LOCATIONS FILTERS

Joel Meyerowitz: Between the Dog and the Wolf

September 7 - October 21

41 E 57th St, Ste 1406, New York, NY +

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Joel Meyerowitz: Between the Dog and the Wolf

September 7 - October 21

NEW YORK – An exhibition of photographs by Joel Meyerowitz from the 1970s and ‘80s will be on view at Howard Greenberg Gallery from September 7 – October 21, 2017. Joel Meyerowitz: Between the Dog and the Wolf presents images made in those slightly mysterious moments around dusk. Much of the work is on public view for the first time. A new book, Joel Meyerowitz: Where I Find Myself: A Lifetime Retrospective, will be published in January 2018 by Laurence King.

 

The exhibition title Between the Dog and the Wolf is a translation of a common French expression “Entre chien et loup,” which describes oncoming twilight. As Meyerowitz notes, “It seemed to me that the French liken the twilight to the notion of the tame and the savage, the known and the unknown, where that special moment of the fading of the light offers us an entrance into the place where our senses might fail us slightly, making us vulnerable to the vagaries of our imagination.”

Most of the photographs in the exhibition are from a time when Meyerowitz was spending summers on Cape Cod and had just begun working with an 8×10 view camera. “My whole way of seeing was both challenged and refreshed. I found that time became a greater element in my work. The view camera demands longer exposures, and I began looking into the oncoming twilight and seeing things that the small cameras either couldn’t handle or didn’t present in significant enough quality,” Meyerowitz explains. “What seems of more value to me now, 30 years later, is how that devotion to the questions back then taught me to see in a new and simpler way.”

Photographs from the time of Meyerowitz’s iconic series Cape Light, widely recognized for his use of color and appreciation of light, are included in the exhibition. A young woman is perched on a wall that overlooks the Cape Cod Bay in a 1984 print, with the last of the daylight fading into a pink haze. A 1977 view of a dark house with one lit window has a sandy front yard with a sagging badminton net, an abandoned tricycle, and a blue doghouse with peeling paint. In a nearly abstract image from 1984, the viewer can barely see lights from a house on the beach as night falls. Other locations show a view of a serene sky with St. Louis’ Gateway Arch from 1977 and a palm tree in fading blue light in Florida from 1979.

As Meyerowitz notes, “I am grateful that my experience has allowed me to work both as a street photographer and as a view-camera photographer, and that I’m comfortable with both vocabularies. I speak two languages, classical and jazz. Street photography is jazz. The view camera, being so much slower, is more classical, more meditative, it has a different way of showing its content. You can be a jazz musician and play classically, and you can be a classical musician and love the immediacy and improvisation of jazz.”

 

About Joel Meyerowitz

Joel Meyerowitz (born 1938) is an award-winning photographer whose work has appeared in over 350 exhibitions in museums and galleries throughout the world. After a chance encounter with Robert Frank, the New York native began photographing street scenes in color in 1962, and by the mid-1960s became an early advocate of color photography and was instrumental in the legitimization and growing acceptance of color film. His first book, Cape Light (1979) is considered a classic work of color photography and has sold more than 100,000 copies. He has authored 17 other books, including Legacy: The Preservation of Wilderness in New York City Parks (Aperture, 2009). As the only photographer given official access to Ground Zero in the wake of September 11th, he created the World Trade Center Archive, selections of which have toured around the world. Meyerowitz is a two-time Guggenheim fellow and a recipient of awards from both the NEA and NEH. He is a recent winner of the Royal Photographic Society’s Centenary Award, its highest honor. For his 50 years of work in 2012, he received the Lifetime Achievement Award at the Lucie Awards, an annual event honoring the greatest achievements in photography. His work is held in the collections of many museums, including The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; and the Museum of Fine Art, Boston. Meyerowitz lives and works in Tuscany and New York City.

 

About Howard Greenberg Gallery

Since its inception over 35 years ago, Howard Greenberg Gallery has built a vast and ever-changing collection of some of the most important photographs in the medium. The Gallery’s collection acts as a living history of photography, offering genres and styles from Pictorialism to Modernism, in addition to contemporary photography and images conceived for industry, advertising, and fashion. Howard Greenberg Gallery is located at 41 East 57th Street, Suite 1406, New York. The gallery exhibits at The ADAA Art Show, The Armory Show, The Photography Show presented by AIPAD, Photo London, Art Basel, Paris Photo, and Art Basel Miami Beach. For more information, contact 212-334-0010 or info@howardgreenberg.com or visit www.howardgreenberg.com.

