. Nothing was belied. Absent an explanation for each piece, there was no way to engage them substantively, a sure sign that the experience of the work lay elsewhere, in theory and in reflection. As with so many installation works in contemporary art, what you saw was what you saw, but not necessarily what you got – perhaps the perfect summation of our uncertain relation to “the real” in a digital age.
— By Lyle Rexer 04/10/2015
Joy Episalla: Street View Rear Window
Participant Inc, New York
Joy Episalla, from Garage series, 1989-2015. Courtesy Participant, Inc.
Hybrid in nature, Joy Episalla’s Street View Rear Window, on view at Participant through April 12, is a dynamic repositioning of photography as pushed into the idiom of sculpture. Made up of three discrete but conceptually interconnected works, they create a kind of optic rubric that interrogates perception. Not driven by content so much as lacing the art with it in ways at once poetic and process-driven, Episalla is most interested in creating open-ended situations that engage the viewer in the question of how we see or read things. Allowing a degree of perplexity to linger, Episalla deftly considers the possibilities of abstraction and representation latent within one another.
The show opens with a suit of graphically strong photographs from her Garage series. The stark geometric designs on garage doors she photographed in 1989, visiting the retirement community of Sun City, Arizona, spin out a delightful assortment of unpredictable visual associations. Her large-scale black-and-white pictures of these doors act as a kind of tribute to how the language of modernism could infect even the most crushingly mundane details of suburban Americana.
Joy Episalla, Les Psychanalystes et le Marché, 2010-2015. Courtesy Participant, Inc.
For all their capacity to tease out myriad associations, the doors themselves are like apertures, drawing direct comparison to the camera shutter and the eye’s retina. This theme is echoed in Episalla’s quirky sculptural assemblage Arial View 3, in which a photogram of moving liquid lies atop a casual construction of Plexiglas panes and canvas. This bird’s-eye view is followed up in the back room installation of Les Psychanalystes et le Marche, a three-channel video projection taken from a balcony window in Paris of a day’s pedestrian choreography.
A trace of melancholia belies the utter lack of sentimentality in Episalla’s work. It’s not always easy to grasp everything she’s telling us, but it is that very slipperiness that matters most, that gap between what looks so patently simple and the mass of complexity that underlies it. Episalla, who has been a member of the queer collective fierce pussy since 1991, first came to attention as an artist/activist deeply committed to ACT-UP in the eighties. With this legacy behind her, it is hard not to read this art as an intervention against the ways we race through life, a demand to slow down enough to be in the present, and to take each moment in time as a kind of Proustian paradigm of reflection.
— By Carlo McCormick 04/10/2015
Library of Congress Acquires Civil War Stereographs
Lincoln's Funeral, Philadelphia. Courtesy Library of Congress
The Library of Congress has acquired a trove of Civil War stereographs from the Robin G. Stanford Collection. The first 77 images are now online, including 12 stereographs of President Lincoln’s funeral procession through several cities and 65 images by Southern photographers showing South Carolina in 1860-61.
The Library of Congress acquired the collection through a purchase/gift from Robin G. Stanford of Houston. During the past 40 years, Stanford has collected stereographs of both the Civil War and Texas.
The 77 images now online include 12 from Lincoln’s funeral procession through Baltimore, Philadelphia, New York City, and Springfield, Illinois, among other cities. The images show the president’s casket in elaborate open-air hearses that passed through the main streets of the cities; buildings draped in mourning bunting; and crowds lined up to see the procession.
— By Jean Dykstra 04/01/2015
Brian Weil, 1979-95: Being in the World
Participant Inc, New York
Brian Weil, Untitled, 1979-81. Courtesy Center for Creative Photography
When Brian Weil died in 1996, at age 41, art critic Roberta Smith wrote his New York Times obituary. The headline referred to him as the “Photographer Who Founded Needle Exchange,” giving prominence to his identity as a photographer. When Weil’s posthumous retrospective opened at the ICA in Philadelphia, two friends of his participated in a panel discussion. Ric Curtis, a criminal justice professor who helped Weil found the needle exchange, said he’d worked with Weil for years before knowing he was an artist. “Because everyone was an artist, no one talked about it,” said Patrick Moore, who participated in ACT UP with Weil. “There was a feeling that art was not a responsible response to the crisis.”
Weil’s retrospective is at the Santa Monica Museum of Art through April 18, and documentation of his activism mingles with his gritty, searching photographs of kinky sex, homicide investigations, and Hasidic communities. Showing that Weil’s art and social efforts went hand in hand is part of the show’s goal, but much of Weil’s work has an unapologetic darkness to it that contrasts with the hopefulness of his social projects. He made his black-and-white images by re-photographing Super 8 footage he had shot, then scratching and overexposing the negatives. The resulting blurry, intentionally damaged photographs give his subjects an even greater sense of mystery.
Brian Weil, Transvestite Safe Sex Outreach Worker, Santo Domingo, Dominican Republic, 1987. Courtesy Center for Creative Photography
For his Sex series, Weil placed ads in the Village Voice and fetish magazines. Images include two lithe, nude bodies in ski masks -- one female, one male – embracing with a goose between them. He followed homicide detectives around for his Miami Crime series, photographing over 60 crime scenes in a way that often makes it painfully clear how unprepared his subjects were to die.
