Please join us for a special walk-through with Getty Associate Curator Amanda Maddox.
Please come join us for a private tour of this unusual exhibition featuring iconic imagery from the 1960s and 70s
Join us for a truly unique opportunity to view over fifty vintage prints by the great American photographer Roy DeCarava.
A son of New York City’s Harlem neighborhood, Roy DeCarava came of age during the Harlem Renaissance.Taking up photography in his late 30’s, after a career as a painter and graphic artist, he turned his camera on everyday life in the community where he lived. He felt it important for black people to be "portrayed in a serious and artistic way.” Following a productive period photographing the New York jazz scene, he came to the attention of MoMA’s Edward Steichen who encouraged him to apply for a Guggenheim fellowship, which he received in 1952. The first for an African American photographer. Several of DeCarava’s photographs appeared in Steichen’s landmark exhibition The Family of Man. He has been exhibited world-wide and has numerous monographs to his credit. Images of his long and productive career are held by every major museum in the country.
The Underground Museum was founded in 2012 by Noah Davis (d. 2015) and his wife Karon.
Image: Two men, subway stairs. 1987
Open House and Curator Talk with Chinese Photographer Lin Wang
Please come and meet Chinese photographer Lin Wang at the new Yiwei Gallery in Playa del Rey. Lin is a former flight attendant who began her MFA studies in photography at the Beijing Central Academy of Fine Arts in 2001. Her documentary series “Tulips in Clouds” which examines her life with her co-workers, got her recognition in China, but also got her fired by the airline. Lin then became a full-time photographer. From 2010-2016, Lin produced the series “Stray Tulips” which represents her journey of seeking identity after being fired.
During her residence here in LA Lin is continuing her compositing series with beaches and planes, in addition to starting a new series comparing living conditions and environments between Beijing and Los Angeles.
This event is open to the public, not only PAC members.
Please join us for an exhibition walkthrough with the artist.
Anthony Lepore’s images weave theatrics, humor, and vulnerability with personal narrative. In Performance Anxiety, illusion–visual and cognitive–takes center stage.
Between sixth and eighth grade I was a kid magician, impersonating someone with skill and sleight of hand. My grandfather, a confident wood-worker, built shelves into a luggage case that held my show and doubled as a stage when flipped on its side. I carried my illusions to local senior centers and family gatherings, specializing in small levitations and disappearances. I was certain magic was my calling, until I auditioned for show choir, which proved a more exciting and collaborative place for a queer teen at an evangelical school to hide in plain sight.
Join us for a special exhibition walkthrough with curator Jamillah James.
Brooklyn-based photographer Lucas Blalock (b. 1978) uses both traditional and digital techniques to create uncanny and surreal images of ordinary things. An Enormous Oar, the artist’s first solo museum exhibition, presents over twenty works produced in the last five years focused on still-lifes, domestic scenes, and portraits.
Jamillah James is Curator at the Institute of Contemporary Art, Los Angeles (ICA LA). With Margot Norton, she is curating the 2021 edition of the New Museum Triennial. Prior to joining ICA LA in 2016, James was Assistant Curator at the Hammer Museum, Los Angeles, working in collaboration with the nonprofit Art + Practice.
Image: Lucas Blalock, Conch Berries and, 2015-17
Another outstanding display of some of the world's most important historical photographs, the Getty hosts OSCAR REJLANDER, Artist Photographer. Often referred to as the “Father of Art Photography,” Oscar G. Rejlander (British, Swedish, 1813-1875) has been praised for his early experiments with combination printing, his collaboration with Charles Darwin, and his influence on Julia Margaret Cameron and Lewis Carroll. Playful and unusual, Rejlander's work was collected by Queen Victoria and Prince Albert to adorn the many royal residences with his innovative photographs. This is a must-see exhibit for anyone interested in the origins of the artistic use of photography, and how artistry supercedes the camera’s mechanical recording qualities.
In addition to Rejlander, we will also tour ENCORE, Reenactment in Contemporary Photography, a group exhibit exploring older works of art that put a new spin on original themes. Featuring works by Eileen Cowin, Christina Fernandez, Samuel Fosso, Yasumasa Morimura, Gillian Wearing, and more.
Please join us for a lovely day at the Getty Museum, including a no-host lunch at the Getty Cafe. Attendance limited to 15 members.
PAC·LA invites its members to join us for another small group photo sharing event. We all collect different images, hang them in our homes and love to talk about them. So here is your chance!
You are invited to bring one of your favorite photographs from your collection (not your own work) and share your thoughts about the piece- the artist, the history of the acquisition, the story behind it, and why it has the meaning it does for you. Members will have a 10-minute time limit, so be prepared!
RSVPs will open at 9:00 AM on Saturday, April 6.
Attendance is limited to 15 members, address to follow.