 

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Press Contact:

Nicole Straus Public Relations

Nicole Straus, 631-369-2188, 917-744-1040, nicole@nicolestrauspr.com

Margery Newman, 212-475-0252, MargeryNewman@aol.com

 


Howard Greenberg Gallery

41 E 57th St, Ste 1406, New York, NY 10022

212.334.0010

info@howardgreenberg.com

Open Tues-Sat 10-6

Summer Hours: Mon-Fri 10-5



John Lipkowitz: “Not Just Flowers”

October 6 - October 29

510 Warren St Hudson, NY +

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John Lipkowitz: “Not Just Flowers”

October 6 - October 29

Images of the Netherlands


Press Release

510 Warren St Gallery

510 Warren St Hudson, NY 12534

518.822.0510

510warrenstgallery@gmail.com

Open Fri-Sat 12-6, Sun 12-5


Josephine Sacabo: Barking At God – Retablos Mundanos

October 14 - December 31

241 Chartres St New Orleans, LA +

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Josephine Sacabo: Barking At God – Retablos Mundanos

October 14 - December 31

 

In Mexico I am working hard putting the finishing touches on my new series BARKING AT GOD- RETABLOS MUNDANOS which will open on Oct 14, 2017 at A GALLERY FOR FINE PHOTOGRAPHY in New Orleans.

 

I began working on the images one day out of anguish and grief and I ended up rescued by a depth of meaning I never meant to touch really.

 

The resulting 40 images are 22X28 inch hand colored photogravures combining the graffiti of New Orleans with religious imagery from San Miguel in Mexico- the dueling iconographies of the two places I call homeI have no final judgement to make on the subjects. Each expression is presented with it’s consolations and it’s cruelties. They are what they are and I hope the viewer finds something in them that speaks to what they themselves may have experienced, needed or felt.

 

-Josephine Sacabo


A Gallery for Fine Photography

241 Chartres St New Orleans, LA 70130

504.568.1313

joshuamann@att.net

Open Thur-Mon 10:30-5


Micro/Macro: Views of Earth by Marilyn Bridges and Jeannette Klute

September 2, 2017 - March 11, 2018

One South High Akron, OH +

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Micro/Macro: Views of Earth by Marilyn Bridges and Jeannette Klute

September 2, 2017 - March 11, 2018

Marilyn Bridges and Jeannette Klute both chose Earth’s natural and human-touched terrain as their subject matter. Micro/Macro illustrates how photographs of the Earth on both an intimate and aerial scale can be disorienting as well as familiar, and the inherent compositional parallels between the work of two very different artists.

Bridges photographs sites around the world that show signs of past or present human activities. Looking down from the open door of a small plane flying at an altitude between 300 and 1000 feet, her aerial photographs record a visual experience that is neither like standing on the ground, nor looking out the window of a commercial jet. Her black and white images flatten Earth’s terrain into patterns of light, dark and texture. Exact scale and orientation are not clear except through detailed examination.

Klute is known for her contributions to the technical development and expressive value of color photography in the mid-1900s, when few artistic photographers used color processes. She was hired by Eastman Kodak in 1939, one of few women in the field at the time, and by 1945 was head of the visual research studio in the company’s color technology division. Klute tested a variety of subjects and environments in her research and art, often turning to nature as a source of myriad colors and textures. Her photographs of tide pools emphasize the colors and patterns in these micro environments, with overall compositions that decline to privilege particular objects but rather aim to translate the fascination and wonder she felt towards shore life.

The photographs featured in Micro/Macro: Views of Earth by Marilyn Bridges and Jeannette Klute come from the collection of the Akron Art Museum.

This exhibition is organized by the Akron Art Museum and is supported by the Ohio Arts Council. 


Akron Art Museum

One South High Akron, OH 44308

330.376.9185

Open Wed-Sun 11-5, Thur 11-9


Anderson & Low, John Patrick Dugdale, George Dureau, Connie Imboden, José Villarrubia, Reed Massengill, and others: Man, Idea, Image: Photographs of Men from the Mark Rice Collection

August 30 - December 12

Reception: Thurs December 7, 4-6pm

1000 Hilltop Circle Baltimore, MD +

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Anderson & Low, John Patrick Dugdale, George Dureau, Connie Imboden, José Villarrubia, Reed Massengill, and others: Man, Idea, Image: Photographs of Men from the Mark Rice Collection

August 30 - December 12

Reception: Thurs December 7, 4-6pm

This exhibition presents images of the male body in contemporary photographs from the Mark Rice Collection. Engaging the complicated dynamics of looking at the male form, the myriad meanings, narratives, metaphors, mythologies, fears and celebrations of the male body are contemplated in the context of the history of art broadly, and post-Stonewall culture and the AIDS crisis specifically.

