News from the World of Photography: October 2018

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Japan Modern: Photography from the
Gloria Katz and Willard Huyck Collection


Freer|Sackler Galleries of Asian Art
The Smithsonian Institution, Washington DC
29 September 2018 – 24 January 2019

 

Celebrating the Freer|Sackler’s recent acquisition of a major Japanese photography collection, this exhibition features a selection of works by groundbreaking twentieth-century photographers. Whether capturing evocative landscapes or the gritty realities of postwar Japan, this presentation focuses on Japanese artists’ search for a sense of place in a rapidly changing country. The images highlight destinations both rural and urban, in styles ranging from powerful social documentary to intensely personal. A selection of photobooks and experimental films adds to this multifaceted exploration.

How Gordon Parks Became Gordon Parks


The New York Times LENS Blog
 
At the beginning of the 1940s, Gordon Parks was a self-taught fashion and portrait photographer documenting daily life in both St. Paul and Chicago. By the end of the decade he was photographing for Life magazine. While his career has been examined closely, both in his own words and by others, this formative decade has attracted less attention than his experiences as the first black staff photographer at Life, and later as a groundbreaking Hollywood filmmaker.

A new book, “Gordon Parks: The New Tide, Early Work 1940-1950,” published by the National Gallery of Art, The Gordon Parks Foundation and Steidl, examines this transformation...

This is Cas | Vintage photography by Cas Oorthuys


Nederlands Fotomuseum
Rotterdam, Netherlands
15 September 2018 - 13 January 2019

 

Cas Oorthuys (1908-1975) spent his entire life, practically without interruption, taking pictures - and lots of them. He never left home without a camera - usually with two or three and sometimes more of them around his neck. By the time he died, he had accumulated an archive of almost half a million photographs. Like the 17th-century landscape painters who determined the look of the Netherlands for centuries afterward, Cas Oorthuys did this with photography: with wind, water, imposing cloud formations, and an open uncluttered landscape.

Cas Oorthuys did not shy away from anything. Risking his own life, he continued secretly taking pictures during the Second World War. His portrait of a starving woman with a piece of bread became an icon of the Dutch famine winter of 1944/1945. Afterward, his camera recorded Dutch post-war reconstruction in which he so perfectly captured the atmosphere of optimism and hard work. Light, air, and space returned to the Netherlands as reflected in his photography. He also spent this period traveling all over the world. For many people in the Netherlands, his photographs were their first introduction to cities in other countries.

Dorothea Lange: Politics of Seeing

Jeu de Paume
Concorde, Paris
16 October 2018 - 27 January 2019


 The Politics of Seeing features major works by the world-famous American photographer Dorothea Lange (1895, Hoboken, New Jersey–1966, San Francisco, California), some of which have never before been exhibited in France. The exhibition focuses on the extraordinary emotional power of Dorothea Lange’s work and on the context of her documentary practice. It features five specific series: the Depression period (1933-1934), a selection of works from the Farm Security Administration (1935-1939), the Japanese American internment (1942), the Richmond shipyards (1942-1944) and a series on a Public defender (1955-1957). Over one hundred splendid vintage prints taken between 1933 and 1957 are enhanced by the presence of documents and screenings broadening the scope of an œuvre often familiar to the public through images such as White Angel Breadline (1933) and Migrant Mother (1936), which are icons of photographic history. The majority of prints in this exhibition belong to the Oakland Museum of California, where Lange’s considerable archive, donated to the museum after her death by her husband Paul Shuster Taylor, is conserved.
 

Belgian Photographer Bieke Depoorter Receives the 2019 Larry Sultan Award


Pier 24 Photography

In a collaborative partnership with four major Bay Area arts organizations, Bieke Depoorter has been selected to receive the prestigious 2018 Larry Sultan Photography Award. The award, granted through a partnership of California College of the Arts, Headlands Center for the Arts, Pier 24 Photography, and the San Francisco Museum of Modern Art, consists of a $10,000 cash award and an artist residency at Headlands Center for the Arts in Sausalito, CA. As the 2018 awardee, Depoorter will engage with the Bay Area photography community by working with students at the California College of the Arts this fall and giving a free, public lecture on November 8, 2018.

Photographer Bieke Depoorter (b. 1986, Belgium) travels the world to find her subjects, creating extraordinarily intimate photographs that straddle portraiture, documentary, and fiction. The relationships she creates with those she photographs are the key to her work. As Depoorter describes it, “The relationships I establish with my subjects are the foundation of my artistic practice…The resulting stories are always partially mine, partially theirs.”

Ara Guler, Poetic Photographer of Istanbul, Dies at 90


The New York Times

Ara Guler, a Turkish photographer who was best known for capturing poignant and nostalgic images of a bygone Istanbul but who also portrayed famous figures and everyday life in far-flung lands, died on Wednesday in the city he so lovingly chronicled. He was 90.

His death was announced by Magnum Photos, his agency, in a statement on its website.

Mr. Guler’s pictures reflected the shadows and sparkle of Istanbul, a city he once described in an interview as a sort of “Madwoman of Chaillot” who had grown old but never neglectful of how she looked: Touch her, he said, “and a jewel will appear.”...


British Journal of Photography

Eugene Richard’s first New York retrospective chronicles 50 years of the respected photographer’s work, covering the crumbling effects of poverty, racism, drug addiction, and death in rural America.

“You’re always looking for that time where everybody forgets you’re there and becomes themselves. Surprisingly they do, sometimes to the detriment of what you knew about them,” says Eugene Richards, who has devoted his career to documenting social injustice in America, and to injecting himself into intensely personal situations.

Richards’ style is up-close and unflinching, “ironically it’s the process of becoming as not there as you possibly can, if you hang around long enough people don’t care”. Though his photography has been described as poetic and lyrical, he has never thought of himself as an artist. “I went in with some knowledge of photography, but mostly with the idea of providing information,” he says...

Eugene Richards: The Run-on of Time


International Center of Photography
ICP Museum, New York, NY
27 September 2018 - 6 January 2019 


One of the most respected photographers of his generation, Eugene Richards has devoted his career to exploring profound aspects of human experience. Birth, death, family, and the grinding effects of poverty and prejudice, as well as the mental and physical health of individuals and communities, are recurring themes of his work. This exhibition—organized thematically, rather than by project—reveals Richards’s enduring concern with these subjects over the course of his nearly fifty-year career.

Richards’s style is unflinching yet poetic, and his photographs are deeply rooted in the texture of lived experience. Through photographs, writings, and moving-image works, Richards confronts difficult subjects with an impassioned honesty that can be challenging, lyrical, beautiful, and melancholy.

His work is informed by the subjective approach of Robert Frank and the social commitment of W. Eugene Smith. It is distinct from these precedents, however, in that it is more intimate and does not disguise its emotional investment. Richards is, in his own words, “very conscious of what it means to go into someone’s house and take very private moments away in pictures. The responsibility of the photographer is to respect people while—and this is most important—utilizing all your skills to reveal something true about their lives and their humanity.” This way of working results in photographs that can be seen as  more honest and more realistic than traditional documentary imagery.

Ultimately, Richards illuminates aspects of American society that are more easily, or more comfortably, ignored. Yet the tender inflection of his strong, unique voice makes encountering his work an unforgettable and rewarding experience.

Blue Prints: The Pioneering Photographs of Anna Atkins


New York Public Library
New York, NY
Until 17 February 2019


Anna Atkins (1799–1871) came of age in Victorian England, a fertile environment for learning and discovery. Guided by her father, a prominent scientist, Atkins was inspired to take up photography, and in 1843 began making cyanotypes—a photographic process invented just the year before—in an effort to visualize and distribute information about her collection of seaweeds. With great daring, creativity, and technical skill, she produced Photographs of British Algae: Cyanotype Impressions, the first book to be illustrated with photographs, and the first substantial application of photography to science. Ethereal, deeply hued, and astonishingly detailed, the resulting images led her and her friend Anne Dixon to expand their visual inquiry to flowering plants, feathers, and other subjects. This exhibition draws upon more than a decade of careful research and sets Atkins and her much-admired work in context, shedding new light on her productions and showcasing the distinctive beauty of the cyanotype process, which is still used by artists today.

Madame d'Ora, Pioneering Photographer of 20th Century Greats


Pro Photo Daily

Gustave Klimt wanted her to photograph him. So did Pablo Picasso and Marc Chagall. Josephine Baker and Maurice Chevalier turned to her, as did Emperor Charles I of Austria and Coco Chanel.

Dora Kallmus – known professionally as Madame d’Ora – was Austria’s first female photographer, and her client list was a who’s who of preeminent 20th-century artists and intellectuals, along with glittering names of Viennese society and Parisian fashion.

Kallmus, who died in 1963 in Vienna, left a body of work that, noted the AnOther blog recently, was a “varied and joyful testament to a life stretching across the 20th century’s seminal events; one lived beyond the strictures of society and alongside many of its most interesting characters.”

That work is now being celebrated in the exhibition “Make Me Look Beautiful, Madame d’Ora,” which runs through October 29 at the Leopold Museum in Vienna.

Larry Fink: The Boxing Photographs


Philadelphia Museum of Art
Philadelphia, PA
11 August 2018 - 1 January 2019

Larry Fink’s powerful, unsentimental photographs reveal the heart of close-knit communities. Here, he takes us inside what he calls “the deep fraternity” of the boxing gym, its intimacy and its grit, captured in more than seventy-five luminous gelatin-silver prints. Featured in the series are Philadelphia’s own Blue Horizon—one of the great American boxing arenas—and the local fighters who’ve had their dreams realized, or dashed, within its hallowed walls.

The Many Hats of Ralph Arnold: Art, Identity & Politics


Museum of Contemporary Photography (MoCP)
Columbia College, Chicago, IL
11 October - 21 December 2018 

 

During the tumultuous 1960s and 70s, the prolific artist Ralph Arnold made photocollages that appropriated and commented upon mass media portrayals of gender, sexuality, race and politics. Arnold’s complex visual arrangements of photography, painting and text were built upon his own multilayered identity as a black, gay veteran and prominent member of Chicago’s art community, hence the title for the exhibition, which is drawn from one of the artist’s more personal pieces. Arnold participated in some of the era’s most provocative exhibitions yet by the mid-1980s he increasingly focused on his teaching and service to the art community. This exhibition brings together Arnold’s most significant contributions to the art of collage, including a recently rediscovered triptych made for the 1968 MCA Chicago exhibition, Violence in Recent American Art. It also includes work by contemporaries and colleagues like Robert Rauschenberg, Ed Paschke, and Barbara Jones-Hogu to add further context and enrich our understanding of Arnold’s legacy.


Crocker Art Museum
Sacramento, CA
16 September 2018 - 6 January 2019


Duane Michals: The Portraitist presents the first comprehensive overview of inventive portraits by this influential photographer who, in the 1960s, broke away from established traditions of documentary and fine-art photography and is still creating original work today. Michals is widely recognized for his eye-catching portraits of actors, artists, musicians, writers, and other public figures. Striving to articulate his own distinct style and vision while distinguishing each subject’s individual personality, the artist empowers his sitters to express themselves in their own environments and through improvisation. He is perhaps best known for the sequences he assembles to convey personal visual narratives, often with handwritten messages and poems added to the photographic print surface. The exhibition spans nearly six decades, featuring more than 125 portraits collectively highlighting the artist’s expansive toolkit — sequenced images, multiple exposures, reflections, uncommon vantage points, collage, hand-painting, and other techniques.

