Wynn Bullock: Revelations
High Museum of Art, Atlanta
Wynn Bullock, Photogram, 1970. Courtesy High Museum of Art
West Coast photographer Wynn Bullock was a modernist whose work incorporated technical innovation and scientific discovery, influences that are as apparent in his work as his regard for raw nature. A retrospective on view at the High Museum of Art through January 18, 2015, provides an excellent overview of his work and serves as a mini-history of modernist photography, ranging from straight photography to experiments with light and color. Curated by the High’s Brett Abbott in collaboration with the Center for Creative Photography in Tucson, the show features 108 prints, 43 of which are part of a recent gift to the High of over 100 photos from the artist’s estate.
Bullock originally pursued a career as a singer and while spending time in Paris in the late 1920s, he first saw the work of avant-garde photographers Moholy-Nagy and Man Ray, which set him on his own path of photographic inquiry. His creative experimentation neatly dovetailed with his interest in science.
In attempts to express his ideas about such themes as man’s relationship to nature and the passing of time, Bullock often staged scenes that juxtaposed opposing qualities, as in the photograph of his young daughter lying naked beneath towering, centuries-old redwoods (Child in Forest, 1951), or the smooth skin of a woman, her back to the camera, a small, vulnerable presence amid the craggy and majestic trees (Nude Torso in Forest, 1958).
Wynn Bullock, Child in Forest, 1951. Courtesy High Museum of Art
Bullock achieved an effect that, for him, illustrated the time-space continuum by experimenting with longer exposures. In The Pilings (1958), for example, water flowing around the structural remnants become a blur, and the pilings, seen in such an ethereal setting, take on the appearance of ancient ruins. Similarly, Bullock masterfully captured the micro/macro dichotomy in Sea Palms (1968); what appears to be craggy mountaintops studded with swaying palm trees and enshrouded in fog is, in fact, algae growing on tidal rocks continuously lapped by water.
Bullock is especially effective in evocative, abstract works. A group of photos of rocks and trees in which Bullock discerned human faces effectively alludes to our intertwinement with the natural world. Similarly, an untitled 1972 work shows a woman on a beach, partially embedded in the washed-over sand, her bent legs echoing the craggy rocks behind her.
Possessing a photographer’s fascination with light, Bullock experimented with such techniques as solarization and photograms beginning in the late 1930s. For his Light Abstraction series of the ’30s and ’40s, he projected beams of light in his studio and photographed the patterns. In the ’60s, he shone light through thick glass and shot the refracted colors, creating, in essence, images of pure light. The colorful abstractions, anomalies in his oeuvre, resemble Hubble telescope images of the cosmos that would come decades later. They perhaps best achieve his stated desire, to “make what is invisible to the eye, visible.”
— By Stephanie Cash 07/30/2014
Where There's Smoke. John Gossage: Who Do You Love
Fraenkel Gallery, San Francisco
Ruth Van Beek, The Arrangement, 2012. Courtesy Fraenkel Gallery
In its 30-plus years in operation, Fraenkel Gallery has honed its exhibition program to a state of canny perfection. Its roster brims with major photographers, and the presentations are smart and impeccably installed. It feels more daring, then, that its summer offering, a subtly engaging, thematically unified double feature, embraces themes of uncertainty. The two exhibitions on view through August 23 look at a new materiality, offhanded gestures, and emerging visions from the perspective of four contemporary photographers, and in little seen mixed-media works by John Gossage.
The group show, Where There’s Smoke, explores a sense of sculptural objectness through literal construction of images and choice of photographic subjects. Collage pieces by Dutch artist Ruth Van Beek thematically address the notion of decorum. The grounds of these works are full-color pages from vintage homemaking magazines, most of still life images of minimalist flower arrangements. At least that’s what they appear to be; the artist has obscured the main forms with vibrant cutouts of watercolor painted paper, creating bulbous shapes that exude a perky mysteriousness. Cryptically elegant, they set up a dynamic between photographic image and object.
Viviane Sassen’s chromogenic prints also traffic in this tradition. She merges aspects of Robert Smithson’s Mirror Displacement works with Barbara Kasten’s Constructs, building a curious essence of site — a flattened perspective makes it notably difficult to pinpoint the location. Sassen creates geometric abstractions with mirrors and colored gels that she photographs in red desert sands in Africa. The simplicity of the camera tricks are not difficult to tease out, yet there’s a provocative tension, a daring vulnerability, of rickety construction playing out on a harsh backdrop.
Viviane Sassen, Axiom GB01, 2014. Courtesy Fraenkel Gallery
There’s a similar sense of discordance to Michael Lundgren’s large photographs of unidentifiable objects — the strangest a dead fox with green fur in a shallow square grave — and sundry works from Jason Fulford’s appealingly noncommittal Hotel Oracle series. Where Lundgren favors elements that appear heavy and dark, presented as large prints, Fulford’s staggered arrangement of mismatched subjects — icicles on a staircase, a prosaic retail display of light bulbs — are more sanguine, and seemingly anachronistic, like lushly colored 1940s postcards.
