News from the World of Photography: November 2018

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Guns and poses: Deutsche Börse photography prize shortlist revealed


The Guardian

This year’s Deutsche Borse photography prize shortlist is a considered choice of four artists whose approaches draw on documentary, archival appropriation and conceptualism. They are: Susan Meiselas for her retrospective exhibition, Mediations; Laia Abril for her deeply-researched book, On Abortion; Arwed Messmer for his archival exhibition, RAF: No Evidence and Mark Ruwedel for his show, The Artist and Society.

This photographer wanted to humanize Ellis Island’s immigrants. His images are still powerful.


The Washington Post
 
To the new arrivals at Ellis Island in the early 1900s, the thin bespectacled man waving them down seemed to be a part of the immigration process.

They had spent weeks crossing the Atlantic Ocean in hopes of becoming Americans, and now that they had disembarked from the crowded ships, they hoped there were only a few steps remaining.

After being herded into an immense brick building, the crowds of newcomers were directed this way and that, told to sit, stand, open their luggage and, for a select few, found themselves cornered by Lewis Hine, a man toting a heavy, boxlike camera on a rickety tripod.

Usually, Hine did not speak their language. He motioned to them what he wanted to do. They waited anxiously while he set up the camera, and then the machine emitted a resounding bang. Sparks flew. Thick smoke filled the air. When it cleared, the immigrants were sent on to the next step — likely never knowing they had just become a part of one man’s project to make the country more welcoming toward them...

Roger Fenton's Photographs of the Crimea


The Queen's Gallery, Buckingham Palace
London, UK
Until 28 April 2019

 

This is the first exhibition to focus exclusively on Roger Fenton's pioneering photographs of the Crimean War, taken in 1855. Fenton was already an accomplished and respected photographer when he was sent by the publishers Agnew's to photograph a war that pitched Britain, France and Turkey as allies against Russia.  Arriving several months after the major battles were fought in 1854, Fenton focused on creating moving portraits of the troops, as well as capturing the stark, empty battlefields on which so many lost their lives. 

Published in contemporary newspaper reports, Fenton's photographs showed the impact of war to the general public for the first time.  Through his often subtle and poetic interpretations Fenton created the genre of war photography, showing his extraordinary genius in capturing the futility of war.

Time Travel Back to 1970s L.A. with These Vintage Photos


Los Angeles Magazine

 Thinking of ’70s L.A. now probably brings to mind the golden days of Laurel Canyon, antics on the Sunset Strip, or maybe a few New Age cults. But a new group show at Joseph Bellows Gallery peels away some of those layers of nostalgia to show images of how the region looked to photographers as they lived it.

Work in the show comes from photographers Bevan Davies, Philip Melnick, John Humble, Grant Mudford, Terry Wild, and Ave Pildas. The images selected from each artist capture small moments of how the city looked at the time. Some of the locations are still recognizable now, others have evolved more visibly in the ensuing decades...

 

Arbus, Untitled and Unearthly


The New York Times

Beginning in 1969 and continuing through the last two years of her life, Diane Arbus traveled regularly by bus to New Jersey to photograph people at residences for the developmentally and intellectually disabled. Her first destination, the coeducational Woodbridge State School, was just across the Hudson from her Manhattan apartment. Quite soon, though, she determined that an all-female institution in Vineland, in the southern part of the state, provided richer opportunities.

The photographs in the “Untitled” series, at the David Zwirner gallery through Dec. 15, are mostly taken in Vineland. Departing significantly from the work that built Arbus's reputation, they include some of the most mysterious and haunting pictures of her 15-year artistic career.

The “Untitled” exhibition is the first in Zwirner’s new partnership with the Fraenkel Gallery of San Francisco to co-represent the Arbus estate. Rather than start with her iconic portraits of sideshow freaks, cross-dressers, pro-Vietnam war demonstrators and nudists, the New York gallery opted to show this less familiar, late work, which until now has never been seen in its entirety...

V&A's impressive new Photography Centre opens with major commissions and month-long photography spotlight


Creative Boom

The world’s first photographic experiments and earliest cameras; works by pioneering female photographers, Julia Margaret Cameron, Agnes Warburg, Madame Yevonde and Cindy Sherman; pictures by 20th-century greats Alfred Stieglitz, Walker Evans, Berenice Abbott, Brassaï, Cecil Beaton and Irving Penn, and contemporary works by Martin Parr, Sian Bonnell, Mary McCartney, Peter Funch, Cornelia Parker and Hiroshi Sugimoto.

This is just some of what to expect at the V&A’s impressive new Photography Centre, which spans four new galleries, more than doubling the museum’s space dedicated to photography...


The New York Times

Quentin Bajac, the chief curator of photography at the Museum of Modern Art, will return to his native Paris to become director of the Jeu de Paume, France’s national photography museum.

