Frédéric Brenner: An Archaeology of Fear and Desire
Howard Greenberg Gallery, New York
Frédéric Brenner, Ben Gurion Airport, 2010. Courtesy Howard Greenberg Gallery
Few photographers capture the complexities and diversities of the Jewish experience like Frédéric Brenner. Surely, none do so with greater scope or greater sensitivity.
An Archaeology of Fear and Desire, on view at Howard Greenberg Gallery until July 3, is a study of modern Israel, a place, in Brenner's view, where Jewish history lives in the stories, expressions, and environments of its modern inhabitants.
Brenner's opus is Diaspora, a 25-year record of Jews in 40 countries; selections from this body of work are on display in an adjacent room at Howard Greenberg. Archaeology is a narrower project by comparison — the earliest photos date back just six years, and they're all taken in the New Jersey-sized country — and yet its reach feels comparably wide. Israel, here, is both urban and rural, modern and ancient, moving forward and looking back.
Frédéric Brenner, Palace Hotel, 2009. Courtesy Howard Greenberg Gallery
These images, though straightforward in their approach, embody many of the contradictions and contrasts in Israel, a place Brenner has described as "un-understandable." One photo shows three ultra Orthodox men at Ben Gurion Airport, all wearing black hoods over their eyes to block out the so-called immodesties of modern life. And yet, they have all consented to be photographed — that is, to be seen by the very people who they refuse to see themselves.
Unlike Diaspora and another people-centric work on display here, Exile at Home, Brenner lets the landscape itself do the talking to a larger degree in Archaeology. In one wide shot of a schoolyard, for instance, children play amongst white cubes we know to be bomb shelters, a simple scene that speaks to the everyday possibility of violence here. Other views are more open to interpretation, like the one depicting a tree blossoming from rubble on a dusty, brown plain, or the one that shows the Palace Hotel gutted amid construction.
Brenner's focus, frequently, is on family. In one portrait, we see three generations of women, the oldest a survivor of the Holocaust, staring straight into the camera. One is left to ponder the profound differences in their individual experiences, as well as the strong ties that unite them. In another, we see the Orthodox Weinfeld family, its brood of nine children seated at a long dining table bookended by the stoic matriarch and patriarch, the latter looking much like the old paintings of Orthodox men hanging on the wall behind them. In this context, the image seems like a sign of timeless rigidity in a land marked by so much change. Israel may be un-understandable, but in Archaeology, Brenner reinforces his case that it is an enigma worth exploring.
— By Jordan G. Teicher 05/19/2015
Light, Paper, Process: Reinventing Photography
Getty Center, Los Angeles
Lisa Oppenheim, Lunagrams #5, 2010. ©Lisa Oppenheim, courtesy J. Paul Getty Museum
When asked how he started experimenting with photography, Belgian artist Pierre Cordier described a scrappily romantic experience: he was in the military, in Germany, in 1956, and he was writing a love note to a girl named Erika, using nail polish on light-sensitive paper. Once developed, the painted portions of the paper became colored while the rest of the paper turned dark. Cordier proclaimed himself the inventor of the camera-less chemigram process, essentially a painting-photography hybrid, and he became quite good at extracting strange colors and eccentric compositions. A few of these hang in the first gallery of the Getty’s exhibition, Light, Paper, Process: Reinventing Photography, on view through September 6, including such sensual images as Chemigram II, 1976, in which the reddish squares in an uneven grid look like slabs of excavated earth. Work by Man Ray and Robert Heinecken hangs in that gallery, too, early experiments with photo process that still read as surprising, raw discoveries.