Telfair Museums
Savannah, GA
17 August 2018 - 13 January 2019 


The Language of Vision: Early Twentieth-Century Photography thematically links four photographers from Telfair Museums’ permanent collection who made significant advances in the medium of photography before 1945: Ralph Steiner (American, 1899–1986), Manuel Álvarez Bravo (Mexican, 1902–2002), Walker Evans (American, 1903–1975), and Helen Levitt (American, 1913–2009).

At the turn of the 20th century, most photography was overly-romanticized, staged, or fulfilled a strictly documentary function. Connected historically and socially, the four artists in this exhibition instead employed straight photography, engaging with the camera’s technical capacity to capture what was in front of them without heavy manipulation in the darkroom.

As cameras became more portable during their lifetimes, these photographers literally took to the streets to document modern life on film. While objectively depicting the people and places of their day, they also created images born of their own artistic insight, distinguished by subject matter, cropping, vantage point, lighting, and the types of cameras they used.

Although these artists photographed during much of the 20th century, their work from the 1920s through ’40s elevated the status of photography as a whole. All four demonstrated that while mechanically made, their photographs reflected the subtle expressiveness of the individual, a pivotal development in the genre of photography as a distinct visual art form.

Their ability to capture the contemporary moment created timeless images that still reveal insights about the human condition today.

The Eye of Photography

The people in these photographs are from some of the 34 indigenous communities in the remotest parts of the world that Jimmy Nelson worked to make his second book about the strength and beauty of these cultures, Jimmy Nelson: Homage to Humanity.

The exhibition of the same name opens today (Wednesday, 19 Sept) at Atlas Gallery, in London W1. In both the exhibition and the book, the British-born photographer pays tribute to the thirty-four communities he encountered while traveling across five continents, from the Sharchop in the Himalayan kingdom of Bhutan to the Mundari in South Sudan.

His first book about indigenous peoples, Before They Pass Away (2013), was a bestseller and helped spark a global debate. Jimmy Nelson: Homage to Humanity, extends both the artist’s practice but also pushes the limits of technology, as he introduces readers to his subjects, through interviews, background material and then, via a mobile app triggered by the photographs in the book, behind-the-scenes 360 films shot on location...

Arch Daily

The shortlist for the 2018 Architectural Photography Awards have been revealed, bringing together 20 atmospheric images of the built environment. Categories this year ranged from a “portfolio of an individual building to a single abstract: with a professional camera or on a mobile phone.”

The 2018 edition saw a record number of entries, with photographs from 47 countries, including the UK (28%), USA (20%), Germany (6%), and China (5%). The 20 photographs were selected from four categories: exteriors, interiors, sense of place, and buildings in use.

The images will be exhibited at the World Architecture Festival in Amsterdam from 28th-30th November, where visitors can cast their vote for the winner, to be announced at the WAF Gala Dinner.

Public voting for the Mobile category is open until Friday 30th November. The awards are supported by the World Architecture Festival and PICSEL, and sponsored by Sto and Dornbracht.

The Boston Globe

The Museum of Fine Arts announced Thursday a major addition to its photographic holdings: the Howard Greenberg Collection. Greenberg is a longtime New York gallery owner. The acquisition, which was purchased for an undisclosed sum, comprises 447 photographs from 191 artists. Among them are 80 previously unrepresented at the MFA, including Jacob Riis, Frances Benjamin Johnston, and Inge Morath. Overall, the photographers are a who’s who of the medium: André Kertész, Walker Evans, Henri Cartier-Bresson, Lewis Hine, Dorothea Lange, Robert Frank, and Diane Arbus, among them.

“This acquistion is going to be truly transformational for us,” Anne Havinga said in a telephone interview. Havinga is the museum’s Estrellita and Yousuf Karsh chair, department of photography. “There are so many important photographs in this collection — and really extraordinary prints of the photographs.”

The MFA has some 15,000 photographs in its holdings, so the new acquisition increases that number by nearly 3 percent. An exhibition drawn from the Greenberg Collection is scheduled to open at the MFA in August. MARK FEENEY


New Orleans Museum of Art (NOMA)
New Orleans, LA
7 September 2018 - 6 January 2019


NOMA celebrates its century-long relationship to photography with Past Present Future: Building Photography at the New Orleans Museum of Art. This three-part presentation will include first, a partial recreation of a groundbreaking 1918 show at the Delgado Museum of Art (later renamed the New Orleans Museum of Arrt), presenting vintage prints of photographs that were included in the original exhibition. The second component of the exhibition presents an impressive group of works acquired within the past seven years that demonstrate the museum’s commitment to expanding its representation of diverse cultural perspectives from around the globe. The final section will consist of works that have been promised to the institution, signaling how the collection will continue to grow into the future. Past Present Future, along with the recent release of a new book about the collection, Looking Again: Photography at the New Orleans Museum of Art, mark this important moment in the institution’s long relationship with photography, looking at its past with an eye towards its future.

The Wittliff Collections
Texas State University, San Marcos, TX
August 27 - December 18, 2018


Dubbed a “poet of the ordinary” by the Los Angeles Times, Keith Carter came of age during the turbulent sixties and seventies. From his experiences, he has developed a singular, haunting style that captures both the grit and the glory of the human spirit. Showcasing a broad array of his work, Keith Carter: Fifty Years spans delicate, century-old processes as well as digital-age techniques yielding an enduring vision of the world around us. These photographs use contrasts of natural light and darkness to explore the mythos of time and terrain, the familiar, the magical, and the varied creatures that inhabit our earth. The human form—depleted or energized, solitary or with a beloved partner— becomes a meditation on aging and loss, which have affected Carter profoundly in recent years. Yet these losses have spurred in him a sense of discovery, not despair.

Carter is an internationally recognized artist and educator who holds the endowed Walles Chair of Art at Lamar University. He has received the Texas Medal of Arts, the Lange-Taylor Prize from the Center for Documentary Studies at Duke University, and the Regent’s Professor Award from the Texas State University System. His photography has been shown in more than 100 solo exhibitions in thirteen countries.

This exhibition, featuring well over 100 images taken from every phase of Carter’s career, was organized by The Wittliff Collections, which hold the major archive of Keith Carter’s photography.

Nevada Museum of Art
Reno, NV
September 29, 2018 - January 27, 2019 


This major retrospective exhibition rediscovers and celebrates the work of Anne Brigman (1869-1950), who is best known for her iconic landscape photographs made in the early 1900s depicting herself and other female nudes outdoors in the Sierra Nevada. Brigman’s photography was considered radical for its time. To objectify her own nude body as the subject of her photographs at the turn of the twentieth century was groundbreaking; to do so outdoors in a near-desolate wilderness setting was revolutionary. Although the term feminist art was not coined until nearly seventy years after Brigman made her first photographs, the suggestion that her camera gave her the power to redefine her place as a woman in society establishes her as an important forerunner in the field.

Brigman’s significance spanned both coasts: in Northern California, where she lived, she was known as a poet, a critic, a proponent of the Arts & Crafts philosophy, and a member of the Pictorialist photography movement. On the East Coast, her work was promoted by Alfred Stieglitz, who elected her as a fellow of the prestigious Photo-Secession. From 1903 to 1944 Anne Brigman maintained ongoing correspondence with Alfred Stieglitz, exchanging nearly 100 letters during this time. Brigman is also noted for her honest art criticism and opinioned voice on cultural and fine art topics, and as a published poet.

Museum Ludwig
Cologne, Germany
Au­gust 31, 2018 – Jan­uary 6, 2019


Diane Ar­bus, Boris Beck­er, Karl Bloss­feldt, Walk­er Evans, Lee Fried­lan­der, Can­di­da Höfer, Gabriele and Hel­mut Noth­helfer, Ta­ta Ronkholz, Al­bert Renger-Patzsch, Au­gust San­der, Hu­go and Karl Hu­go Sch­mölz, Gar­ry Wino­grand, Pi­et Zwart—across gen­er­a­tions, all th­ese pho­to­g­ra­phers cont­in­u­al­ly fol­lowed themes over de­cades in their work. In the case of San­der, th­ese se­ries formed an at­las of Peo­ple of the Twen­ti­eth Cen­tu­ry, while Höfer has cre­at­ed an archive of public spaces and their codes of rep­re­sen­ta­tion, and Bloss­feldt ca­t­a­logued the for­mal va­ri­e­ty of fau­na and flo­ra. “S­traight pho­tog­ra­phy” brought to­gether the vary­ing re­cep­tion of pho­tog­ra­phy as artis­tic and doc­u­men­tary in a par­tic­u­lar way.

This sur­vey ex­hi­bi­tion pre­sents the mu­tu­al in­flu­ence be­tween Ger­man and Amer­i­can po­si­tions in the dense cul­tu­r­al land­s­cape of the Rhine­land from the 1960s to the 1990s. This is where the first pho­tog­ra­phy gal­leries were lo­cat­ed in the 1970s, which were en­thu­si­as­tic sup­port­ers of Au­gust San­der, Flo­rence Hen­ri, Pi­et Zwart, and Karl Bloss­feldt, as well as Amer­i­can pho­to­g­ra­phers in the 1960s such as Walk­er Evans, Diane Ar­bus, Lee Fried­lan­der, and Gar­ry Wino­grand, and pop­u­larized them by cont­in­u­al­ly en­gag­ing with the public. At the same time, Bernd and Hil­la Bech­er were high­ly in­flu­en­tial through their teach­ing at the Kun­s­takademie Düs­sel­dorf. And, not least, im­por­tant so­lo and group ex­hi­bi­tions had a last­ing im­pact on the re­cep­tion. In the 1950s, L. Fritz Gru­ber showed Au­gust San­der in the Pho­tok­i­na pho­tog­ra­phy shows. In 1976 the Kun­sthalle Düs­sel­dorf ex­hibit­ed pho­to­graphs by Walk­er Evans, and around the same time Klaus Hon­nef cu­rat­ed im­por­tant group ex­hi­bi­tions of doc­u­men­tary pho­tog­ra­phy at the Rheinisch­es Lan­des­mu­se­um in Bonn.

News from the World of Photography: September 2018

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Henry Wessel, Whose Lens Captured Life in the West, Is Dead at 76


The New York Times

Henry Wessel Jr., a distinguished photographer of the American West who captured not so much its vast grandeur as its small moments of daily life — the roadside novelty, the trimmed shrubbery, the man in a business suit on an empty beach — died on Friday at his home in Point Richmond, Calif. He was 76.

The cause was pulmonary fibrosis, Calvert Barron, his partner of 38 years, said. Mr. Wessel had been undergoing treatment for lung cancer, she said.

Mr. Wessel, whose work resides alongside that of the most admired artists of his generation, worked in a classic documentary tradition for nearly 50 years, photographing the world as he happened upon it....

How Garry Winogrand Transformed Street Photography


The New Yorker
 
A new documentary, “All Things Are Photographable,” traces how the legendarily prolific photographer pulled his art form into modernity...