The exhibition is curated by Dr. James Smalls and organized by the UMBC Library Gallery.


Press Release

Albin O. Kuhn Library Gallery

1000 Hilltop Circle Baltimore, MD 21250

410.455.2270

Open Mon-Fri 10-4:30, Thur 12-8, Sat-Sun 12-5



Shared Space: A New Era

October 1, 2017 - April 22, 2018

258 Main St Ridgefield, CT +

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Shared Space: A New Era

October 1, 2017 - April 22, 2018

The Aldrich Contemporary Art Museum is pleased to present Shared Space: A New Era, an exhibition of photographs and video from 1987 through 2010 that considers the world’s social, economic, and political climate over the past thirty years and how the growing impact of technology during this time, with radically increased and diversified communication, has introduced a new phase of globalization. This exhibition has been curated by Lillian Lambrechts from the Bank of America Collection and is on loan from its Art in our Communities® program.

Shared Space features contemporary artists from twelve countries: the United States, Great Britain, Canada, Germany, the Netherlands, India, Iran, Italy, Japan, Mexico, the Czech Republic, and Switzerland. These artists capture myriad spaces for communication and interaction—urban and rural landscapes, homes and backyards, city streets and plazas, and ports and terminals. The exhibition’s point of departure is 1987, a seminal year that marks the signing of the Intermediate-Range Nuclear Forces Treaty by Ronald Reagan and Mikhail Gorbachev, and soon thereafter the fall of the Berlin Wall, events marking the end of the Cold War and the beginning of a new age of international exchange.

Sze Tsung Leong’s cityscapes illustrate the impact of a global economy. Thomas Ruff’s and Günther Förg’s photographs show the rapid transformation of the built environment through images of Modernist architecture constructed upon utopian ideals, now derelict and failing to realize its original intention. Photographs by Raghubir Singh, Thomas Struth, and Massimo Vitali depict masses of people gathering in public spaces from Los Angeles to Vietnam, and the Netherlands—expressing an unprecedented universality of access to information. Despite the interconnectivity of this time, a distancing and disconnect remains between individuals and groups, near and afar, as evidenced in Ben Gest’s Jessica & Samantha (2003), family members in close physical proximity who seem deeply psychologically distanced from one another. Shared Space reminds viewers of their place in the world and their role and impact on current global and interpersonal affairs while also provoking them to consider how they will contribute to “shared space” in the future.

“Bank of America is committed to strengthening artistic institutions and in turn, the communities we serve,” said Bill Tommins, Bank of America Southern Connecticut Market President. “Sharing our collection with the public through partners such as The Aldrich Contemporary Art Museum not only makes business sense for the bank, but also helps support museums in Connecticut.”

For press inquiries, please contact Emily Devoe at 203.438.4519, extension 140, or edevoe@aldrichart.org

Shared Space: A New Era is generously supported by the Bank of America Art in our Communities® program and Crozier.


Press Release

Aldrich Contemporary Art Museum

258 Main St Ridgefield, CT 06877

203.438.4519

Open Mon, Wed-Sat 10-5, Sun 12-5


Dornith Doherty: Dornith Doherty: Archiving Eden

August 12, 2017 - January 14, 2018

3501 Camp Bowie Blvd Ft Worth, TX +

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Dornith Doherty: Dornith Doherty: Archiving Eden

August 12, 2017 - January 14, 2018

Over the decade, North Texas photographer Dornith Doherty has traveled the globe to construct a visual meditation on the planet’s botanical diversity by showcasing the work of international seed banks and sharing the pure aesthetic pleasure of seeds and their transformations into plants. This exhibition celebrates the completion of that project. At a time when some ecologists are suggesting that we are losing more than ten animal and plant species each day, the display provides eloquent confirmation of the close relationship between botany and biophilia.


Amon Carter Museum of American Art

3501 Camp Bowie Blvd Ft Worth, TX 76107

817.738.1933

Open Tues-Sat 10-5, Thur 10-8, Sun 12-5


Paul Bulteel: Waste Not

September 20 - November 22

143 Ludlow St New York, NY +

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Paul Bulteel: Waste Not

September 20 - November 22

The world is consuming at unprecedented rates. Three and a half million tons of waste is generated globally every day. By 2100, that figure is expected to triple to a daily rate of 11 million. With a directive to mitigate its environmental effects, Bulteel’s home country of Belgium consistently ranks one of the best in the world at recycling, boasting a rate of 62 percent. Comparatively, the US stands at 35 percent.