Chris McCaw, Sunburned GSP #609 (San Francisco Bay), 2012. Courtesy J. Paul Getty Museum
The subsequent galleries feature the contemporary “reinventions” at the core of the exhibition. The seven artists on view have rejected the smooth predictability of the digital, but their analogue experiments feel more calculated, less risky than their historical predecessors. Alison Rossiter makes her elegant, intentionally flawed washes by exposing expired photo paper, mostly made before the 1950s. The results are gray, brown, or off-white expanses, nostalgia pared down to its barest elements. Lisa Oppenheim adds silver toner to her developer, so that her Heliograms and Lunagrams, made by exposing photo-paper to the sun and moon, shimmer subtly. Chris McCaw photographs the sun, loading enlarger paper rather than film into his camera so that the lens acts like a magnifying glass, and the light literally burns the paper. Tastefully positioned burn holes or gashes dash across his paper negatives. John Chiara is more dramatic, and some of his vibrant landscapes, processed as negatives, are super-saturated inversions of nature. Matthew Brandt works with landscape too, sometimes mixing ashes or debris -- or chocolate cake, in the case of one silkscreen -- into the ink he uses to print his intensely stylized images.
But even these experiments are hard to read as radical. Perhaps this is because they arrive in the wake of a generation of conceptual photographers who put critical content front and center, even when experimenting with process (Brian Weil, Cindy Sherman, David Wojnarowicz). Perhaps it’s also because some of the images are suspiciously close in look and feel to the formalism dominating the painting market at the moment. Israel Lund’s approach to color can be compared to Brandt’s, Jacob Kassay’s to Oppenheim’s. Overlaps like these make the work in the exhibition feel in line with the zeitgeist, a savvy, safe approach to reinvention.
— By Catherine Wagley 05/17/2015
Tseng Kwong Chi: Performing for the Camera
Grey Art Gallery, New York
Tseng Kwong Chi, New York, New York, 1979
A fixture in the downtown art scene of the 1980s, Tseng Kwong Chi also skillfully embraced the role of the outsider. In his best-known body of work, East Meets West, he cast himself as an inscrutable Chinese tourist in dark glasses and a Mao suit taking a Grand Tour of America. He took poker-faced selfies, before there were selfies, in front of the Twin Towers, Niagara Falls, and the Hollywood sign, among other sites, an exotic, unknowable Other, posing with monuments and places worshipped by Americans. Deadpan and dry, his photographs were about identity and “values.”
But in an era of earnest identity politics, Tseng’s work skewed toward the playful, as this illuminating exhibition, on view at NYU's Grey Art Gallery through July 11, makes clear. The Grey is the first stop for this retrospective, which was organized by Amy Brandt, a curator at the Chrysler Museum, where it will be on view in August, and it gives a rich sense of Tseng’s influence as an artist, social diarist, and cultural gadfly.
Tseng, who died in 1990, was born in Hong Kong, grew up in Vancouver, and studied photography in Paris before moving to New York, and his knowledge of art history was extensive. East Meets West gave way to The Expeditionary Series, in which an assistant photographed him as a tiny figure dwarfed by a vast landscape, a photographic version of a 19th-century European Romantic painting.
Tseng Kwong Chi, Yves Saint Laurent and Tseng Kwong Chi, 1980. Costumes at the Met series
But he also documented friends and fellow artists such as Keith Haring, Kenny Scharf, the actress Ann Magnuson, Jean-Michel Basquiat and the dancer Bill T. Jones. He’s part of the party in these pictures, which convey a sense of boisterous belonging. But Tseng seemed to relish being an outsider, and he made his way again and again into odd pockets of society at every cultural and socioeconomic strata, drawing back a curtain on American culture high and low. Here he is grinning behind a trio of buff blond lifeguards at the Lifeguard Ball in Wildwood, NJ, and there he is with Nancy Kissinger, having famously crashed the Costume Institute Ball at the Met for the opening of The Manchu Dragon: Costumes of the Ch’ing Dynasty, 1644-1912.
Tseng was a sharp observer and satirist, and his photographs of his friends and fellow artists, many published in the SoHo Weekly News, brim with energy. Tseng, Haring, and Jean-Michel Basquiat died within two years of each other, and this show at the Grey, together with a Brooklyn Museum show of Basquiat’s notebooks on through August, are reminders of all they had left to do.