Please join us for a gallery visit to view Close to Home, a group exhibition of four photographers that mine their personal experiences–past and present–to express moments of intimacy within larger social and political structures. Engaging with the deep and complicated history of photographic portraiture, each artist renders his or her subjects in part as extensions of themselves, coded with personal and cultural references.
Pioneering photographer, Larry Sultan, seamlessly weaves fact and fiction, creating narrative possibilities that charge domestic familiarity with artifice. Sultan explores the deeply personal, while utilizing both documentary and staged photography to create surreal and psychological spaces that speak to intimacy and power within suburban family life – creating images often captured near the artist’s hometown in the San Fernando Valley.
Eva O’Leary has been producing photographs in and around her hometown of Central Pennsylvania, ironically nicknamed Happy Valley. Gaining access to college parties, dorm rooms, and proms and other social spaces of those in the midst of pivotal coming of age moments, O’Leary examines individual vulnerability in these transitional times. Her work explores intimate moments to deftly confront power dynamics as it falls along gendered lines, especially within the lives of adolescents.
Erica Deeman’s Brown series is a collection of medium format photographs that depict isolated men from the African diaspora, rendered shirtless in front of a brown backdrop that matches the color of the artist’s own skin. Injecting her own presence in the portrait of others,these deceptively straightforward images provide a foil for the deleterious tropes of black male portraiture—particularly images affiliated with the practice of physiognomy and mug shots. Her subject’s gazes are quiet, vulnerable, and self-aware, carrying the power and weight of the photographic history and lineage that she is acutely referencing.
Mark McKnight’s black and white photographs depict the human figure and the landscape with congruence. Often rendering the bodies of queer friends and lovers, McKnight carefully depicts the effects of entropy on the human form and pairs it with similar scares found on architecture, urban spaces, and the landscape. Situated between documentary and the surreal, McKnight’s photographs imply an erotic, yet brutal psychological space, informed by his personal relationships.
IN THE SUNSHINE OF NEGLECT, Defining Photographs And Radical Experiments in Inland Southern California, 1950 To The Present
In the Sunshine of Neglect is a simultaneous two-part exhibition at UCR ARTS: California Museum of Photography and the Riverside Art Museum. The show presents the title’s territory on the eastern edge of the Los Angeles Basin as an experimental playground for photographers, where nothing was at stake, so everything was possible. Artists and rising experimentalists have long used Inland Southern California as a laboratory, influencing the course of contemporary art and photography.
The show includes 194 works by 54 photographers, including Kim Abeles, Ansel Adams, Robert Adams, Lewis Baltz, Judy Chicago, John Divola, Judy Fiskin, Robbert Flick, Anthony Hernandez, Meg Madison, Alia Malley, Richard Misrach, Mark Ruwedel, Allan Sekula, Julius Shulman, Joel Sternfeld, Hiroshi Sugimoto, Larry Sultan, and more. It is curated by artist and UCR ARTS Senior Curator Douglas McCulloh.
We will meet at the Riversdie Art Museum, walk over to the CA Museum of Photography for the completion of the tour; and then follow up with a no-host fun lunch at Tio's Tacos, another short walk away.
Riverside Art Museum is located on the corner of Mission Inn Avenue and Lime Street. There is street parking along Mission Inn Ave. and Lime St. There is also a parking lot across the street from the museum on Mission Inn Ave. and Lemon Street. Tio's Tacos is at 3948 Mission Inn Ave, Riverside.
The Riverside Art Museum is about a 60 to 90 minute drive from Los Angeles, and we encourage carpooling.
The Getty Research Institute offers an unusual and exciting look at monumentality- how power is envisioned through the planning of cities and their monuments, both real and imagined. Scale and size have figured prominently in efforts to mark cosmic and geological time, from land patterns etched in ancient rituals to earthworks created in the 1970s. Through photography, video, conceptual art, and books, this exhibition investigates various paradigms of monumentality, how they are generated through systems of belief and structures of power, and why certain monuments endure and others fall. As markers of history and repositories of collective memory, monuments can project multiple and sometimes contradictory meanings.
Jane Friedman, a scholar on the subject, will give us a personal tour of the show. Following the walkthrough we will all meet for a no-host lunch at the Getty Cafe.
Maximum attendance of 15 so please register now.
Please join us for a walkthrough with the artist of this unique immersive photography experience.
Refraction features Containment, a site-specific work originally commissioned for the FotoFocus Biennial 2018 in Cincinnati, Ohio, as well as new photographs from the Prospect and Refuge and Ink on Paper series. These various photographic projects range from architectural to sculptural to two-dimensional, each acknowledging strategies of seeing. Refraction explores the relationship between illusion and reality by exposing the deceit inherent in photographic image-making while engaging in philosophical and material play around slips in translation.