This work would read as more unpleasantly voyeuristic if not for the tender documentary images of people Weil met through his needle exchange project hanging nearby. He became involved in the needle exchange work in the mid-1980s because he anticipated, correctly, that intravenous drug users would soon be hit hard by the AIDS epidemic. These images suggest that the photographer was less voyeuristic and more intensely interested in understanding how people lived, died, and fought death. As a result, the show becomes about the weird ways in which darkness and goodness coexist.
— By Catherine Wagley 04/01/2015
Fatal Attraction: Piotr Uklánski Photographs
Metropolitan Museum of Art, New York
Piotr Uklánski, Untitled (Island), 1997. Courtesy Metropolitan Museum of Art
Moving to the United States after the fall of Communism, Polish artist Piotr Uklánski found a timely muse in the shape of Eastman Kodak’s The Joy of Photography, a how-to guide that coincidentally indexes the popular American taste of the era. In his 1997–2007 series of the same title, Uklánski plundered the book’s clichéd imagery en route to a tongue-in-cheek exploration of the medium and its meanings. Multiple entries in the series—in which the artist remade stock scenes for the camera—form the backbone of this flawed but fascinating survey of his photographic oeuvre.
Aspects of the exhibition, on view at the Met through August 16, feel constrained: The Nazis (1998), Uklánski’s unforgettable rogues gallery of uniformed bad guys from cinema and TV, is shown in an abbreviated version. There’s also a lapse in thematic logic in the shape of an elephantine fiber art sculpture, Untitled (Story of the Eye) (2013), the only non-photographic work in this section of the show. Gratifyingly, though, Fatal Attraction also includes two additional components housed in separate spaces in the Met, the first being an array of works selected by the artist from the museum’s collection. Plainly, Uklánski got carried away. He picked out works by everyone from Lucas Cranach to Laurie Simmons, articulating the intersection of corporeal beauty and horror, but the abundance of works overwhelms the space.
Piotr Uklánski, The Nazis, 1998. Courtesy Metropolitan Museum of Art
The second, more successfully sited addition to Fatal Attraction’s main display is suspended overhead in the museum’s entrance hall. Uklánski’s Untitled (Solidarnosc) (2007) is a pair of large photographic banners. One depicts three thousand Polish soldiers arranged into the shape of the logo of the pioneering non-Communist labor union; the second shows the same scene, shot in the Gdansk shipyard where Solidarity was founded, but as the participants begin to drift away from their places and the logo starts to dissolve. It’s a pointed critique of personal-political groupthink that gains immediacy from its bustling context.
— By Michael Wilson 03/31/2015
Yale Acquires Large 19th-Century Photography Collection
Photo by Kirsten Luce for the New York Times
Yale University’s Beinecke Rare Book and Manuscript Library acquired one of the largest private collections of 19th-century American photography, primarily devoted to Abraham Lincoln and the Civil War. Yale made the purchase from the Meserve-Kunhardt Foundation, which has collected and preserved the photographs and other materials for five generations. The collection includes more than 57,000 prints and thousands of books, pamphlets, maps, and other ephemera. Highlights include a large-format albumen print of Lincoln by Alexander Gardner from 1863 and glass negative of Mathew Brady’s portrait of Lincoln with his son, Tad.
The material will be divided between the Yale Art Museum and the Beinecke. The extensive collection has been the source for such projects as The Photographs of Abraham Lincoln, recently published by Steidl and edited by Peter W. Kunhardt, Jr., and Jeff Rosenheim’s 2013 exhibition at the Metropolitan Museum of Art, Photography and the American Civil War.
— By Jean Dykstra 03/30/2015
Toshio Shibata: Water Colors
Laurence Miller Gallery, New York
Toshio Shibata, Nikko City, Tochigi Prefecture, 2013. Courtesy Laurence Miller Gallery
In its traditional form, a haiku comprises two images or ideas, with a “cutting word,” or kireji, between them, which provides structural support to the poem. The lyrical, minimalist photographs in Toshio Shibata’s exhibition, Water Colors, on view at Laurence Miller Gallery through April 25, are like visual haikus, in which images of nature and manmade structures are contrasted, and Shibata’s distinct approach provides the connective tissue.
Nature and the manmade never seem particularly at odds in these images, which were made mostly in northern Japan. Through Shibata’s lens, the dams, buoys, and sluices seem not like bastardizations of the landscape, but rather parts of a palette upon which nature can better present itself. In several images, for instance, the sweeping arcs of a line of orange buoys look like pearl necklaces in the waterscape. In Kofu City, Yamanashi Prefecture, the floats halt the wind on the water, causing the colors on either side to shift. This makes the surface, perhaps, more beautiful than it would have been untouched.