— By Jean Dykstra 05/14/2015
Marion Gray: Within the Light
Oakland Museum of California, Oakland
Marion Gray, Ann Hamilton and Meredith Monk, Songs of Ascension, 2008, printed 2010. ©Marion Gray
Since the mid-1970s, Marion Gray has steadfastly photographed performance-based art in exhibitions and public settings, mostly in the Bay Area. Engaging in an uncommon commitment to this artistic milieu, she has captured historic moments with a degree of poignancy that befits the tone of each subject. The 23 pictures in this exhibition at the Oakland Museum of California, on view through June 21, were mostly shot in the 1980s (though many were printed more recently), and they comprise a small sample of Gray’s vast archive of performance documentation covering a golden era of performance work. Included are shots of Karen Finley, Guillermo Gomez-Peña, Joan Jonas, and a late work by Marina Abramovic and Ulay. The selections, which balance international performance figures with those working in the area, point to the breadth of Gray’s subject matter, as well as her presence at seminal works by important artists, in venues that have closed and become legendary art historical locations.
Marion Gray, Opening of the Exhibition Avedon: 1946-1980, 1980, printed 2014. ©Marion Gray
Gray’s position in these pictures is active; she treats each shot as if she were an art-world photojournalist. The best works seem almost collaborative, in that the photographer harnesses the energy of the artists and works she depicts. In a wall text, she describes her approach as akin to dance, of “being in the right spot, ready for the moment.” A black-and-white shot of a 1985 performance by the kinetic iconoclast group Survival Research Laboratories presents what appears to be a war zone, a cannon decimating a house structure. Gray’s composition excludes the audience and thereby takes on an ominous gravity. There is a more impressionistic, dreamy quality to a color image of an Ann Hamilton/Meredith Monk collaboration that magnifies the unique nature of the architecture, which was designed by Hamilton. In other works, Gray shows an affinity for how architecture accommodates human presence: a powerfully geometric image represents the opening party of a 1980 Richard Avedon retrospective at the Berkeley Art Museum, and a view of anthropomorphized furniture in a 1994 installation by Brian Goggin contrasts the playfulness of the artwork with the rigid courtyard of the Yerba Buena Center for the Arts. This compact sample of Gray’s work manages to communicate the commitment and richness of her practice, as well as a slice of San Francisco’s artistically adventurous recent past.
— By Glen Helfand 05/12/2015
Margaret Bourke-White: Pioneering Photojournalist
Monroe Gallery of Photography, Santa Fe
Margaret Bourke-White, Buchenwald Prisoners, 1945. Courtesy Monroe Gallery of Photography
Referring to the French Impressionist painter Claude Monet, fellow painter Paul Cézanne famously quipped to art dealer Ambroise Vollard: “Monet is only an eye, but my God what an eye!” The same could be said for American photographer Margaret Bourke-White (1904-1971). Examining Bourke-White’s work, from the late 1920s through the 1950s, one quickly senses her complete command of the photographic tools at her disposal that resulted in compositions filled with formal elements of design that were part and parcel of narratives that documented times of significant events. Soaring heights of urban construction, extreme poverty in the South, and World War II are only a few of the historic moments captured in photographs by Bourke-White – many of which are iconic in American photography.
In 50 photographs on view at Monroe Gallery of Photography through June 28, Margaret Bourke-White: Pioneering Photojournalist gives a brief, yet fine overview of her prolific career.