Refraction refers to the change in matter or information as it passes through one medium to another. Refraction occurs when our experience of the world is mediated through photographic images. Engman states: "We see more than we would have, and there is value in that. But the thing, person, or place that is imaged is also irrevocably changed. Photographs resemble and seem somehow in proximity to places and moments we cannot access in ways we wish we could. This produces a continuous and oblique kind of yearning for what we wish could be present or more fully understood," resulting in a mental projection through which we fill in the gaps, adding detail or meaning.
Please join us for a unique performance by Mexican artist Mariela Sancari. The Two-Headed Horse: Reenactment in 10 Acts is a series of ten photographs turned into a theater play.
The performance will begin promptly at 7:30 and will last about 30 minutes.
A play is a structure. Parliaments and actions are the elements of this structure. These are spoken aloud and acted, transmitted by characters that in themselves are part of the structure.
The structure has a meaning, which we can discover by adding together the different elements, actions and characters. The characters are not what they claim to be. The characters are what their function within the structure of the play tells us they are.
Abundant is the discussion about reality and photography, about the reality that a photograph is able to capture.
Dozens of authors, theoreticians and photographers have debated and argued this subject until almost stripping the image of its value as a document, as a proof of the real.
There is, however, some truth in the image. An encounter with the real, a shadow, a trace. "The real, to put it in some way, has burned a hole in the image", says Walter Benjamin. That hole
is the shadow of the image that stalks us. And the truth to which the image refers (or testifies), is the truth of the experience of which it is residue, the contact with the real to which it has survived.
The two headed horse: Reenactment in ten acts. A series of ten photographs turned into a theater play.
Two actresses on stage playing sisters for a seemingly absent audience. Recreations of past scenes, scenes they already performed some time ago. They will experience hesitations and
ramblings when trying to understand their past.
Based on the statement that the meaning of any image lies in its destination[i], I have created a new body of work that resignifies the photographs from a previous series of mine called
The two headed horse –staged self-portraits with my twin sister addressing memory and fiction–, not necessarily for what we see in them, but for the role they have in a narrative, in relation
with one another. Conceived as a theater play –a sort of tableau vivant– the intention is to activate the images through text –dialogues and parliaments– questioning the reliability of photography and the processes through which we understand what we see.
I rephotographed the images of the series –engaging each one of them as an theater act itself– seeking to problematize the figurative content of my pictures –characters and their actions–
while also posing questions about formal and philosophical aspects of staging images. In this iteration, the reenactment of the representation –the body as tool, setting, method and space–
is intended to activate the latency in the images.
Images are no longer what they represent but their relations to the other components in this play, in this representation of the real that burned a hole in the images.
[i] David Campany. “The meaning of any image is in its destination.” in 1000 words Magazine.
Please join us for a special walkthrough of two important exhibitions.
Dziworski is an award-winning Polish filmmaker, cinematographer, director and photographer. His short and poignant film documentaries are often written without dialog. Dziworski's photographic work leads the post-war Polish movement, capturing poetic scenes from the lives of ordinary people. This is the first U.S. exhibition of his photographic works of Bogdan Dziworski. In 1965 Henri Cartier-Bresson wrote to Dziworski "I enjoy your photographs, their liveliness, freshness, frankness. I sincerely hope to meet you one day." Bogdan turned down Henri's invite to become a member of Magnum, as his focus was on film making.
The Family of Man is the most widely seen exhibition in the history of photography. First shown at the Museum of Modern Art in New York in 1955, the exhibition traveled throughout the United States and to 46 countries, and was seen by more than nine million people. Edward Steichen conceived, curated, and designed the exhibition. He explained its subject as "the everydayness of life" and "the essential oneness of mankind throughout the world." The exhibition was a statement against war and the conflicts and divisions that threatened a common future for humanity after 1945. Duncan Miller Gallery presents an extremely rare group of original photographs from this exhibition made from the original negatives in 1954.
Please join us for a special exhibition tour with collector and PAC member Andrew Schwartz.
Curated from the collection of Andrew Schwartz, this exhibition focuses on the Surrealism, Dada and the “New Objectivity” movements which began after World War I. These artists, such as Alfred Ehrhardt, Albert Ranger-Paztsch and Ernst Fuhrmann, retreated from pure abstraction towards utilization of more recognizable imagery in the service of direct social commentary
Join us for a special exhibition tour of Deanna Lawson: Planes. Following the walkthrough we will then move to nearby gallery Karma International to view their exhibition Meret Oppenheim and Friends: Cadavre Exquis.
Lawson makes portraits of black people in “South Carolina, Swaziland, Jamaica, and Soweto, South Africa; as well as around the artist’s own Brooklyn neighborhood.” But she does more than that. She confronts viewers with a complex, densely layered, multifaceted vision of black identity, as embodied by strangers and neighbors alike, with whom she has established an intense rapport, however brief.