EyeEm Announces this Year’s 100 Award Finalists


British Journal of Photography


EyeEm have announced the 100 finalist photographers in this year’s award, which saw a staggering 700,000 entries

EyeEm is currently the world’s largest photography competition, and this year it welcomed a record 700,000 entries. The submissions came from more than 100,000 photographers, hailing from over 150 countries, who have now been whittled down to 100 finalists.

The daunting task of selecting the finalists from this number came down to a panel of industry experts that included Nik Schulte, Image Director of High Snobiety; Jose Cabaco, the Global Creative Concept & Storytelling Director at Adidas; Lucy Pike, Director of Photography at WeTransfer; and Sasha Dudkina, last year’s EyeEm Photographer of the Year, among others. Together, they selected the top 10 images from each of the nine categories, and the 10 shortlisted photographers for Photographer of the Year.

The Anxious Hopeful Faces of Young People in Shenzhen, China


The New Yorker

 In Chinese, the name of Shenzhen, the sprawling, coastal megatropolis famed for its affluence and factories, means “deep drains.” A generation ago, Shenzhen was an impoverished fishing village of thirty thousand and relied on these drains, which flowed from surrounding rivers and streams, to feed its paddy fields. Today, the city teems with twenty million inhabitants, a symbol of both miraculous transformation and the excesses of vertiginous development.

In October of last year, the photographer Christopher Anderson received an open commission from Shenzhen’s Daken Art Organization to document life in China. For three weeks, he walked streets that “seemed to have been built overnight,” snapping the photos that are collected in “Approximate Joy,” his book due out in September. (An exhibition at Danziger Gallery, in New York, opens September 13th.) Instead of panoramas of glittering skylines and cloud-piercing towers, though, Anderson chose to tell the story of Shenzhen through the study of faces. Many of his photos are tightly cropped, decontextualized portraits that feel at once unnervingly intimate and otherworldly...

 

On View: Exploring the "NeoRealismo" Life of Mid-Century Italy


ProPhotoDaily

New York is getting real this month. Or rather, it’s getting “NeoRealismo.”

Beginning on Sept. 6 and running through Dec. 8 at New York University’s Grey Art Gallery is “NeoRealismo: The New Image in Italy, 1932-1960,” the first major museum exhibition to spotlight key Italian photographers recording life during the era. The exhibition, curated by critic and journalist Enrica Viganò, pairs work from 60 Italian artists with the original publications in which their images circulated, from illustrated magazines and photography books to exhibition catalogs.

Also on view will be excerpts from important films from post-war neorealism directors Vittorio De Sica, Roberto Rossellini and Luchino Visconti, alongside related movie posters.

On Sept. 12 New York’s Howard Greenberg Gallery will open an exhibition featuring Italian photography from the era, while the Museum of Modern Art will begin featuring post-war Italian photography from its own collection.

The Social Consciousness of Sid Grossman, a Photographer of the People

Hyperallergic

There’s an iconic photograph of folk singer Woody Guthrie, his skin weathered with sun, cigarette at his lips, the line of his guitar strap on a clean diagonal, as if triangulating man, instrument, and negative space. It was shot by Sid Grossman, of New York’s radical Photo League, in 1948, the year the collective was blacklisted during the Red Scare and declared a subversive organization, both for its documentation of the city’s impoverished communities and its Communist affiliations. (Guthrie, for his part, was long associated with various communist groups — without becoming an official member himself.)

This photo is not part of Sid Grossman: Photography, Politics, and the Ethical Image, an exhibition dedicated to the photographer’s life and work from the late 1930s and mid-1940s, now on view at the Pérez Art Museum Miami (PAMM).


lensculture

In the best tradition of great artists, John Chiara creates art that makes the old and familiar seem fresh, new and alive with possibilities and wonder. For his latest series of one-of-a-kind mural-size photographs of New York City, he designed and hand-built a giant camera that barely fits in the bed of a large rental pickup truck. Always looking up toward the skyline, he scouts through the city for the right combination of iconic architecture, perfect light and shadows, and surprising bits of pleasing chaos in the foreground...

Four to Follow #10

Witness

Sharing stories from across the African continent by the talented members of the African Photojournalism Database (APJD).

In this ‘Four to Follow’, meet the CaiRollers, Egypt’s own roller derby team; ask what it means to ‘move on’ for survivors of terrorism and violent conflict in Nigeria; find out about the women working for ‘semolina and gas’ in esparto fields in Tunisia; and glimpse daily life on the streets of the Republic of Congo.

While the issues, regions
and approaches of this month’s stories are incredibly diverse, a passion for visual storytelling links the four APJD members — Eman Helal, Nourredine Ahmed, Etinosa Yvonne and Victoire Douniama. Each began a career in a different field before deciding to pursue photography full time...

Picturing Mexico through the Eyes of Lola Alvarez Bravo


Feature Shoot

Lola Álvarez Bravo (1903-1993) was a singular figure in twentieth-century art, a woman whose independence defined the spirit of the era. “I had a strange need for something and I didn’t know what it was. I was in intense rebellion against certain things that they thought I should do because I was a ‘little woman’ and a ‘young lady,’” Álvarez Bravo told Olivier Debroise for Sin título [Biography of Lola Álvarez Bravo] in 1979.

“They thought I would respond to a predetermined social plan. But I felt a strange rebelliousness. I wanted to be something. . . . It was an internal rebellion.”

That something propelled her to tremendous heights, with a career that spans more than half a century as an artist, curator, activist, and educator. As one of the few leading women artists in Mexico during the post-revolutionary renaissance, Álvarez Bravo would become an integral figure in a coterie that included Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros...

Walter Bosshard / Robert Capa – The Race for China


The Eye of Photography


Walter Bosshard (1892–1975) was the first Swiss photojournalist to become internationally famous as a result of his reportages. As early as 1930, his photo reportages had already reached an audience of millions. Starting in 1931, Bosshard concentrated on China. As a photographer and writer, he followed the devastating war with Japan and the power struggle between nationalists and communists but also dedicated himself to everyday life and street scenes. As well as the classics, this exhibition by the Fotostiftung Schweiz also presents many unknown photographs, which have only recently come to light. These are juxtaposed with China photos by the star reporter Robert Capa. Capa worked in the same places as his friend Walter Bosshard and competed with him for features in the magazine Life.

Taylor Wessing Photographic Portrait Prize Shortlist Announced


British Journal of Photography

Photographs of a woman holding her baby, two shoppers, a drum majorette, and a child from a remote village in Sierra Leone have all been shortlisted for the National Portrait Gallery’s prestigious Taylor Wessing Photographic Portrait Prize this year. The prize winners will be announced at an award ceremony at the NPG on 16 October, with the overall winner receiving £15,000 and other cash prizes awarded to the shortlisted photographers at the judges’ discretion.

Two of the images were shot in London, with Max Barstow behind a striking photograph of two women in a busy shopping street in the city centre (above). The image comes from his series Londoners and in it, he says, his aim has been to “make unposed portraits with the intensity of images made by great studio photographers such as Richard Avedon and Irving Penn”.

Written in Light: Early Photography


Moderna Museet
Stockholm, Sweden
26 May 2018 - 13 January 2019

The exhibition Written in Light – Early Photography explores Moderna Museet’s collection of photography from the second half of the 19th century. Here you can see works by a few of history’s most prominent and fascinating photographers: Julia Margaret Cameron, Nils Strindberg, Carleton E. Watkins and many more.

Photography means “written in light”. Ever since it was first invented, photography has continued to develop and is constantly finding new applications and purposes. With the breakthrough of digital images, and their omnipresence in social media, photography is once again in a period of change. This gives all the more reason to reflect on how the history of photography impacts on contemporary photographic culture.

Thanks to two significant acquisitions in the mid-1960s, the Helmut Gernsheim Duplicate Collection, and the Helmer Bäckström Photohistorical Collection, some of the most prominent and admired photographers in history are represented at Moderna Museet, including portrait photographer Julia Margaret Cameron, Hill & Adamson, and landscape photographer Carleton E. Watkins.

Other fascinating photographic portfolios in the Moderna Museet collection are Nils Strindberg’s documentation of Salomon August Andrée’s Arctic Balloon expedition in 1897. And the exhibition also shows the Danish artist Joachim Koester’s work Message from Andrée (2005), which borrows its visual material from Strindberg’s documentation of the expedition.


Portland Art Museum
Portland, Oregon
9 December 2017 - 21 October 2018


Long before co-founding Aperture magazine or establishing the groundbreaking photography program at Massachusetts Institute of Technology, renowned modernist photographer Minor White (American, 1908-1976) moved to Portland, where he sowed the seeds of what would become a forceful artistic vision. This exhibition of White’s rarely exhibited early works celebrates the artist’s influence on the region, and honors the Museum’s dedication to acquiring and exhibiting photography as the institution enters its 125th year.

...The first phase of In the Beginning (on view December 9, 2017, through May 6, 2018) presents approximately 60 photographs of waterfront industrial buildings, Portland Civic Theatre portraits, night scenes, and images of Minor White teaching workshops in Oregon during the late 1950s and early 1960s. The second phase of the exhibition (on view May 12 through October 21, 2018) will feature downtown and Front Street scenes, photographs of Eastern Oregon, and images of two historic houses that White photographed for the Museum in 1942.

Philadelphia Museum of Art
Philadelphia, PA
26 June - 14 October 2018


Billie Holiday with her pit bull. Jacob Lawrence in his Coast Guard uniform. Georgia O’Keeffe with her Model A Ford. See how photographers helped craft the public personas of their creative subjects in this stunning collection of rare photographs from the Museum’s collection. The exhibition features works by Dorothy Norman, Man Ray, Richard Avedon, Alice O’Malley, and many others who captured some of the most fascinating artists and performers of the past 150 years.

LSU Museum of Art
Shaw Center for the Arts

Baton Rouge, LA
12 June - 14 October 2018 


Confluence by Jerry Uelsmann features sixty-five photographs from the artist’s recent series of work, produced from 2014 to 2017. 

While the aesthetics of these artworks align with Uelsmann’s esteemed and unique imagery, these black-and-white photographs evoke a new conversation, one inspired by an unlikely friendship with European art history scholar, Moa Petersen, Ph.D. Confluence demonstrates the natural flow of Uelsmann’s and Petersen’s intellectual friendship. Dealing with personal themes touching on the nature of love and loss, inner strength and self-love, this exhibition provides an intimate view of Uelsmann in his current chapter in life.

Uelsmann is renowned for his mastery of images that are visually fabricated silver prints. These photographs start with a camera, but are constructed in the darkroom. With his keen eye, he assembles these works with unrivaled dark room skills. Using multiple negatives and several enlargers, he creates single analog images through the dodging and burning of light and the masking of images from different negatives to make single works. Uelsmann takes pictures and makes new negatives as a catalog of images for future visual montages. No single negative made is to be printed alone; instead, each negative is like a sketch waiting to be realized in an entirely new work. His masterful works are precursors to the electronic manipulation now rendered by computers in photo-shopped images. 

Photography challenged the veracity of paintings in the 19th century and later was seen by American modernist “straight” photographers to reveal “truth” by artists like Ansel Adams and Edward Weston. In opposition to that stance, a post-modern Uelsmann manipulates images to seek surreal and poetic “truths.” Thematically his photographs explore nature and the human condition.