Margaret Bourke-White, Fort Peck Dam, Fort Peck, MT, 1936. Courtesy Monroe Gallery of Photography
Included are instantly recognizable images such as At the Time of the Louisville Flood, Louisville, Kentucky, 1937, where people are queued in a bread line below a billboard exuding the good life, as well as Buchenwald Prisoners, Germany, 1945, in which prisoners confined behind barbed-wire await liberation -- the latter taken when Bourke-White was on assignment for Life Magazine traveling with Patton’s army. In one of her most artistic images, Patterns Made by Steel Liners for Diversion Tunnels, Fort Peck Dam, Montana, 1936, geometric patterns fill the frame composed of various machine-hewed disks with radiating spokes. Bourke-White, whose career was cut short by Parkinson’s disease in 1956, once said, “To understand another human being you must gain insight into the conditions which made him what he is.” She was tenacious in her pursuit of photographs that conveyed truths about the human condition, as well as the beauty in things produced by humankind.
— By Douglas Fairfield 05/04/2015
Award Presented at Paris Photo
Photo by CJ Heyliger
Congratulations to CJ Heyliger, who was presented with the INTRODUCING! Young California Photographer Award at Paris Photo LA. The inaugural award, which comes with $5,000, was co-sponsored by J.P. Morgan. Heyliger received his BFA from the Art Institute of Boston at Lesley University and is set to receive his MFA from UCLA this spring.
— By Jean Dykstra 05/01/2015
In the Wake: Japanese Photographers Respond to 3/11
Museum of Fine Arts, Boston
Shimpei Takeda, Trace #16, Lake Hayama, from the series Trace, 2012. Courtesy Museum of Fine Arts, Boston
In the event of a natural disaster, first responders supply video and photographs of the immediate damage, which plays repeatedly in the media, but which rarely tells the story of survivors putting their lives back together and struggling to make sense of tragedy. Curators Anne Havinga and Anne Nishimura Morse at the Museum of Fine Arts, Boston, present the first major exhibition to offer a response by Japanese contemporary photographers to the triple disasters known as 3/11, which took place March 11, 2011. On view through July 12, it is a profound meditation on fragility, memory, and loss.
Seventeen photographers, some with deep ties to the region, examine the physical and spiritual marks left by the massive earthquake and resulting tsunami. A series of color photographs by Naoya Hatakeyama document the slow rebuilding of a ravaged landscape. He lost his mother and ancestral home to the tsunami, and in one achingly poignant photograph a rainbow ends where his family home once stood. Across the room, Lieko Shiga, who narrowly escaped the tsunami by car, had been in residence collecting ancestral stories prior to 3/11. By making clever use of the enigmatic way the camera compresses space her large, surreal color photographs suggest chaos can potentially erupt at any moment. In one, an elderly husband and wife stand arm in arm in a barren field at night. A blood-red tree root resembling a giant heart appears to pierce through the man’s chest.
Lieko Shiga, Portrait of Cultivation, 2009. Courtesy Museum of Fine Arts, Boston
Adjacent rooms focus on the cultural anxiety and loss stemming from the ongoing nuclear contamination leaking from the flooded Fukishima power plant. Shimpei Takeda unearths radioactive traces by exposing soil samples from affected areas to photographic paper. While his black-and-white photographs suggest images of galaxies, they are proof of invisible underground dangers. Masaru Tatsuki began documenting ancient traditions still practiced by local rural populations in 2006. Annual hunting rites were banned after the meltdown contaminated the regional deer population, severing longstanding totemic connections. Daguerreotypes by Takashi Arai memorialize decades of atomic destruction, from Hiroshima and Nagasaki to the 1954 Bikini Atoll fallout and 3/11. His luminescent images capture the havoc wrought by each nuclear episode over decades. A call for remembrance is prevalent throughout the exhibit but simmering underneath is a haunting reminder about the ever-present perils of nuclear energy.
— By Edie Bresler 04/29/2015
Huntington Acquires Adams Portfolios
Ansel Adams, Monolith, the Face of Half-Dome, 1927. ©2015 The Ansel Adams Publishing Trust
The Huntington Library in San Marino, California, has acquired a full set of Ansel Adams’s portfolios. Adams produced seven portfolios, each containing between 10 and 15 photographs, during hislife, and George Melvin Byrne and Barbara S. Barrett-Byrne have donated all seven to the Huntington.