Mr. Bajac has served as MoMA’s photography chief since January 2013, only the fifth person to hold the post since its creation in 1940. In New York, he organized a large retrospective of the American photographer Stephen Shore, as well as a century-spanning history of studio photography and an edition of MoMA’s “New Photography” series. He also was co-curator of an acclaimed revisionist presentation of MoMA’s permanent collection at the Fondation Louis Vuitton in Paris in 2017.

Before coming to MoMA, Mr. Bajac served as a photography curator at the Musée d’Orsay in Paris, then as chief curator of photography at the Centre Georges Pompidou.

Louis Stettner: Traveling Light


SF MOMA
San Francisco, CA
27 October 2018 - 27 May 2019 


Over the course of his eight-decade career, Louis Stettner created a singular approach to photographing everyday life. Born in Brooklyn in 1922, Stettner began working as a photographer in the 1930s and served in the U.S. Army in World War II before moving to Paris in 1947. There, he studied at the Institut des Hautes Études Cinématographiques, became friends with the influential photographer Brassaï (whose work will be on view on Floor 3 from November 17, 2018–February 18, 2019), and developed a unique point of view that melded the boldness of American street photography with the softer humanism more characteristic of his Paris contemporaries. For the rest of his life, he traveled between New York and Paris — his “two loves,” as he called them — constantly finding new inspiration in that geographical duality. From thoughtful images of rush-hour commuters to tranquil observations of daily routines, this thematic retrospective displays the remarkable breadth of Stettner’s work.

A New Home for the Fondation Henri Cartier-Bresson in Paris


The New York Times

Henri Cartier-Bresson was a photojournalism pioneer, a man whose wartime images of Europe and portraits of personalities like Albert Camus and Samuel Beckett have become 20th-century classics.

Yet he never allowed himself to be photographed, and he never appeared on television.

“It meant that his face wasn’t widely
recognizable, and that he could blend in everywhere he went, without people knowing it was him,” said Agnès Sire, artistic director of the Fondation Henri Cartier-Bresson in Paris, which was established in 2003.

One of his only known self-portraits, taken on a trip to Siena, Italy, is a view of his extended right leg, in trousers, with a winding road in the background. The so-called self-portrait was taken “as he was lying on a wall,” Ms. Sire said.

“The subject is completely banal: That’s what’s interesting about it,” she continued. “It’s a private moment — not a moment where you’re posing for a double-page spread in Paris Match magazine.”

The Siena picture is one of about 50,000 original prints that have moved from Montparnasse, on the Left Bank of Paris, to the foundation’s new and bigger home on the Right Bank, in the fashionable Marais district. More than 200,000 negatives and contact sheets have also been relocated...

Contact Warhol: Photography Without End


Cantor Arts Center, Stanford University
Stanford, CA
29 September 2018 - 6 January 2019

 

Photographs by Andy Warhol that have never before been displayed publicly are at the heart of the exhibition Contact Warhol: Photography Without End, which draws on a trove of over 130,000 photographic exposures that the Cantor Arts Center acquired from the Andy Warhol Foundation for the Visual Arts in 2014. The collection of 3,600 contact sheets and corresponding negatives represent the complete range of Warhol’s black-and-white photographic practice from 1976 until his unexpected death in 1987.

The exhibition brings to life Warhol’s many interactions with the social and celebrity elite of his time with portraits of stars such as Michael Jackson, Liza Minnelli, and Dolly Parton; younger sensations in the art world such as Keith Haring and Jean-Michel Basquiat; and political stars, including Nancy Reagan, Maria Shriver, and Arnold Schwarzenegger. Contact Warhol, curated by Stanford Professors Richard Meyer and Peggy Phelan, traces Warhol’s photography from the most fundamental level of the contact sheet to the most fully developed silkscreen paintings. 

Terror in focus: the Jewish photographer who captured the rise of Nazism


The Guardian

In 1920, Roman Vishniac and his new bride Luta arrived in Berlin. Having fled the turmoil of post-revolutionary Moscow, the couple had hastily been married by a station master in a Latvian border town, before traveling to Riga and on to the German capital. There, Vishniac was reunited with his wealthy parents, who had left Russia three years earlier, and he and Luta were married again in a register office before their union was blessed by a traditional Jewish ceremony. So began their new life in a city that an excited Vishniac described as “a living whole … the centre of western Europe”.

The story of their flight is emblematic of Vishniac’s extraordinary life, which was lived out, in part, against Europe’s turbulent early-to-mid 20th-century history. As a child he had experimented with scientific photography, attaching a microscope to a camera in order to produce magnified images of insects and plants. Having gone on to train as a biologist, he found work hard to come by in Berlin. Intrigued by the cosmopolitan nature of the city, he became a keen amateur photographer, strolling the city night and day with a Rolleiflex camera dangling from his neck...

A National Gallery show examines Gordon Parks’s early years


The Washington Post 


He was the youngest of his father’s 15 children. He wrote in his high school yearbook that he wanted to be “a general or a Jazz Sheik.”