Waste Not exhibits scenes from the extensive recycling systems working to restore materials for reuse. Since 2013, Bulteel has photographed 50 companies active in collecting, sorting, recycling and reclaiming waste across Western Europe. His work aims to document a variety of waste streams and make viewers aware of the enormous quantities of materials left behind. Waste Not illustrates and encourages efforts to recycle waste on an unprecedented scale.


Anastasia Photo

143 Ludlow St New York, NY 10002

212.677.9725

kaley@anastasia-photo.com

Open Tues-Sun 11-7



Adrian Fernandez, Elliott Erwitt, Hermes Mallea, Leysis Quesada Vera, Luis Gispert, Michael Christopher Brown, Michael Dweck, Raul Canibano, Rene Pena, Tria Giovan: Cuba Is

September 8, 2017 - March 5, 2018

2000 Avenue of the Stars Los Angeles, CA +

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Adrian Fernandez, Elliott Erwitt, Hermes Mallea, Leysis Quesada Vera, Luis Gispert, Michael Christopher Brown, Michael Dweck, Raul Canibano, Rene Pena, Tria Giovan: Cuba Is

September 8, 2017 - March 5, 2018


Annenberg Space For Photography

2000 Avenue of the Stars Los Angeles, CA 90067

213.403.3000

info@annenbergspaceforphotography.org

Open Wed-Sun 11-6



Claude Iverné: Bilad es Sudan

September 15 - November 9

547 W 27th St, 4th floor, New York, NY +

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Claude Iverné: Bilad es Sudan

September 15 - November 9

Expanding on Claude Iverné’s previous body of work in North Sudan, Bilad es Sudan records the precipitous transformation of South Sudan, mapping its historical details and contemporary contours.

Iverné is the winner of the 2015 Henri Cartier-Bresson Award, and this exhibition is presented in collaboration with the Fondation d’entreprise Hermès, Aperture Foundation and the Fondation Henri Cartier-Bresson.

Opening Reception: Thursday, September 14, 7:00–8:00pm


Press Release

Aperture Gallery & Bookstore

547 W 27th St, 4th floor, New York, NY 10001

212.505.5555

info@aperture.org

Open Mon-Sat 10-5:30



The Photographer’s Curator: Hugh Edwards at the Art Institute of Chicago

May 24 - October 29

111 S Michigan Ave Chicago, IL +

Leigh Ledare: The Plot-Ruttenberg Contemporary Photography Series

September 9 - December 31

111 S Michigan Ave Chicago, IL +

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Leigh Ledare: The Plot-Ruttenberg Contemporary Photography Series

September 9 - December 31

Leigh Ledare (American, born 1976) pushes social systems to lay bare their underlying structures. His projects, which often rely on the enactment of complex social situations, are fundamentally collaborative; agency and authorship in these situations depend on interpersonal negotiations with and before the camera.

Recently, Ledare adapted an experiential group psychology method developed by the Tavistock Institute as a means to explore these ideas. Enacted through a series of conversations among teams of participants and psychologists over the course of a multiday conference, this approach constructs a social “ecosystem” designed for the group’s self-analysis. The Tavistock method helps participants develop a set of tools for investigating individual authority and identity as they relate to factors
such as race, gender, sexuality, and socioeconomics. Ledare transforms the method with one key modification: the presence of the artist and cameras as observers and collaborators during the meetings. This intervention causes shifts in the established structures of authority as well as assumed boundaries among the participants and psychologists—and it calls attention, by analogy, to the power relations binding artist, subject, and viewer in the making and display of works of art.

At the center of this exhibition is The Task, a film directed by Ledare based on a three-day Tavistock conference he organized in Chicago—a project that involved recruiting 30 participants, securing the collaboration of 10 psychologists trained in the method, and directing a film crew. Complex patterns of stereotyping and other projections of identity emerge through the participants’ discussions; authority is questioned, assumed, and taken away; and viewers are implicated as the participants become aware of subjective forces that exist beyond the imposed boundaries of the Tavistock system. The Task is accompanied by a series of photographs and assemblages of found mass media images, which act as allegories to the film’s chapters. With Ledare at its core, the entire project presents a highly structured series of dialectical encounters between the private and public, the individual and the group, and experience and representation.


Art Institute of Chicago

111 S Michigan Ave Chicago, IL 60603

312.443.3600

Open daily 10:30-5, Thur 10:30-8