Byrne, who passed away shortly after making the gift, was a collector and amateur photographer as well as an environmentalist. He acquired five of the portfolios directly from Adams and the other two from the Sierra Club.
— By Jean Dykstra 04/28/2015
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.
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.
Assaf Evron, Visual Pyramid after Alberti, 2013-2014. Courtesy Andrea Meislin Gallery
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
at Howard Greenberg Gallery, New YorkLight, Paper, Process: Reinventing Photography
at Getty Center, Los AngelesTseng Kwong Chi: Performing for the Camera
at Grey Art Gallery, New YorkMarion Gray: Within the Light
at Oakland Museum of California, OaklandMargaret Bourke-White: Pioneering Photojournalist
at Monroe Gallery of Photography, Santa FeAward Presented at Paris Photo
at Museum of Fine Arts, BostonHuntington Acquires Adams PortfoliosDoug Hall: Love and Architecture
at Rena Bransten Projects, San FranciscoCourt Rules in Favor of Arne Svenson2015 Guggenheim Fellows AnnouncedAperture Portfolio Prize Winner AnnouncedAssaf Evron: The Sea Was Smooth, Perfectly Mirroring the Sky
at Andrea Meislin Gallery, New YorkJoy Episalla: Street View Rear Window
at Participant Inc, New YorkLibrary of Congress Acquires Civil War StereographsBrian Weil, 1979-95: Being in the World
at Metropolitan Museum of Art, New YorkYale Acquires Large 19th-Century Photography CollectionToshio Shibata: Water Colors
at Laurence Miller Gallery, New YorkDan Leers Appointed Photo Curator at Carnegie MuseumDeborah Luster Is 2015 Gardner Fellow in PhotographyRyerson Acquires Berenice Abbott ArchiveAlec Soth: Songbook
at Sean Kelly Gallery, New York
at Phillips Collection, Washington, D.C.ICP Announces Infitity AwardsHal Fischer: Gay Semiotics
at Cherry and Martin, Los AngelesSimone Lueck: American Movie
at Kopeikin Gallery, Los AngelesBrian Wallis Leaving ICPEsko Männikkö: Time Flies
at Yancey Richardson, New YorkNew Director for Paris PhotoVisibility Machines: Harun Farocki and Trevor Paglen
at Gallery 400, Chicago
at Pace/MacGill Gallery, New YorkThe Return to Reason
at Gallery Wendi Norris, San FranciscoGordon Parks: Segregation Story, High Museum of Art and Jackson Fine Art; Gordon Parks: American Champion, Arnika Dawkins Gallery
at High Museum of Art, AtlantaEdmund Teske
at Gitterman Gallery, New YorkClassic Photographs Los AngelesLibrary of Congress Acquires Camilo José Vergara ArchivePhoto LA's 24th EditionThe Maine Photo Project Debuts this MonthEastman House on YouTubeSotheby's Denise Bethel Is Stepping Down
at Photo-Eye Gallery, Santa FePhil Stern, 1919-2014Arthur Leipzig, 1918-2014Eva Respini Moves to Boston's ICAMoMA Shows Thomas Walther CollectionArt Fairs in MiamiLorenzo Vitturi: Dalston Anatomy
at Yossi Milo Gallery, New York
at LACMA, Los AngelesLewis Baltz, 1945-2014Fahey/Klein Opens New SpaceRISC Benefit Auction Open NowOrit Raff: Priming
at Julie Saul Gallery, New YorkLucien Clergue, 1934-2014Sandro Miller: Malkovich, Malkovich, Malkovich: Homage to Photographic Masters