News from the World of Photography: August 2018

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Life and Dreams: Contemporary Chinese Photography and Media Art


The Walther Collection
Neu-Ulm, Germany
Until 18 November 2018

 

The Walther Collection presents Life and Dreams: Contemporary Chinese Photography and Media Art, the first extensive exhibition of works by Chinese artists represented in The Walther Collection. Featuring forty-three artists, Life and Dreams showcases a wide range of groundbreaking photography and media art produced by internationally recognized figures such as Yang Fudong, Zhang Peili, Ai Weiwei, Song Dong, Cao Fei, and Zhang Huan during an era of momentous social and economic change. It also incorporates new acquisitions and selected loans of significant media art by innovative younger artists such as Sun Xun, Lu Yang, and Cheng Ran to provide an up-to-the-minute account of the main directions and key achievements in contemporary Chinese photography and media art during the past three decades.

This Land


Pier 24
San Francisco, CA
1 June 2018 - 31 March 2019

This Land focuses on work made throughout the United States within the past decade. The photographers assembled here examine aspects of the country’s current social climate, from the mundane to the politicized.

The exhibition’s title is drawn from Woody Guthrie’s song “This Land Is Your Land” (1940). Viewed by many as an alternative national anthem, it alludes to the uneasy tensions fundamental to our vision of this nation filled with promise and peril, possibilities and letdowns. At the bottom of the sheet of paper on which Guthrie handwrote the song’s lyrics, he noted, “all you can write is what you see.” The artists included in this exhibition use cameras rather than pens, creating photographs that speak to what they see in the United States today.

Lucas Foglia: Human Nature


Museum of Contemporary Photography (MoCP)
Columbia College, Chicago, IL
19 July - 30 September 2018

 

The relationship between humans and nature is both symbiotic and fraught. In the present era of climate change, scientists and conservationists are scrambling to find solutions to myriad challenges such as resource depletion, ecosystem transformation, overpopulation, and species extinction. As our destruction of the natural world becomes more pervasive, our interactions with wilderness are in turn increasingly restrained, and the experiences we do have with nature often occur in human-made environments. In fact, we are spending more time than ever indoors, even as social science research indicates that a connection to nature is vital to our well-being.

Lucas Foglia (American, b. 1983) is interested in these complexities, and particularly in disputing the notion that people and nature are at odds. He began his project Human Nature (2006–16) in order to probe our relationship to the wilderness and to explore our fundamental need to commune with nature. With the skills of a seasoned photographer, and often with a touch of humor, he documents leisure activities, exploration, and some of the science behind climate change—often in remote locations. 

China Is Still Sorting Through Its Colorful Bike-Share Graveyards


The Atlantic

 In March, author Alan Taylor posted “The Bike-Share Oversupply in China: Huge Piles of Abandoned and Broken Bicycles,” showing just some of the millions of bicycles that had been rapidly built and dumped into Chinese cities by bike-share companies looking to get in on the next big thing, only to crash hard. In the months since, more of those bike-share startups have gone bankrupt or consolidated, and the bicycle graveyards remain. Municipal governments are still wrangling with the fallout, confiscating derelict or illegally parked bikes, crafting new laws, and working out what to do with millions of abandoned bicycles. In a few cases, plans have been announced to refurbish and distribute some of the bikes to smaller neighboring towns, in others, wholesale recycling has begun, and bicycles are being crushed into cubes. The scale of the situation was so large to begin with, it will be a long time before the bicycle graveyards fade away.
 

Pentti Sammallahti, Finland’s top photographer


The Economist

Under a low sun, a frog with a thuggish expression swims alone in a pond, its black reflection a crisply outlined mirror image on the still water. It stares straight ahead; an eye-to-eye confrontation seems imminent. This sinister yet amusing picture was taken by Pentti Sammallahti, a 68-year-old Finnish photographer with an unusual status: he is at once feted and deliberately low-profile.

His modest prices—prints start at €600 ($702)—are part of the explanation. Peter Fetterman, who exhibited Mr Sammallahti’s work at the Masterpiece fair in London this month, says he “is the best photographer whose work you can afford.”...

Artist Collier Schorr on the Medium and the Message


AnOther

After 20 years of making pictures that span fashion, art and collage Collier Schorr’s studio is, predictably, a bit of a mess. “[It’s] small, and in disarray,” she tells me, smiling, before the opening of her new solo exhibition, In Front of the Camera at London’s Modern Art gallery. “It’s constantly being cleaned, and then I do collages for a fashion story, and it becomes a complete hellhole of scraps of paper. And what happens then is that pictures float around and get mixed up and get lost and get found years later.”...


IPPAWARDS

The iPhone Photography Awards (IPPAWARDS) is proud to announce the winners of the 11th Annual Awards. This year’s winners were selected from thousands of entries submitted by iPhone photographers from over 140 countries around the world...

The First Photograph


Harry Ransom Center
The University of Texas at Austin

The First Photograph, or more specifically, the earliest known surviving photograph made in a camera, was taken by Joseph Nicéphore Niépce in 1826 or 1827. The image depicts the view from an upstairs window at Niépce's estate, Le Gras, in the Burgundy region of France. Learn more about the First Photograph through the links provided on the Harry Ransom Center website.

Overlooked Stories From Latin American Photographers


The New York Times LENS Blog

In the South Bronx’s Melrose neighborhood, second only to Times Square as New York’s busiest, residents may soon find plenty of reasons to stop and enjoy the view.

Hustling to the subway or bustling among shoppers on tightly packed sidewalks, they can happen upon arresting new sights: images of life in Latin America and the Caribbean, mounted on a chain-link fence along a sidewalk, arrayed in a community garden or displayed on the grounds of Immaculate Conception School.

Melrose is becoming a gallery, inside and out. For its Latin American Foto Festival, the Bronx Documentary Center is again sharing photography with the community it calls home. The festival, running July 12 to 22, busts past the white walls of exhibition spaces with eight installations, seven beyond the center.  

Photo essays from more than a dozen acclaimed and emerging documentary photographers from Colombia, Peru, Ecuador, Puerto Rico, the Dominican Republic and Mexico, as well as contributions from FotoKids, which teaches photography to Guatemalan children, will hang in and outside neighborhood landmarks and city streets...  

Cortona on the Move: International Photography Festival


Cortona On The Move
Cortona, Italy
12 July - 30 September 2018


Founded in 2011 by the Associazione Culturale ONTHEMOVE, the principal objective of Cortona On The Move is to spread and promote contemporary photography by bringing new creative talents and novel forms of visual communication to the forefront.

Under the artistic direction of Arianna Rinaldo, the festival provides a continuing exchange between field experts and a ceaseless search for work which represents the ongoing evolution of the photographic language, all showcased within the enchanting Etruscan hilltown of Cortona.

Sally Mann: A Thousand Crossings


Peabody Essex Museum
Salem, Massachusetts
30 June - 23 September 2018

For more than forty years, Sally Mann has made experimental and hauntingly beautiful images that have made her one of the country’s most influential and distinguished photographers. The artist’s first major traveling exhibition, Sally Mann: A Thousand Crossings, explores themes of family, memory, mortality, and home as well as the Southern landscape as repository of personal and collective memory. Some 115 photographs — many of which have not been exhibited or published previously — offer a sweeping overview of Mann’s artistic achievement, vision, and drive.

Here Sarah Kennel, PEM's Byrne Family Curator of Photography, talks about the pioneering artist and the enduring power of photography to tell important stories...

How Amy Arbus Confronted the Death of Her Mother, Diane


AnOther

In 1992, Amy Arbus took a masterclass with Richard Avedon at the International Center of Photography in New York and embarked on a project that would forever change her relationship to the medium. She took a single roll of black and white self-portraits in a bathtub, where she began to confront and consider the death of her mother Diane Arbus, who committed suicide in one on July 26, 1971.

Then 38 years old, it had been 21 years since her mother’s death, and Arbus set about revisiting a scene she had never witnessed herself. The result was an intense series of eight photographs, which will be on view in Tub Pictures at The Schoolhouse Gallery in Provincetown, MA, from next week until August 8, 2018. We caught up with Arbus to discuss this powerful body of work, and the ways in which it transformed her life...


New Mexico Museum of Art
Santa Fe, New Mexico
Until 4 November 2018


Shifting Light offers a twenty-first century perspective on the museum’s long-term engagement with the popular medium of photography. Organized into the broad categories of land and place, culture and identity, community and interconnection, and vision and creativity, the exhibition juxtaposes photographs in ways that amplify their meanings and suggest new narratives. Ansel Adams’ famous 1940 photograph Moonrise, Hernandez is paired with a 1975 landscape by Thomas Barrow from his series Cancellations, while Alfred Stieglitz’s 1918 portrait of Georgia O’Keeffe keeps company with images by Anne Noggle and Joyce Neimanas.

Christie's

A landmark sale features rare examples of works by 19th and 20th-century American masters of the medium, including Alfred Stieglitz, Edward Steichen, Dorothea Lange, Edward Weston, Paul Strand and many more...
 
On 4 and 5 October, key works by Steiglitz will be offered at Christie’s in New York in a dedicated sale, An American Journey: The Diann G. and Thomas A. Mann Collection of Photographic Masterworks. The Mann Collection contains his most iconic works from the Photo-Secessionist period, printed as oversized photogravures; each example is signed and mounted. 
 
Included in the sale are prints of The Terminal (1892), The Hand of Man (1902), and the artists’ own print of The Steerage (1907). Perhaps Steiglitz’s most frequently reproduced photograph, The Steerage was exhibited in both the 1917 Society of Independent Artists’ show in New York and the 1944 Philadelphia Museum of Art exhibition that surveyed his work and personal collection.

These key prints come to auction alongside rare examples of works by Steiglitz’s counterparts in the Photo-Secession, including Edward Steichen, Gertrude Käsebier and Clarence White, and Modernist masterworks by Edward Weston, Paul Strand 
and Charles Sheeler.

SFMOMA
San Francisco, CA
21 July - 21 October 2018 


From war and human rights to cultural identity and domestic violence, Susan Meiselas’s (American, b. 1948) work covers a wide range of subjects and countries. This retrospective brings together projects from the beginning of her career in the 1970s to the present day, including her iconic portraits of carnival strippers, vivid color images of the conflicts in Central America in the 1980s, and an ongoing investigation into the history and aftermath of the Kurdish genocide.

A member of Magnum Photos since 1976, Meiselas creates work that raises provocative questions about documentary practice, and the relationship between photographer and subject. The exhibition highlights her unique working method, combining photography, video, sound, and installation to explore different scales of time and conflict, ranging from the personal to the geopolitical.

The Los Angeles Times

In the early 1970s, a decade into shooting conflicts around the world, Don McCullin said in the exhibition catalog "The Concerned Photographer 2": "I haven't got very much longer to go at being a war photographer. I mean the chips are down already."

And yet a few years ago, at 80, McCullin could be found in Iraq, camera in hand.