Gordon Parks fell short of those goals, but in the process of failing, he became a poet, novelist and memoirist; the inventor of a new genre of film; a pianist, composer and librettist; and one of the greatest photographers of the 20th century. How did this happen?

If you love an artist’s mature work, his or her early work is almost always riveting. The drama is innate: How did it come to be? What were the breakthroughs? Who and what helped? What explains it?

“Gordon Parks: The New Tide, Early Work 1940-1950,” at the National Gallery of Art, sets out to answer these questions. But just as Parks himself got diverted on his way to becoming a “Jazz Sheik,” the curator, Philip Brookman, gets waylaid, and instead of rooting around in juvenilia, finds himself presenting a show with the force and cogency of a full-blown retrospective...


The New York Times Magazine

Robert Adams’s succinct preface to his 2010 book of photographs “What Can We Believe Where?” begins with uplift: “In common with many photographers,” he writes, “I began making pictures because I wanted to record what supports hope: the untranslatable mystery and beauty of the world.” Adams’s aim was true. Look at one of his photographs and you’ll see a record of mystery and beauty. The photographic elements are simple. Bright sunlight, generally; crisp shadow; the occasional moody nocturne. We feel as if we are being taught to see with a visual primer. Better yet, turn the pages of one of his books (he has made more than 50) or walk around an exhibition of his work, inhabiting the flow of his decisions. You are likely to feel your breath getting calmer and your senses quietened...

The Eye of Photography
 
“In the heart of the Sudan, and to the west of the White Nile, there is a strange and unreal land which the hand of time has hardly touched in passing.” – George Rodger

From 1939-47 Magnum photographer George Rodger covered some of the most violent atrocities of the second world war: from the brutality of the Burma campaign to horrific piles of corpses at the Bergen-Belsen concentration camp.

In 1948, in search of something less barbaric, Rodger arranged to document indigenous people of the Nuba mountains, in the former central Sudanese province of Kordofan, and the Latuka and other tribes of southern Sudan. In doing so, he created some of the most historically important and influential images taken in sub-Saharan Africa during the twentieth century.

Southern Sudan is released to coincide with an exhibition of the same name at David Hill Gallery, London, opening on 2nd November until 25th January.

‘George Rodger belongs to the great tradition of explorers and adventurers. His work is a moving testimony through time and space.’ Henri Cartier-Bresson

Hyperallergic

Time may just be an illusion, yet humans have the need to mark time in order to make sense of our lives. In "Time Frames: Contemporary East Asian Photography" at the Baltimore Museum of Art, works by contemporary East Asian photographers explore time through both subject matter and creative processes, as the artists grapple with their cultural and personal histories.

The exhibition highlights around 40 photographic works by Asian American artists and artists from Vietnam, Korea, Japan, and China that are rarely seen in the US. The photographs represent five ways that the featured artists have engaged with the concept of time: through individual and collective experience, reflection, duration and labor, progress and place, and displacement...

The British Journal of Photography

So far the wildfires in California have claimed the lives of 94 people and laid waste to 1,667,855 acres of land this year. And, according to Dutch paper NRC Handelsblad, they’ve also consumed a world-renown library of photobooks, put together over the last six years by Dutch collector Manfred Heiting.

Based at Cutberth Road, Malibu, Heiting’s collection included vintage photographs, posters, ceramics and art deco furniture – and at least 36,000 photobooks. Residents in this area were told to evacuate a week ago, and the coastal town is now “a war zone”, Heiting told NRC Handelsblad. At the time of the report on 20 November, Heiting has not yet been given the green light to visit his house but he stated that: “On satellite photos I can see that everything in my neighborhood has disappeared. Two or three houses may have survived. The rest was pulverized in a ten-minute fire storm.”

Once a director of Polaroid’s international division, Heiting started collecting photography in the 1970s, when he focused on gathering prints. In 2002 he sold this collection to the Museum of Fine Arts in Houston, and started to focus on photobooks. His collection was considered one of the most complete in the world, including a copy of most of the important photobooks that appeared from 1888-1970 in Europe, the United States, the Soviet Union, and Japan.

Heiting’s expertise and collection were used in a series of compendiums published recently by Steidl – including The Soviet Photobook 1920-1941, The Japanese Photobook 1912-1980, and Czech and Slovak Photo Publications 1918-1998. He also worked on a website to make his archive more widely accessible, and used it in his lectures at the University of California.

According to NRC Handelsblad, the loss of Heiting’s collection is not just his loss, because he had recently donated his library to the Museum of Fine Arts in Houston. A few thousand books had already been transferred, but the rest was to stay with Heiting until 2023, for use in his research and publications. “The responsible curators were still visiting me at the beginning of October to make a definitive choice,” Heiting reportedly said. “It is terribly disappointing. For us all.”

“It is not easy now to put this loss away,” he adds. “But I have to close it soon. The collection will not come back.”

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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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.