at Catherine Edelman Gallery, ChicagoParis Photo-Aperture PhotoBook AwardsSunil Gupta: Out and About: New York and New Delhi
at sepiaEYE, New YorkBuilder Levy: Photographer
at Arnika Dawkins Gallery, AtlantaMayumi Lake: Latent Heat
at Miyako Yoshinaga Gallery, New YorkSpecial Sale of Magnum PhotosNew Space for Foley GalleryJuan Fernando Herrán Win Prix Pictet CommissionMaurice Ortega to Head Curatorial Assistance
at Gitterman Gallery, New YorkHoward Greenberg / SteidlMagic on Earth: Jean-Claude Moschetti
at Mariane Ibrahim Gallery, SeattleBlind Spot | Griffin Editions Project SpaceShannon Ebner: Public Surface Pattern
at Altman Siegel Gallery, San FranciscoRuud van Empel: New Work
at Jackson Fine Art, AtlantaGetty Acquires Chris Killip PhotographsSamuel Fosso
at Walther Collection Project Space, New York
at Shoshana Wayne Gallery, Santa MonicaGuarapuava: Valdir Cruz
at Throckmorton Fine Art, New YorkICP to BoweryWhitney Museum Gets Major Photography GiftAmon Carter Museum Digitizes Trove of ArtworksClimate Week NYC at ICPFilter Photo FestivalRichard Mosse at Indianapolis Museum of Contemporary ArtErnest Cole: Photographer
at Grey Art Gallery, New YorkAugust Sander: Just Women / Jess T. Dugan: Every Breath We Drew
at Gallery Kayafas, Boston
at High Museum of Art, AtlantaWhere There's Smoke. John Gossage: Who Do You Love
at Fraenkel Gallery, San FranciscoAllan Sekula: Ship of Fools
at Christopher Grimes Gallery, Santa MonicaCantor Art Center Receives Warhol ArchiveJack Leigh: Full Circle, Low Country Photographs, 1972-2004
at SCAD Museum of Art, SavannahJosef Koudelka: Nationality Doubtful
at Art Institute of Chicago, ChicagoStephen Wirtz Gallery ClosingJustin Kimball: Where We Find Ourselves
at Carroll And Sons, BostonJacques Sonck: Archetypes
at L. Parker Stephenson Photographs, New YorkThe Invisible PhotographGetty Acquires Robert McElroy ArchiveOresick Joins Silver Eye CenterLiz Deschenes Awarded Rappaport PrizeNew Avedon AppBonjour Arles!Doug Hall: Bodies in Space
at Benrubi Gallery, New YorkCahiers d'Art Devoted to SugimotoPhoto Espana Prize Goes to Aitor Lara
at de Young Museum, San Francisco2014 Prix HSBC Awarded to Two PhotographersRudolf Kicken, 1947-2014"Biggest Photography Class in History"Puppies and PicturesDomesticated: Photographs by Amy Stein
at National Academy of Sciences, WashingtonSteel Stillman: Incidents, 1969-2014
at Show Room Gowanus, BrooklynCallahan Collection Donated to Vancouver Art GalleryBrandon Thibodeaux Wins Michael P. Smith GrantRoger Mayne, 1929-2014The Fence Goes on View in BrooklynKa-Man Tse Wins Robert Giard FellowshipMultiple Exposures: Jewelry and Photography / The Embroidered Image
at Museum of Arts and Design / Robert Mann Gallery, New YorkTim Barber: Relations
at Boite Noire Gallery, West HollywoodSze Tsung Leong: Horizons
at Yossi Milo Gallery, New YorkPortland Art Museum Acquires Robert Adams PhotographsMichael Schmidt, 1945-2014Paul Anthony Smith: Mangos and Crab
at Carrie Secrist Gallery, ChicagoMichael Schmidt Wins Prix PictetJaimie Warren
at SF Camerawork, San FranciscoSymposium at Getty Celebrates 175th Anniversary of PhotographyZoe Leonard Receives Buckbaum AwardAndre Serrano Creates Public Art ProjectLuigi Ghirri: La Città