McCullin is a giant in the field of war reportage, though you'd barely know it from his show at the Hauser & Wirth gallery in Los Angeles. Billed as the London-born, Somerset-based photojournalist's first gallery exhibition in the U.S., it's more missed opportunity than proper introduction. At just under 30 pictures, it presents a thin slice — more frosting than cake — of a broad and deep career chronicling military, political, social and economic strife...
Tate Modern
London, UK
Until 14 October 2018


Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction. 
 
Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.

News from the World of Photography: July 2018

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News from the World of Photography: June 2018

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Elliott Erwitt: Pittsburgh 1950


International Center of Photography (ICP) Museum
New York, NY
23 May - 2 September 2018


In 1950 Elliott Erwitt, then just twenty-two years old, set out to capture Pittsburgh’s transformation from an industrial city into a modern metropolis. Commissioned by Roy Stryker, the mastermind behind the large-scale documentary photography projects launched by the US government during the Great Depression, Erwitt shot hundreds of frames. His images recorded the city’s communities against the backdrop of urban change, highlighting his quiet observations with the playful wit that has defined his style for over five decades. After only four months, Erwitt was drafted into the army and sent to Germany, leaving his negatives behind in Stryker’s Pittsburgh Photographic Library. The negatives remained at the Pennsylvania Department of the Carnegie Library of Pittsburgh for decades. This exhibition, organized by Assistant Curator Claartje van Dijk in association with the photographer, will present these images in the United States for the first time.  

The book Pittsburgh: 1950 is available for purchase in the ICP Museum shop for the duration of the show.

It Was an Ad? So What. It’s Still Art.


The New York Times

In the hills high above Los Angeles, within the white-columned serenity of the J. Paul Getty Museum, the bastard stepchild of the fine art world is finally getting its birthright.

On Tuesday, June 26, “Icons of Style: A Century of Fashion Photography, 1911-2011” opens, and it may be the most sweeping such survey in decades, featuring 198 works (pictures, magazine covers, ad campaigns, garments) throughout eight galleries and spanning images both obvious and unknown.

Richard Avedon’s “Dovima With Elephants,” the 1955 print of a Dior evening gown amid the pachyderms, which the show’s curator said became the most expensive fashion photograph sold at auction when it went for over $1 million at Christie’s in 2010? It’s in there. Erwin Blumenfeld’s photo of Lisa Fonssagrives in a Lucien Lelong dress hanging off the side of the Eiffel Tower, the poster on many a dorm room wall? That, too. Ditto for Bruce Weber’s 1982 Calvin Klein underwear ad featuring a briefs-clad Tom Hintnaus silhouetted against a white adobe structure in the shape of a phallus. Once upon a time, it stopped traffic in Times Square...

Visions d’Artistes – Pictorialist Photographs, 1890-1960


The Eye of Photography

From June 16th to September 16th, the museum Nicéphore Niépce in Chalon-sur-Saône devotes a large exhibition to a major chapter in the history of photography, pictorialism.

The ambition of this international aesthetic movement born around 1890 was to make the creative potential of the photographic image admitted by producing art pictures.

Never a Lovely So Real: Photography and Film in Chicago, 1950–1980


Art Institute Chicago
Chicago, IL
Until 28 October 2018

 In his 1951 book Chicago: City on the Make, Nelson Algren offered bittersweet praise for the city: “Like loving a woman with a broken nose, you may well find lovelier lovelies. But never a lovely so real.” This unique character—fraught with affection, tension, and contradiction—is revealed in the work of the many photographers and filmmakers who documented Chicago in the second half of the 20th century as cultural, social, and political events transformed the city. These artists focused on Chicago’s history as a city of neighborhoods, many of them fiercely segregated and separated from one another. Together, they constructed a portrait of Chicago that speaks equally to its allure and its haunting brutality.

Drawn largely from the Art Institute’s collection, this exhibition highlights the work of artists who through their images and films captured the life of their own communities or those to which they were granted intimate access as outsiders. Featured among them is a network of photographers who focused on Chicago’s South Side during a period coinciding with the emergence of the city’s Black Arts Movement. Billy Abernathy, Darryl Cowherd, Bob Crawford, Roy Lewis, and Robert A. Sengstacke all produced work in connection with the revolutionary Bronzeville mural, the Wall of Respect (1967–71). Other projects, such as Mikki Ferrill’s decade-long documentation of an improvised South Side club, The Garage (1970/80), and two of Gordon Parks’s Life magazine assignments (1953 and 1963), likewise underscore the role played by Chicago as a national center of black culture and politics.

 

Ursula Schulz-Dornburg: The Land In-Between– Photographs from 1980 to 2012


Stadel Museum
Frankfurt, Germany
Until 9 September 2018
 

The photographer Ursula Schulz-Dornburg (b. 1938) has been devoting herself to border landscapes, places of transit and relics of past cultures for more than forty years. With the aid of thirteen extensive workgroups and altogether more than 200 works, the Städel Museum is offering the first comprehensive institutional survey of the artist’s oeuvre ever in the exhibition Ursula Schulz-Dornburg: The Land In-Between – Photographs from 1980 to 2012, to be presented from 4 July to 9 September 2018. Schulz-Dornburg, who was born in Berlin and now lives in Düsseldorf, devotes herself in her photos to cult and culture sites in Europe, Asia and the Near East, and above all to the visible and invisible borders of these continents and regions. Her analogue black-and-white photographs are testimonies to no-longer-existing landscapes, past political systems, cultural milieus in the process of dissolution, and expiring societies. Distinguished by ethnological curiosity and an archaeological perspective, the images are on the interfaces between documentarism and political photography, between concept art and a sense of the responsibility to provide insight. Schulz-Dornburg is interested in the marks human beings have left behind in the landscape in the course of lengthy historical processes, as well as in recent political changes of the kind brought about, for example, by the Golf Wars (between 1980 and 2003).

Paul Arden Collection – Through the Eyes of Four Photographers

 

The Eye of Photography

Through the Eyes of Four Photographers features works by Brian Griffin, Andrew Holligan, Bruce Rae and Gerry Castle.

Four seemingly diverse photographers have been brought together by the discerning eye of the late Paul Arden, Creative Director of Saatchi and Saatchi, a friend and collaborator with all four.

The show includes works from Paul and his wife Toni’s personal collection, assembled over three decades, plus some new works from these photographers.


Ocean Gallery, UCSB
Santa Barbara, CA
Through 31 August


The photos are chilling: Giant swathes of devastation in the Brazilian Amazon. Men hip-deep in the brown muck of the gouged and flooded earth. They are the scenes of illegal gold mining in Garimpeiros: The Wildcat Gold Miners of the Amazon Rainforest, an exhibition in the Ocean Gallery of the UC Santa Barbara Library through Aug. 31.

Curated by Jeffrey Hoelle, an associate professor of anthropology, and Jonathan Rissmeyer, library senior artist, the exhibit of 42 photos explores the world of wildcat miners, or 
garimpeiros, who try to make a living scratching gold out of the rainforest...

Aftermath Project: War is Only Half the Story


Los Angeles Public Library
Los Angeles, CA
22 June - 19 August 2018


War is Only Half the Story is a ten-year retrospective of the work of the groundbreaking documentary photography program, The Aftermath Project. Founded to help change the way the media covers conflict- and to educate the public about the true cost of war and the real price of peace- The Aftermath Project has discovered some of the most groundbreaking photographers in the world working on post-conflict themes. War is Only Half the Story tells the incredibly moving stories of the people left behind after the cameras have moved on from a war zone. Drawing on photographs from over fifty photographers, these personal and often poetic post-war views unveil not only another side to the devastating effects of war, but also tells the stories of people coming together to rebuild and heal. The exhibit illuminates and defines our humanity while giving visibility to those coping with the lingering ramifications of conflict.

Peter Hujar: Speed of Life


BAMPFA
Berkeley, CA
30 June - 18 November 2018 

Peter Hujar (1934–1987), a prominent figure in the downtown New York art scene in the 1970s and 1980s, is best known for his intimate, searching, and playful portraits of artists, writers, and performers, including Susan Sontag, William S. Burroughs, David Wojnarowicz, and the masters of drag theater. Private by nature, combative in manner, well read, and widely connected, Hujar inhabited the downtown world of avant-garde dance, music, art, and performance. His mature career paralleled the public unfolding of gay life between the Stonewall uprising in 1969 and the AIDS crisis of the 1980s.

In his loft studio in the East Village, Hujar focused on those who followed their creative instincts and shunned mainstream success. He made, in his words, “uncomplicated, direct photographs of complicated and difficult subjects,” immortalizing moments, landscapes, individuals, and subcultures passing at the speed of life.

Peter Hujar: Speed of Life presents more than one hundred photographs by this enormously important and influential artist. The pictures, in this first retrospective of the artist’s work, chart Hujar’s career from his beginnings in the mid-1950s to his central role in the East Village art scene three decades later.

Susan Meiselas: Breaching Boundaries in Photography


The New York Times LENS Blog

Susan Meiselas, who joined Magnum Photos in 1976, is also the president and co-founder of the Magnum Foundation.  Born in 1948 and starting as a teacher in the South Bronx, she went on to produce a definitive chronicle of Nicaragua’s Sandinista revolution. More recently, she has led the foundation’s efforts to nurture a new, diverse generation of photographers. Her books include “Carnival Strippers,” “Nicaragua,” and “Prince Street Girls.” In the last year, she has also been the subject of two books, “Susan Meiselas: Mediations” (Damiani) and “Susan Meiselas: On the Frontline” (Thames & Hudson). She spoke with James Estrin about her career. The conversation has been edited for clarity and length...

Arles: Archive and found photography sweeps the board in the 2018 Prix du Livre


The British Journal of Photography

From a series of diptychs designed to stimulate senile dementia patients to - controversially - an alternative take on Bertolt Brecht's War Primer which was first published in 2011, Arles' book awards went to images from the archives.

Three winners and one special mention have been announced for the 2018 Prix du Livre at Rencontres d’Arles – and in all four cases, the books use archival or found photography. The Author Book Award went to Laurence Aëgerter’s 'Photographic Treatment', which is published by Dewi Lewis; the Historical book award went to 'The Pigeon Photographer', a collection of images by Julius Neubronner published by Rorhof; and – controversially – the Photo-text Book Award went to Adam Broomberg and Oliver Chanarin’s 'War Primer 2', which was first published by MACK in 2011 but reissued in paperback this year. A special mention went to Giorgio Di Noto’s 'The Iceberg' in the Author Book Award, which is published by Édition Patrick Frey...

Exploring Hollywood’s Sinister Underbelly, with Artist Alex Prager


AnOther

California’s palm-lined streets, intense sunshine and abundant blue skies are embedded in our cultural consciousness. The city is the epitome of the American dream, imbued with cinematic characteristics and symbolising the promise of perfection. It attracts those seeking reinvention, or who simply desire to become something they are not – but buried just beneath this fantasy lies a potent sense of unease and existential dread.

This tension is the lifeblood of Alex Prager’s practice. Her large-scale film and photographic works
utilise the tricks and tools of Hollywood to expertly portray the haunting side of the human psyche. “The city itself was built on artifice,” she tells AnOther. “It’s a strange alternative
reality. There is perfection on the surface, but the underbelly is right there and if you dip your toe in just a little bit, it gets ugly, weird and strange. I’m constantly examining these hidden layers.” ...