Toshio Shibata, Yonezawa City, Yamagata Prefecture, 2008. Courtesy Laurence Miller Gallery
All the photographs in this exhibition have been selected, from amongst nearly a decade of work, for their cropping below the skyline. Without this grounding contextual element, the scenes are free to become exercises in abstraction. Hanno City, Saitama Prefecture, for one, is made of stacked strips of shadow, water and steel, a modernist architecture all its own.
All soft light and long exposures, the images here, as the exhibit’s title suggests, have the quality of watercolors, a product, most likely, of Shibata’s early education in painting. This effect is particularly pronounced in Shibata’s photographs of falling water, in which the steady streams are like white swatches of silk. Even as one imagines the roaring sound of the crashing falls from these imposing works of civil engineering, the quietness in Shibata’s vision reigns.
— By Jordan G. Teicher 03/27/2015
Dan Leers Appointed Photo Curator at Carnegie Museum
Photo by Katie Krauss
Pittsburgh native Dan Leers has been appointed curator of photography at the Carnegie Museum of Art, filling the shoes of Linda Benedict-Jones, the museum's first curator of photography who recently retired.
Leers, who served as an advisor on contemporary African art for the 2013 Venice Biennale, was previously the Beaumont and Nancy Newhall Curatorial Fellow in the Museum of Modern Art’s photography department. Most recently, he has been an independent curator in New York City. He begins his new position on April 27.
— By Jean Dykstra 03/09/2015
Deborah Luster Is 2015 Gardner Fellow in Photography
Deborah Luster, St. Gabriel, Louisiana
Deborah Luster has been named the 2015 Robert Gardner Fellow in Photography at Harvard’s Peabody Museum of Archaeology and Ethnology. The Fellowship carries a $50,000 stipend to begin or complete a project, followed by the publication of a book.
Luster is best known for One Big Self, her book on prisoners in Louisiana. For her fellowship year, Luster is continuing her investigation into violence, place, and prison.
— By Jean Dykstra 03/06/2015
Ryerson Acquires Berenice Abbott Archive
Berenice Abbott, Inference Pattern, Cambridge Massachusetts. Courtesy Ryerson Image Centre
Toronto’s Ryerson Image Centre has acquired the archive of Berenice Abbott, containing more than 6,000 images and 7,000 negatives. The archive was purchased from the Abbott estate by a group of philanthropists who donated it to the Ryerson. The archive also includes letters, notebooks, and other ephemera.
RIC Director Paul Roth told the Globe and Mail that his institution plans to collaborate with the Massachusetts Institute of Technology and the Museum of the City of New York, which both have substantial archives of Abbott’s work, on future projects.
— By Jean Dykstra 03/06/2015
Alec Soth: Songbook
Sean Kelly Gallery, New York
Alec Soth, Bill, Sandusky, Ohio, 2012. © Alec Soth, Courtesy Sean Kelly Gallery
In Sleeping by the Mississippi (2004) and Broken Manual (2013), Alec Soth tended to gravitate toward isolated individuals – outcasts or misfits who had gone off the grid in one way or another. In many ways, the individualism and self-sufficiency – and isolation – that were the subtexts of his pictures are conventionally American traits. But so is the notion of community, something Soth explores in his latest work, Songbook, on view at the Sean Kelly Gallery through March 14 (and at Fraenkel Gallery in San Francisco and Weinstein Gallery in Minneapolis through April 4).
The work is a shift for Soth as well in his use of black and white instead of color. From 2011 to 2014, Soth and journalist Brad Zellar crisscrossed the country in the guise of small-town newspaper reporters to photograph social clubs, high school proms, football games, and beauty contests. Soth abandoned the tripod and view camera he had been using in order to capture scenes and moments quickly and unobtrusively, like the gay couple slow dancing at a prom in Cleveland, or the young man doing a heart-stopping back dive into a rocky watering hole in upstate New York. The black and white photographs give a nostalgic cast to some of the pictures: the genial, soft-shoe Bill, Sandusky, Ohio, was photographed in 2012, but he could have stepped out of the 1950s.
Alec Soth, Near Kaaterskill Falls, NY, 2012. © Alec Soth, Courtesy Sean Kelly Gallery
Soth is a thoughtful photographer whose references are not accidental, from the Weegee-like flash of some of the photographs to his itinerant exploration of the country’s social fabric, recalling Walker Evans or Robert Frank. The title of the work suggests the mid-century America of the Great American Songbook, with its can-do, optimistic soundtrack by George Gershwin, Hoagy Carmichael, Irving Berlin, and Richard Rodgers.
It’s an optimism that occasionally falters. One photograph shows a solitary man making his way across the sun-blasted plaza of the Facebook headquarters in Menlo Park, California. It’s hard not to read it as a comment on the isolation of modern day society, despite our many Facebook “friends.” But Soth’s photographs of cowboys and couples and nondescript hotels are open to interpretation by design. Soth and Zellar originally published the photographs, along with Zellar’s text, in LBM Dispatches (so named for Soth's Little Brown Mushroom books) from each region they visited. For Songbook, Soth stripped away the narratives and let the images stand on their own. They speak of connection, alienation, poverty and community – telling a story as complex as the country itself.
— By Jean Dykstra 03/02/2015
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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 Wächter 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 (Chelsea), 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