at Matthew Marks Gallery (LA), Los AngelesRichard Mosse Wins Deutsche Börse PrizePoetics of Light: Pinhole Photography
at New Mexico History Museum, Santa FePrix Pictet Finalists On View at V&ARichard Renaldi: Touching Strangers / This Grand ShowHillman Photography Initiative Explores Future of PhotographyWalking in Their ShoesMark Ruwedel Wins Scotiabank Photography Award
at Sous Les Etoiles Gallery, New YorkA New Space for Photo-EyeMaroesjka Lavigne: Island
at Robert Mann Gallery, New YorkGeorge Dureau, 1931-2014More AIPAD Picks from Elisabeth BiondiElisabeth Biondi's AIPAD PicksSarah Schmerler's Picks from AIPAD2014 Guggenheim FellowshipsLisa Sette RelocatingPhoto Eye: Avant-Garde Photography in Europe
at Museum of Fine Arts, BostonLower East Side Photo WalkRoe Ethridge: Sacrifice Your Body
at Andrew Kreps Gallery, New York
at Salon 94 Bowery, New YorkGetty Museum Acquires Tress PhotographsAmy Elkins Wins Aperture Portfolio PrizeMoutoussamy-Ashe Photos Go to SmithsonianWalead Beshty: Selected Bodies of Work
at Regen Projects, Los AngelesPublic Intimacy: Art and Other Ordinary Acts in South Africa
at Yerba Buena Center for the Arts, San FranciscoPrince/Cariou Case SettledDaniel Gordon Wins Paul Huf AwardNew Photo Gallery in WilliamsburgICP on the MoveNational Gallery of Art Receives Gift of PhotographsJamie Warren Wins Baum AwardChloe Dewe Mathews Wins Gardner FellowshipMatthew Pillsbury: Nate and Me
at Sasha Wolf Gallery, New YorkGetty Images Opens Up LibraryPaula McCartney: A Field Guide to Snow and Ice
at Klompching Gallery, BrooklynAmerican Cool
at National Portrait Gallery, Washington, D.C.
at Block Museum of Art, EvanstonICP Announces Infinity Award WinnersOnward in PhillySamuel Fosso Photographs RescuedJ. Shimon & J. Lindemann: We Go From Where We Know
at John Michael Kohler Art Center, SheboyganJohn Stanmeyer Wins World Press Photo AwardNot Your Grandmother's LibrarianPatrick Nagatani: Outer and Inner: Contemplations on the Physical and the Spiritual
at Andrew Smith Gallery (annex), Santa FeNew Photo Gallery in BostonFred McDarrah: Save the Village
at Steven Kasher Gallery, New YorkJ.D. 'Okhai Ojeikere, 1930-2014Kevin Cooley and Phillip Andrew Lewis: Unexplored Territory
at Kopeikin Gallery, Los Angeles
at Guggenheim Museum, New YorkGetty Acquires Pictorialist PhotographsPeter Hujar: Love & Lust
at Fraenkel Gallery, San FranciscoChild Identified in 1908 Lewis Hine PhotoHeather Snider Joins SF CameraworkThe Sochi Project: An Atlas of War and Tourism in the Caucasus
at DePaul Art Museum, ChicagoPhillip Prodger Joins London's National Portrait GalleryTanya Marcuse: Fallen
at Julie Saul Gallery, New YorkJoshua Chuang Joins CCPSophie Calle: Last Seen
at Isabella Stewart Gardner Museum, BostonDanielle Durchslag: Relative Unknowns
at Denny Gallery, New YorkCarnegie Museum Founds Hillman Photography InitiativeSoo Kim Awarded Gutmann FellowshipSymposium on March on Washington
at Nailya Alexander Gallery, New YorkNelson Mandela, 1918 - 2013Sylvie Pénichon New Photo Conservator at Art InstituteICP Awarded Ford Foundation Grant for "Rise and Fall of Apartheid"Carson Fisk-Vittori