British Journal of Photography

'Snapdragon' is a revelation, a unique telling of a unique man’s early life. It is told in large part by Phil Stern, the young man himself, but with all the supporting detail and the rest of the story filled in by his biographer Liesl Bradner.

Phil Stern led a very adventurous life. By age 21 he was already a Life magazine photographer shooting pictures of Hollywood stars. But when WW2 began he volunteered for the army and became a member of Darby’s Rangers, now famed for their exploits in Africa and Sicily but then a newly formed and untested combat unit. Because he joined them as a serviceman and not as a correspondent he had the unique opportunity to photograph the troops and the fighting as an insider in the thick of it. They saw him as one of them too and named him Snapdragon. For the next two years Phil was there for it all and he pictured it in detail. Then in 1943 he was wounded a second time and sent back stateside. Once back he wrote of the life he had lived and the men he had known. His stories, told with his memories fresh and a fine photographer’s eye for detail are as absorbing and present as if what he was writing about had happened earlier in the day...

View Finder: Landscape and Leisure in the Collection


Museum of Contemporary Photography (MoCP)
Chicago, IL
19 July - 30 September 2018


Photography has played a vital role in our understanding of the outdoors, allowing us to view natural spaces without being physically present in them. Parks fill a similar role, as they provide institutional access points and infrastructure into wild, natural spaces. In his book Our National Parks (1901), John Muir, cofounder of the Sierra Club, wrote: “Thousands of tired, nerve-shaken, overcivilized people are beginning to find out that going to the mountains is going home; that wildness is a necessity; and that mountain parks and reservations are useful not only as fountains of timber and irrigating rivers, but as fountains of life.” Presenting a selection of historical and contemporary works from the MoCP’s permanent collection and the Midwest Photographers Project, View Finder: Landscape and Leisure in the Collection considers the varied ways these designated outdoor spaces enhance human experience, from allowing for rest and refuge to their ability to meet other, more subliminal needs.


Chrysler Museum of Art
Norfolk, VA
6 April - 12 August 2018


The show spans photographic history—from 19th-century daguerreotypes for which subjects sat immobilized during the early camera’s long exposure time to contemporary photographs that use special lights and mechanics to capture multiple moments in a single frame. In addition to a technical story about the camera’s ability to freeze a slice of time, the show highlights works that make time their subject, investigating notions of permanence and decay, history and memory and essence and accident. The exhibition will include works by Harold Edgerton, Vera Lutter, William Christenberry and many others.

Philadelphia Museum of Art
Philadelphia, PA
21 April - 19 August 2018 


Trial and error reveals unexpected results.

Photography distills the flow of time into singular, still moments. The artists in this installation stop, extend, and rearrange time for their own creative ends, whether to convey personal memories, render visible overlooked aspects of nature, contemplate mortality, or document the passage of time. Through their unique approaches to capturing motion, they encourage us to look at what may and may not be in plain view.

Boca Raton Museum of Art
Boca Raton, FL
24 April - 21 October 2018


Lisette Model (1901-1983) is one of the most influential street photographers, best known for her direct portrayal of the peculiarities of average people captured candidly in everyday situations. She was born in Vienna and discovered photography when she moved to Paris and joined André Kertész’s circle. In 1937 she decided to become a photographer and the next year she immigrated to New York City. Model’s work appeared regularly in publications such as Harper’s Bazaar and her work was included in an exhibition at the Museum of Modern Art in 1940. She was also an influential artist and teacher who famously taught Diane Arbus.
Art Gallery of Ontario (AGO)
Ontario, Canada
28 April 2018 - 14 April 2019


The First World War is recognized as a period of mass violence and destruction, but also as a beginning. The war ushered in technological innovation, mechanizing and recording war in ways previously impossible. The growing pervasiveness of photography resulted in a conflict well-documented by military officials, press agencies, and amateurs alike.

The Art Gallery of Ontario (AGO) holds nearly 500 albums from this period, a unique and extensive collection donated in 2004 by a private collector. The albums reveal different aspects of the relationship between warfare and photography; retrospectively, all of them—personal, official, and commercial—engage in a dialogue with history by presenting unique visual narratives that uphold or challenge historical perceptions of war. The breadth of albums and accounts—British, French, German, Canadian, Austrian, American, Australian, Italian, Czech, and Russian—expose the multiplicities of experience as well as the commonalities of war.

Adjacent to the main display, the McEwen Gallery will showcase works by Australian war photographer James Francis “Frank” Hurley (1885–1962), who was on official assignment throughout World War I. His album Australian Units on the Western Front (1916–1918) presents a series of compelling photographs, each offering views of different aspects of life on the Front. Soldiers, in action and at ease, are pictured, as well as the grimmer realities of war: casualties, scorched landscapes, and destroyed architecture. The album—disassembled for the exhibition—highlights Hurley’s skill as a photographer and features a rich breadth of imagery.

These exhibitions present visitors with a rich opportunity to explore these photographic objects that construct a history of aerial technology and photography, which influenced the operation and outcome of the First World War, a visual record of war that is often left unseen. Together, they contributed to the beginning of a visual consciousness of war that resonates to this day.

News from the World of Photography: May 2018

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Not an Ostrich: And Other Images from America's Library


Annenberg Space for Photography 
Los Angeles, CA
21 April - 9 September 2018


Not an Ostrich: And Other Images from America’s Library is the result of celebrated American photography curator Anne Wilkes Tucker’s excavation of nearly 500 images—out of a collection of over 14 million—permanently housed at the Library of Congress in Washington, D.C. While visitors to the exhibition might never see an ostrich, they will see the image entitled “Not an Ostrich” and a large selection of rare and handpicked works from the vaults of the world’s largest library, many never widely available to the public.

This exhibition spans across the history of photography—from daguerreotypes, the first photographic process, to contemporary digital prints. Iconic portraits of Abraham Lincoln, John Lennon and Yoko Ono, Cesar Chavez, and Elizabeth Taylor appear alongside unusual images, such as, Stanley Kubrick’s “Strong Man’s Family” (1947), John Vachon’s “Ice Fishing, Minnesota” (1956), Susana Raab’s “Chicken in Love, Athens, OH” (2006) and Nina Berman’s “Flammable Faucet #4, Monroeton, PA” (2011). Vivid color portrayals of America, across time, are highlighted in juxtapositions of popular travel views from the late 19th century, created by the Detroit Publishing Company using the then-latest “photochrom” technology, on a screen next to striking contemporary scenes captured by Carol M. Highsmith.

David Douglas Duncan,102, Who Photographed the Reality of War, Dies

The New York Times

Under the helmets, the faces are young and tormented, stubbled and dirty, taut with the strain of battle. They sob over dead friends. They stare exhausted into the fog and rain. They crouch in a muddy foxhole. This goddamn cigarette could be the last. There are no heroes in David Douglas Duncan’s images of war.

Dark and brooding, mostly black and white, they are the stills of a legendary combat photographer, an artist with a camera, who brought home to America the poignant lives of infantrymen and fleeing civilians caught up in World War II, the Korean conflict and the war in Vietnam.

“I felt no sense of mission as a combat photographer,” Mr. Duncan, who was wounded several times, told The New York Times in 2003. “I just felt maybe the guys out there deserved being photographed just the way they are, whether they are running scared, or showing courage, or diving into a hole, or talking and laughing. And I think I did bring a sense of dignity to the battlefield.”...

Winslow Homer and the Camera: Photography and the Art of Painting


Bowdoin College Museum of Art
Brunswick, ME
23 June - 28 October 2018

 

This exhibition explores the question of Homer’s relationship with the medium of photography and its impact on his artistic practice. As one attuned to appearances and how to represent them, Homer understood that photography, as a new technology of sight, had much to reveal. This exhibition thus adds an important new dimension to our appreciation of this pioneering American painter, demonstrating his recognition that photography did not undermine, but instead complemented his larger artistic interests.

Henri Cartier-Bresson: The Decisive Moment


International Center of Photography
New York, NY
23 May - 2 September 2018

 Henri Cartier-Bresson: The Decisive Moment examines Cartier-Bresson’s influential publication, widely considered to be one of the most important photobooks of the twentieth century. Pioneering for its emphasis on the photograph itself as a unique narrative form, The Decisive Moment was described by Robert Capa as “a Bible for photographers.” Originally titled Images à la Sauvette (“images on the run”) in the French, the book was published in English with a new title, The Decisive Moment, which unintentionally imposed the motto which would define Cartier-Bresson’s work. The exhibition details how the decisions made by the collaborators in this major project—including Cartier-Bresson, French art publisher Tériade, American publisher Simon & Schuster, and Henri Matisse, who designed the book’s cover—have shaped our understanding of Cartier-Bresson’s photographs. Through vintage gelatin silver prints, first-edition publications, periodicals, and correspondence, Henri Cartier-Bresson: The Decisive Moment brings new insights to this iconic work. 

Portfolio Showcase 11: Exhibition & Publication


The Center for Fine Art Photography
Fort Collins, CO
13 June - 7 July 2018
ARTISTS

Laura J. Bennett – Solo Exhibition Winner
JoAnn Carney
Teri Havens
Sharon Kain
Michael Knapstein
Melissa Lazuka
Florian Mueller
David Pace and Stephen Wirtz
Laura Pannack
Jerry Takigawa

What Is Art Photography? Catherine Edelman Offers Her Opinion

LensCulture

Debuting with the Ballad of Sexual Dependency by Nan Goldin in 1987, Catherine Edelman Gallery has been a leader in the fine art world for more than thirty years. Representing artists like Bruce Davidson, Michael Kenna, Joel-Peter Witkin, Jess T. Dugan and many more, the gallery is a respected institution in the US and beyond. In the past, the gallery has shown a wide variety of work, including documentary photography (Susan Meiselas, James Nachtwey), fashion photography (Annie Leibovitz, Herb Ritts), and traditional landscape photographs (Michael Kenna)...


National Portrait Gallery
London, UK
7 March - 27 May 2019 

A major new exhibition of works by Martin Parr, one of Britain’s best-known and most widely celebrated photographers. Only Human: Martin Parr, brings together some of Parr’s best-known photographs with a number of works never exhibited before to focus on one of his most engaging subjects – people. The exhibition will include portraits of people from around the world, with a special focus on Parr’s wry observations of Britishness, explored through a series of projects that investigate British identity today, including new works which reveal Parr’s take on the social climate in Britain in the aftermath of the EU referendum.

"Style: A Century of Fashion Photography, 1911-2011" at Getty


Blouin Artinfo

Chronicling the trends of fashion photography that have defined evolving ideas of style and beauty through the century, the J.Paul Getty Museum presents  Style: A Century of Fashion Photography, 1911-2011, June 26-October 21.

The exhibition includes more than 160 fashion images, including work by the likes of Herb Ritts, Lillian Bassman, Richard Avedon, Guy Bourdin, Erwin Blumenfeld, Louise Dahl-Wolfe, Hiro, and Scott Schuman. The show includes a variety of supplementary material, including illustrations, magazine covers, videos, and advertisements. Works by lesser-known but influential artists such as Corinne Day, Gleb Derujinsky, Toni Frissell, and Kourken Pakchanian are also included.