Meret Elisabeth Oppenheim (6 October 1913 – 15 November 1985) was a German-born Swiss Surrealist artist and photographer. Oppenheim was a member of the Surrealist movement along with André Breton, Luis Buñuel, Max Ernst, and other writers and visual artists. Besides creating art objects, Oppenheim also famously appeared as a model for photographs by Man Ray, most notably a series of nude shots of her interacting with a printing press.
Karma International is located at 4619 W. Washington Blvd., Los Angeles 90016, a six minute drive from the Underground Museum. Street parking at both locations.
W.M. Hunt - Bill - is a champion of photography: a collector, curator and consultant who lives and works in New York. He teaches, writes, looks at many, many pictures and loves to talk about them. BIll will bring us up to date on his recent travels to photography fairs and festivals from Sao Paolo to Shanghai, Lisbon, Amsterdam, Hamburg, London and Arles. He will share with us his current fascination with collecting American groups in photographs, his interest in self-publishing, and how he sees collecting photography in 2019. Please join us at this intimate and special mid-week gathering at a private home in Silverlake. It is bound to be a very special evening.
Parking can be difficult in this neighborhood. We encourage carpooling or ride services. Address will be sent upon rsvp.
Please join us for a special walkthrough with the artist.
Christopher Thomas (Germany, b. 1961) refers to the photographs from his various series as city-portraits, documenting the architectural personality of iconic urban centers with the detail and aesthetic of classical large-format portraiture. Through long exposure times and his exclusive use of large-format Polaroid Type-55 film, Thomas is able to achieve remarkable clarity and a dramatic, ethereal mood in his images. By photographing in the middle of the night or early morning, Thomas captures these often-crowded locales completely devoid of human presence allowing the viewer to focus on the unique structural character of each culture. In addition to works portraying Los Angeles, prints from his previous studies of Paris, Venice and New York City will also be on view.
Join us for a special pre-opening private walkthrough with the artist.
Cartagena explains his process and conceptual approach; “Through a meticulous and potentially failure-prone process, I am stripping these physical images from their direct representations by removing figures to create unique cutout silver gelatin prints. The result is a photographic structure that emerges from within the image and speaks to how we build what we see in most photographs. The photographic medium has used format, material, aesthetic and lighting structures to create a standard version of ourselves. Everything feels the same and what is left is a cultural construct of how we have built our identities through images. These new representations also connotate larger issues in my Latin America, where we have become ‘no one’ in the midst of our social and political crisis. In the end, it seems anyone can disappear, and no one will ever give us answers.”
Please join us for a special walkthrough with exhibition Assistant Curator Mazie Harris.
The first major travelling survey of the artist’s career, this exhibition explores how Sally Mann’s relationship with the American South has shaped her work. Experimental, elegiac, and hauntingly beautiful photographs—many never before shown—reveal how she probes themes of family, mortality, and the landscape as a repository of personal and collective memory. Asking powerful questions about history, identity, race, and religion, the exhibition demonstrates how the legacy of the South continues to permeate American identity.
Limited to 25 members. Confirmed RSVPs will be notified as to parking arrangements and meeting place.
Please join us for this special visit to the home of renowned collector and dealer Stephen White.
Photo-conceptualism, Photorealism and the Adjacencies of Photography: A Gallery Talk with Dennis Reed and Tom Jimmerson
Please join us for this exciting conversation and exhibition walkthrough followed by lunch at Guelaguetza, a Jonathan Gold-recommended Oaxacan restaurant near the gallery.
PAC·LA board member Dennis Reed will talk about his current exhibition of photographs, entitled Police Culture, followed by a discussion of conceptual art, photorealism, and their relationship to photography with gallery director, Tom Jimmerson.
Jimmerson, a veteran fixture of the LA art scene, was the former owner/director of Cardwell Jimmerson Fine Arts in Culver City, a gallery that focused on conceptual art, as does As-is.LA Gallery. Reed is best known as an educator, historian and curator, and this exhibition will be a surprise for those who have never seen his photographs. Jimmerson says, “photo-conceptualism and photo-realism stand today, and with the advantage of hindsight, as powerful, if implicit, critiques of photography. Reed’s photographs question the truthfulness of photography, the limits of our individual perception, and our relentless need to assign meanings to images.”
$37 per person including lunch - limited to 20 people
Image: Dennis Reed, #25 Bodycam, 2017
Please join us for a visit to the home of Alan Berro to tour his collection. Alan is passionate about photography and his collection includes images by David Hockney, William Christenberry, Lee Friedlander, Catherine Wagner, and Richard Misrach. His home is also extraordinary. It was built in 1907 and was the second home to be built in the flats of Beverly Hills.
This event is limited to 25 members. The address and parking details will be sent upon receipt of RSVP.