at Carrie Secrist Gallery, ChicagoAttention Photographers: Interested in the South of France this Summer?API Launches Online ExhibitionVivian Maier: Self-Portrait
at Howard Greenberg Gallery, New YorkDavid Vestal, 1924-2013Danny Custodio: Trees
at Gallery Kayafas, BostonBarry Friedman RetiringMeet Me in MiamiThomas Demand: Dailies
at Matthew Marks Gallery (526), New YorkChuck Mobley Leaving SF CameraworkCatherine Evans Named Chief Curator of the Carnegie Museum of Art
at Gagosian Gallery (Mad Ave), New YorkSaul Leiter, 1923-2013Maine Philanthropists Give Collection to Portland Museum of ArtDaniel Morel Wins Suit Against Getty Images/AFPSean McFarland: Glass Mountains
at Stephen Wirtz Gallery, San FranciscoJohn Divola: As Far As I Could get
at Santa Barbara Museum of Art, LACMA, Pomona Museum of Art,Eileen Quinlan: Curtains
at Miguel Abreu Gallery, New YorkICP Names New Executive DirectorClarence John Laughlin Award AnnouncedPrix Pictet Shortlist AnnouncedAnd the Winner Is ....Libération's Powerful Homage to PhotographyTanja Hollander: The Landscapes of Are You Really My Friend?
at Carroll And Sons, BostonWar/Photography: Images of Armed Conflict and its Aftermath
at Brooklyn Museum of Art, BrooklynLisa Hostetler to Eastman HouseDispatched to TexasFinding Vivian MaierQueens Museum Reopens with Photos by Jeff Chien-Hsing LiaoNew E-Book from Library of CongressHello, Goodbye
at Leila Heller Gallery, New YorkDeborah Turbeville, 1932-2013ICP Celebrates Robert Capa's CentenaryOf Walking
at Museum of Contemporary Photography, ChicagoHere is New YorkPolly Borland: You
at PK Shop, New YorkExhibition Showcases Martin Weinstein's CollectionThey Are Us: Animal Identity and the Anthropomorphic Urge
at Rick Wester Fine Art, New YorkRoxana Marcoci Named Senior Curator at MoMAMuseum of Fine Arts, Houston, Acquires Manfred Heiting Photo Book CollectionDocumerica Looks BackMatthew Porter: Greet the Dust
at M+B Gallery, Los AngelesGeorge Tice: 60 Years of Photography
at Nailya Alexander Gallery, New York
at Edwynn Houk Gallery, New YorkCarrie Mae Weems Is a MacArthur GeniusWe Shall: Photographs by Paul D'Amato
at DePaul Art Museum, ChicagoShe Who Tells a Story: Women Photographers from Iran and the Arab World
at Museum of Fine Arts, BostonMalcolm Daniel Heading to TexasRyan McGinley: Yearbook
at Ratio 3, San FranciscoBrian Sholis Joins Cincinnati Art MuseumPieter Hugo: Kin
at Yossi Milo Gallery, New YorkAdieu to Le Journal de la PhotographieNadia Sablin Wins Firecracker Photography AwardGetty Acquires Baltz Archive
at Hosfelt Gallery, San FranciscoParty Picks: Estate of Jimmy DeSana
at Salon 94 Bowery, New YorkIn The Studio
at John Messinger, East HamptonThat Which Is: Marcia Lippman
at KMR Arts, Washington DepotBen Lifson, 1941-2013Jan Banning: Down and Out in the South
at Hagedorn Foundation Gallery, AtlantaTom Wood: Men and Women
at Thomas Erben Gallery, New YorkFrom the Ground Up: The Tent Camera Photographs of Abelardo Morell
at Stephen Daiter Gallery, ChicagoPortion Control: Chrisopher Boffoli
at Winston 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