Robert Weingarten: Focus on Infinity


Los Angeles Public Library
6 June - 5 August 2018 

For the large-scale photographs in this exhibition, Los Angeles photographer Robert Weingarten established a single viewpoint, looking southeast over Santa Monica Bay, from which every photograph in the series would be made with the camera in exactly the same position. Each exposure would be made at precisely the same time of day—6:30 a.m.—measured by a quartz clock. All exposures were made with the lens focused on infinity and at the same aperture of f/22. Just two variables were allowed into this disciplined scheme: the shutter speed of the lens, which would be adjusted faster or slower depending on the quantity and quality of light available at 6:30 a.m. each day; and, the most variable element of all, changes in the scene that were introduced by the forces of nature. The resulting images are at once conceptual and an homage to a city at the edge of the North American continent, showcasing the unique light conditions that inform life here.

Chronicling the Lives of Women Along the Colombian-Venezuelan Border


The New York Times LENS Blog
 

Juanita Escobar likes to immerse herself in her projects. The self-taught photographer spent eight years living among the llaneros, the cowboys who work the plains of Colombia.  Now she has gone even farther, moving to what is perhaps her country’s most rural — and distant — 300 kilometer stretch of the Orinoco River, where she has been chronicling life along the border between Colombia and Venezuela...

International Photography Competition 2018


The Florida Museum of Photographic Arts (FMoPA)
Tampa, FL

Check out winners in each category (Conceptual, Abstract, Still Life, Documentary, Social, and Political Journalism, Nature, Science, and Animals, Places, Landscapes, and Drone, People and Portraits, & finally People’s Choice)...

11th Julia Margaret Cameron Award


The Photography Gala Awards

570 women photographers from 63 countries participated in the 11th edition of the Julia Margaret Cameron Award for Women Photographers Award submitting 5732 images. Given the quality of works, the juror, assisted by the team of curators of The Gala Awards have decided to award three photographers in this edition, that will share the First Prize. The prize of $3,000 will be divided among the three winners of the Award.

We're happy to announce that Monica Gorini from Italy, Diana Nicholette Jeon from United States, and Isabella Pacini from Germany, were selected as winners of the 11th edition of the Julia Margaret Cameron Award.

Their work will be exhibited in the 5th Biennial of Fine Art & Documentary Photography to be held in Barcelona this October.


British Journal of Photography

Europe boasts more than a hundred photography festivals, but few match the scale and ambition of Photo España in Madrid. This year, the organisation behind it, La Fábrica, celebrates the festival’s 20th edition with a typically eclectic summer season of activities throughout the Spanish capital, encompassing the work of more than 500 artists across dozens of venues that range from the small to the iconic.

“The festival is a collective project with a wide variety of institutions, both public and private, supporting it,” says director Claude Bussac, who is hoping that the 2018 edition will “push forward both the formal and geographical boundaries of photography… We aim to celebrate our 20th anniversary questioning photographic meaning and inviting photographers from every continent.”...

Dorothea Lange: Politics of Seeing at Barbican Centre


The Guardian

The Barbican in London is staging the first UK survey of the work of American documentary photographer Dorothea Lange (1895–1965), one of the most influential photographers of the 20th century. The exhibition charts Lange’s output and includes her celebrated Farm Security Administration work that captured the devastating impact of the Great Depression on the American population.

Dorothea Lange: Politics of Seeing
Barbican Art Gallery, London 
22 June – 2 September 2018


AnOther

American image-maker Saul Leiter was a famously private man, keeping a markedly low profile throughout his lifetime in spite of the widespread acclaim he garnered as a fashion photographer in the 60s and 70s. His modus operandi was one of constant, quiet observation, whether capturing glorious Kodachrome studies of the New York City streets or lensing models for the likes of Harper’s Bazaar and Elle. “There’s a great story that Grace Coddington tells in her biography,” Margit Erb, director of the Saul Leiter Foundation, tells AnOther. “She was to be photographed by the famous Saul Leiter and was told to meet him in one of the squares in Manhattan. She went there and stood and waited for about half an hour but he was a no-show. She went back to the office and said, ‘I tried to find him but I couldn’t,’ and the director said, ‘Oh no, he’s photographed you!’ Saul had a telephoto lens and he’d waited for her to arrive, photographed her from a distance as she stood there waiting – probably with her hips out in a very natural way – and he got the image.”...

Musée Nicéphore Niépce
Chalon-sur-Saône, FR
16 June - 16 September 2018 


(translated from French)

Offering an updated, broader vision of the pictorialist endeavour on a European scale, 'Artists’ Visions' results from recent research and discoveries and is the first exhibition dedicated to pictorial photography for over a decade in France. Sourced in the collections of the musée Nicéphore Niépce that preserves works by Robert Demachy and Charles Lhermitte, as well as prints by Constant Puyo, José Ortiz-Echagüe and Alfred Fauvarque-Omez, the exhibition brings together over two-hundred vintage prints. They are the work of various authors, some of them famous, others little known even unknown, until now. Most of these prints are being shown for the very first time. They were created over a seventy-year period, from the early 1890s to the late 1950s, showing that pictorial photography did not disappear after the First World War, contrary to what the history of photography traditionally lead us to believe. The narrative has changed and a new history must be taken into account acknowledging the permanence of the pictorialist ideals. These ideals were built on a shared ambition: to create photographs that wanted to do more than simply reproduce the real, photographs that truly interpreted it, like an artist’s vision.

British Journal of Photography

Yassine Alaoui Ismaili (Morocco), Paul Botes (South Africa), Anna Boyiazis (USA), Tommaso Fiscaletti & Nic Grobler (South Africa), and Phumzile Khanyile (South Africa) are the five winners of the seventh CAP Prize. Open to photographers of any age or background, the CAP Prize is awarded to work that engages with the African continent or its diaspora...
LensCulture

John Chiara’s one-of-a-kind mural-size camera obscura prints are luscious, moody and magical. He builds his own giant cameras (one which is large enough for him to climb inside) so he can expose light directly onto large sheets of photo-sensitive paper to capture images without needing film to act as an intermediate negative. His photos offer up ordinary urban landscapes that seem like three dimensional sculptures infused with light flares and liquid color. Somehow—through his mix of the direct process, hand-cut photo paper, filters and chemicals—everything looks real but “charged” with heightened energy.

Each of the unique prints is a collector’s dream, and a generous new book from Aperture and Pier 24 offers perfect reproductions with stunning production values...

Photography in Berlin

Galerie 36 is pleased to present the first comprehensive exhibition of the visionary advertising images by American photographer Bert Stern (1929 – 2013) from the early fifties to the late sixties. The exhibition “Shapes & Symbols” shows a selection of iconic photographs that emerged during the highly productive time of his rise to become one of the leading advertising photographers. Many of the works exhibited have never before been publicly displayed outside publications and magazines of their time and can now be seen for the first time in terms of their artistic value...

Robert Adams: Our Lives and Our Children


Fondation Henri Cartier-Bresson
Paris, France
16 May - 29 July 2018

Robert Adams (born in 1937) is known for his photographic oeuvre on the changing landscape of the American West and his environmental conscience. This is the first exhibition in Paris to show the entire Our Lives and Our Children series, one of the photographer’s most striking visual essays on environmental destruction. One day, in the 1970s, the photographer noticed a column of smoke rising above the Rocky Flats Nuclear Weapons Plant near Denver, Colorado and decided to document the potential destruction of a nuclear disaster.

Armed with a Hasselblad, hidden behind a shopping bag, he paced the town and its suburbs, parking lots and shopping malls, photographing people shaped by the consumer society and living their lives under this threat. He was particularly interested in the visible ties between people in the grip of a potential danger, known but invisible. Hidden beneath the apparent tranquillity of these women, men and children, there’s a taut line between the chance that seems to bring them together and the almost imperceptible danger of a nuclear disaster which Robert Adams believes is inevitable.

The Secret Photographer Who Captured Four Decades of Life in St. Petersburg


Hyperallergic

Late last year, 17 years after Masha Ivashintsova’s death, her relatives found a treasure trove of negatives and undeveloped film while cleaning out the family attic in St. Petersburg, Russia. But unlike most long-lost family photos, the 30,000 images show a unique aesthetic, one that Ivashintsova hid from her loved ones, inviting comparisons to Chicago street photographer Vivian Maier...

A Puzzle With No Solution: Roger Ballen’s Quest for Meaning Through Photography


The New York Times

Roger Ballen grew up immersed in the photography world. His mother, Adrienne, was an editor at Magnum, and the walls of his childhood home in Rye, N.Y., were filled with her colleagues’ images. “By the time I went out to photograph seriously, which was around the age of eighteen, I had a clear idea of the level I was aiming at,” Mr. Ballen, 68, writes in “Ballenesque, Roger Ballen: A Retrospective,” the first retrospective book of his career, which Thames & Hudson published in October.

While Mr. Ballen, an internationally renowned artist with nearly a dozen books to his name, has photographed virtually his entire life, he didn’t start thinking of himself as an artist until his late 40s. He stopped working as a geologist only in his 50s. He directed his first viral music video in his 60s...

GETTY MUSEUM APPOINTS JAMES A. GANZ TO SENIOR CURATOR OF PHOTOGRAPHS

The Getty Museum

 The Getty Museum has announced the appointment of James A. Ganz to Senior Curator of Photographs. Ganz will oversee the museum’s renowned collection of nearly 150,000 photographs, which represent the history of the medium from its inception to the present day. He joins the Getty after ten years at the Fine Arts Museums of San Francisco, where he served as Curator of the Achenbach Foundation for Graphic Arts.

“Mr. Ganz’s experience is a perfect fit with the mission and scholarly focus of the Getty’s Department of Photographs. His many years of curating exhibitions and acquiring significant works will greatly enrich our collection and the work of our curatorial staff,” says Timothy Potts, director of the J. Paul Getty Museum. “He brings an energy, enthusiasm, and leadership that will help the department engage with an even broader audience and tell new and thoughtful stories about the history of photography up to the present day.”

“I have long admired the Getty’s commitment to photography, from the depth and breadth of its collections to its spacious galleries and ambitious exhibition and publication programs,” says Ganz. “I look forward to working with my new colleagues on developing and interpreting the museum’s photographic holdings for its diverse audiences, and exploring innovative ways to embrace the public’s special fascination with this dynamic art form.”


Ganz received his Ph.D. in art history from Yale University, his M.A. from Williams College, and his B.A. from Trinity College. His specializations include 19th-century European and American photography, as well as California-based photographers, including Carleton Watkins, Eadweard Muybridge, Willard Worden, Peter Stackpole, and Arnold Genthe. Prior to his time at the Fine Arts Museum of San Francisco, Ganz was a curator for over ten years at the Sterling & Francine Clark Art Institute in Massachusetts, where he established the collection of photographs. While at the Clark, he taught the history of photography and of prints in the Williams College Graduate Program in the History of Art. 

Ganz will join the Getty in July 2018. 

Being: New Photography 2018


Museum of Modern Art (MOMA)
New York, NY
Until 19 August 2018


Every two years, MoMA’s celebrated New Photography exhibition series presents urgent and compelling ideas in recent photography and photo-based art. This year’s edition, Being, asks how photography can capture what it means to be human.

At a time when questions about the rights, responsibilities, and dangers inherent in being represented—and in representing others—are being debated around the world, the works featured in Being call attention to assumptions about how individuals are depicted and perceived. Many challenge the conventions of photographic portraiture, or use tactics such as masking, cropping, or fragmenting to disorient the viewer. In others, snapshots or found images are taken from their original context and placed in a new one to reveal hidden stories. While some of the works might be considered straightforward representations of individuals, others do not include images of the human body at all. Together, they explore how personhood is expressed today, and offer timely perspectives on issues of privacy and exposure; the formation of communities; and gender, heritage, and psychology.

Exploring new ground and the many forms that the photographic image can take, New Photography is a key part of the Museum’s contemporary program. Since 1985, the series has introduced new work by over 100 artists from around the world. In 2018, Being brings together an international group of 17 artists at various stages in their careers, all presenting their work at the Museum for the first time.

Lee Friedlander in Louisiana


New Orleans Museum of Art (NOMA)
New Orleans, LA
27 April - 12 August 2018

One of the most famous living American photographers, Lee Friedlander has been visiting Louisiana since 1957 to document New Orleans jazz and to make artful street photographs. Lee Friedlander in Louisiana is the first major exhibition in any institution to examine the full scope and influence of Friedlander’s work in the region on the history of photography.


San Francisco Camerawork (SFC)
San Francisco, CA
3 May - 30 June 2018

SF Camerawork is proud to present Focal Points, an exhibition of the inaugural CatchLight Fellowship and Everyday Bay Area photography project, produced by CatchLight in partnership with United Photo Industries. CatchLight is a San Francisco Bay Area-based non-profit that annually recognizes three exceptional photographers who bring awareness to challenging social issues.

Featuring work from the 2017 CatchLight fellows, Tomas Van Houtryve, Sarah Blesener, and Brian L. Frank who were each paired with a media partner—the Pulitzer Center for Crisis Reporting, The Center for Investigative Reporting, and the Marshall Project, respectively, along with local artists from the Everyday Bay Area Collective, this traveling exhibition explores how visual storytelling has the power to drive social change. 

The Big Picture: A Transformative Gift from the Hall Family Foundation


Nelson-Atkins Museum of Art
Kansas City, MO
28 April - 7 October 2018


In late 2015 the Hall Family Foundation, in continuing its long support of the photography program at The Nelson-Atkins Museum of Art, made a special $10 million grant to broaden and deepen this collection. The Big Picture: A Transformative Gift from the Hall Family Foundation features a selection of the more than 800 photographs acquired thanks to this generous gift.

This gift allowed the curators to build on the photography collection’s existing strengths—primarily its broad holding of American daguerreotypes and prints—and to enhance its representation of 19th-and 20th-century European and contemporary international works. These new pieces span the entire history of the medium, from an 1826 print by Joseph Nicéphore Niépce, the inventor of photography, to a 2016 work by legendary musician and artist Patti Smith.

Mariana Yampolsky: Photographs from the Los Angeles County Museum of Art (LACMA)

Vincent Price Art Museum
Monterey Park, CA
20 March - 8 December 2018


In conjunction with On-Site: Neighborhood Partnerships with the Los Angeles County Museum of Art, LACMA presents an exhibition at the Vincent Price Art Museum featuring a recent donation of works by Mexican photographer Mariana Yampolsky.

Mexican photographer Mariana Yampolsky (1925–2002) captured the beauty and desolation of Mexico and its history. American born, she moved to Mexico at the age of 19 and built an artistic practice honoring the cultural, natural, and architectural elements that fed her spiritually and inspired her to become a Mexican citizen. Combining a straightforward photo-documentary style with a poetic approach, Yampolsky has described her gaze as matching her imagery—precise and delicate, never overtly strident and always respectful.

On-Site: Neighborhood Partnerships with the Los Angeles County Museum of Art is a community engagement initiative that creates ways to make LACMA’s programs and collection accessible to the communities of Los Angeles County with the goal of broadening participation in cultural experiences. The exhibition and LACMA’s partnership with the Vincent Price Art Museum and East Los Angeles College are important components of the On-Site program.

Shape of Light: 100 Years of Photography and Abstract Art


Tate Modern
London, UK
Until 14 October 2018

Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction. 
 
Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.

State of the Art: Christopher Burkett's Race To Finish Decades of Work


ProPhotoDaily

The Oregon-based photographer is best known for producing large-format film prints of American landscapes. Over the past four decades, Burkett and his wife Ruth have lugged cumbersome photo gear across all 50 states to capture scenes ranging from blueberry fields in Maine to sunsets in his home state.

“It is awkward. It’s heavy. It’s a struggle with depth of field, a struggle with wind motion. But if you get an image you really have something really in-depth to work with,” Burkett told the PBS Newshour.

He added, “If you are really trying to work with photography you find out real rapidly that seeing things and photographing them can be quite different. And in fact, you have an image that is from that viewpoint of the camera is actually higher resolution than you normally experience the world from that viewpoint on that angle. So you have essentially a certain element of — I can’t really call a super realism because it’s real but it’s more real than what we normally see.”...

A Rare Collection of 19th-Century Photographs of Native Americans Goes Online


Hyperallergic

Between 1879 and 1902, a man named John N. Choate served as official photographer for the Carlisle Indian School, a federally-funded boarding school in Pennsylvania established to assimilate Native American children into Euro-American culture. Enrollment of indigenous youth was essentially a way to “civilize” them; the pithy motto of its founder, General Richard Henry Pratt, was “Kill the Indian, and save the man.” Choate, who was non-Native, often documented how students changed over as they received new haircuts and attire and shed aspects of their own culture.

Some of his records of this thorny past are among a collection of 19th-century photographs of North American Indians recently digitized and uploaded by the American Antiquarian Society as a scholarly finding aid...


IMDB

Set during the final days of the admired photo development system known as Kodachrome, a father and son hit the road in order to reach the Kansas photo lab before it closes its doors for good...

Willy Ronis, the heart and the eyes of Paris


The Eye of Photography

A key figure in the history of French photography, Willy Ronis is among the giants of so-called “humanist” photography devoted to capturing, with a brotherly eye, the essence of everyday life. In 1985, Willy Ronis began to scour his photography archive to select what he considered to be the essence of his work. He put together six albums, which thus constitute his “photographic testament.”

These albums are being shown to the public for the first time and make up the matrix of the exhibition which can be seen and heard from April 27 to September 29, 2018 at the Pavillon Carré de Baudouin, a venue located in the heart of the artistic Ménilmontant district and celebrating its tenth anniversary this year...


British Photo History

The world’s first photographic experiments, pictures by 20th-century greats Alfred Stieglitz and Edward Steichen, recent acquisitions by Linda McCartney gifted by Paul McCartney and his family, and newly commissioned works by Thomas Ruff, will go on display this autumn as part of the V&A’s new Photography Centre.

Opening on 12 October, the first phase of the Photography Centre, designed by David Kohn Architects, will more than double the space dedicated to photography at the V&A. The inaugural display will trace a history of photography from the 19th century to the present day through the theme of collectors and
collecting. Drawn from the V&A’s significantly expanded holdings, following the transfer of the Royal Photographic Society (RPS) collection, the display will show seminal prints and negatives by pioneers William Henry Fox Talbot, Julia Margaret Cameron and Frederick Scott Archer, alongside camera equipment, photographic publications and original documents to tell a broader story of international photography. It will also feature a digital wall to show the most cutting-edge photographic imagery.

To mark the opening, the V&A has commissioned internationally renowned German photographer Thomas Ruff to create a new body of work. Known for taking a critical and conceptual approach to photography, Ruff’s new series will be inspired by Linnaeus Tripe’s 1850s paper negatives of India and Burma from the V&A’s collection...

Tate Modern
London, UK
Until 3 December 2018


Ruwedel has spent many years photographing the North American landscape. The works in this display span 1995–2012 and include images of abandoned railways, nuclear testing sites and empty desert homes.

Each series explores how past events have been inscribed onto the earth’s surface, reflecting the artist’s belief that ‘at this point in history, pure nature is no longer a viable subject.’ He explains: ‘I have come to think of the land as being an enormous historical archive. I am interested in revealing the narratives contained within the landscape, especially those places where the land reveals itself as being both an agent of change and a field of human endeavour.’

Ruwedel merges documentary and conceptual methods of imagemaking. He repeatedly photographs the same subject or type of subject, an approach that relates to conceptual art practices of the 1960s and 1970s. He is also influenced by land artists who created large-scale outdoor artworks in the late 1960s using materials such as earth and rock.

Flint Institute of Arts
Flint, Michigan
21 April - 12 August 2018


This exhibition reexamines the important contemporary art movement that found its roots in the late 1960s in California and New York and continues today known as Photorealism. Aligned with Pop Art, Photorealism features ordinary elements of contemporary life such as vehicles, buildings, streets, and consumer products in an objective, often clinical, manner. Artists Richard Estes, Audrey Flack, and Ralph Goings use photography as a tool to help them reproduce the image as realistically as possible on canvas. 

The paintings in the exhibition demonstrate that Photorealism remains undiluted, conceptually coherent, and consistently compelling. The works can be appreciated for their technique, finesse, and appealing subject matter; but viewers can go deeper and enjoy the complexity and contradictions, the multiple means of an entrance that Photorealism affords. 
Smithsonian National Museum of African History and Culture
Washington D.C.

The Museum acquired Bill Adler’s Eyejammie Hip Hop Photography Collection in 2015, which provided the impetus to create the recent exhibition, Represent: Hip-Hop Photography. The Eyejammie Hip Hop Photography Collection consists of nearly 500 images from more than 40 photographers. This is the largest collection of hip-hop images held by the Smithsonian’s National Museum of African American History & Culture.

Recognizing hip-hop as a culture that permeates many aspects of modern society, this is a timely show to include at the Museum. Created in the Bronx, New York, in the 1970s, hip-hop is nearly fifty years old. The local, youth based art form, has grown into an international phenomenon over the years. Using the four elements of hip-hop (MCing, breakdancing, graffiti, and DJing) as an organizational tool, I created four exhibition areas to highlight aspects of hip-hop: identity, community, activism, and creativity...

The New York Times

On an August morning in 1951, two American women met for the first time in the corridor of the Hotel Berchielli in Florence. Ninalee Allen, who was known as Jinx, was a vacationing nursery-school teacher. Ruth Orkin was a freelance photojournalist who, after chatting with Ms. Allen, asked if would she would pose for a photo essay about women traveling alone.

Jinx agreed, and they set off on what Jinx called a “photographic lark.” As they came to the Piazza della Repubblica, 15 men were loitering. Some were leaning on a wall. Two sat on a motor scooter. Nearly all were staring at the 6-foot-tall Ms. Allen. One leered and grabbed his crotch...

Washington D.C.
7- 10 June 2018

Join us June 7 – 10 in the nation’s capital as we celebrate the art of photography and the stories behind the images. For four days, Focus on the Story will convene some of the top names in photography. We want to bring together a community of photography lovers for a series of outstanding keynote presentations, panel discussions, workshops, exhibits, portfolio reviews, photo walks and community events.

Whether you are a professional, amateur, enthusiast or curious, here is your chance to spend four days celebrating, learning, seeing, living and breathing photography. What could be better, right?