In his wall text, gallery director Darius Himes raises questions about how works were made and exploratory intentions. “Is the photographer off-kilter,” he asks, “or is the subject?” His selections suggest transition, the artists caught in the act of formation.
The 12 works by John Gossage are a couple of decades old and appear more settled in their skin. He mounted black-and-white photographs — atmospheric textures like footsteps on an expanse of sand, urban architecture, a bed of flowers — on larger sheets of paper accented with layers of smaller geometric applications of pastel colored paper. They have a sense of the poetic that brings to mind Richard Tuttle collages. Goassage’s works are most interesting for being a series that existed outside his straight photographic work. He too, productively tinkered with his foundation, and like these exhibitions, made gentle strides.
— By Glen Helfand 07/29/2014
Allan Sekula: Ship of Fools
Christopher Grimes Gallery, Santa Monica
Allan Sekula, Churn, 1999-2010. Courtesy Christopher Grimes Gallery
In 1998, a cargo vessel called the Global Mariner set off from London, heading out on an 18-month journey around the world and back. The International Transport Workers Federation had bought the ship and installed an exhibition onboard detailing exploitations of seafaring workers’ rights. Images and videos told stories about how, for instance, an Indonesian radio officer drowned after jumping overboard to escape being beaten with an iron bar.
Artist Allan Sekula, who died in 2013, had done work about conditions at sea before. At the ITWF’s invitation, he traveled with the Global Mariner at various intervals, photographing its journey. He called the resulting series Ship of Fools, and first showed it at the Museum of Modern Art in Antwerp then at the Sao Paolo Biennial. When talking about this work, he discussed the history of maritime labor abuses, people’s growing oblivion to the physicality of capitalism, and the power of making art grounded in real experience.
Allan Sekula, Ship Lesson (Durban), 1999-2010. Courtesy Christopher Grimes Gallery
On view through September 6 at Christopher Grimes Gallery, the photographs are striking and inarguably skillful. In one, a cadet in a gray jumpsuit smiles and leans toward the camera, the horizon line at a fantastic slant behind her head. The photograph of 15 uniformed school children from Durban, South Africa, is smartly balanced, and the staggeringly clear image of sun glimmering in the water in the ship’s wake is majestic. But had you not read up, none of these images would tell you that the Global Mariner is housing a protest exhibition or that Sekula was thinking about the sea as something deeply complicated. Excerpts from Lottery of the Sea, an essayistic 179-minute film he made about sea commerce in 2006 that play in a back room at the gallery do better at conveying the artist’s interests.
If you knew Sekula in person or by reputation, knew he taught at California Institute of the Arts for nearly three decades, supported the students he believed in and cared sincerely about politics, you approach his art with a certain amount of goodwill. You want it to convey his concerns. But perhaps an exhibition of images on the wall is not the best way to experience his work. Perhaps in book form — a form Sekula often worked in -- with writing or interview transcripts alongside images, the complexities Ship of Fools grapples with could coexist with the gorgeousness of the photographs.
— By Catherine Wagley 07/28/2014
Cantor Art Center Receives Warhol Archive
The Andy Warhol Foundation for the Visual Arts has given the Cantor Art Center at Stanford University 3,600 contact sheets and negatives by Warhol that document the artist’s life and work. The archive of images includes Warhol’s day-to-day life as well as portraits of such celebrities as Truman Capote and John Lennon. The work also sheds light on Warhol’s process, since the contact sheets are marked up to indicate images he wanted to keep and others he rejected.
The Cantor Art Center and Stanford University’s Library will digitize the full archive, and in the spring of 2015, a new course on the Warhol archive will be taught by Professor Richard Meyer and Connie Wolf, director of the Cantor. An exhibition is planned for 2017, in conjunction with the 30th anniversary of the artist’s death.
— By Jean Dykstra 07/24/2014
Jack Leigh: Full Circle, Low Country Photographs, 1972-2004
SCAD Museum of Art, Savannah
Jack Leigh, Midnight, 1993. Courtesy SCAD Museum of Art
Savannah photographer Jack Leigh, who died ten years ago at the age of 55, is perhaps best known for his 1993 photograph Midnight, which depicts the famous Bird Girl sculpture in Savannah’s Bonaventure Cemetery. The photograph was commissioned by Random House for the cover of John Berendt’s immensely popular 1994 book Midnight in the Garden of Good and Evil.
But Leigh was a prolific photographer whose black-and-white images are firmly rooted in the American documentary tradition. His passion was photographing the South’s fading traditions — the oystermen of coastal South Carolina, remote hamlets along the Ogeechee River, the dwindling shrimping industry. He spent years with the people he photographed, gaining their trust and sharing the pictures he made.
Leigh attended the University of Georgia and later studied with George Tice, Eva Rubinstein, and Jill Freedman, whose photographs are also included in the exhibition, providing context and tracing the threads of influence. From the beginning of his career, his objective was to seek out and record the people, environments, and rapidly passing lifestyles of his native region.
Jack Leigh, Live Oak and Bench, 1989. Courtesy SCAD Museum of Art
Full Circle, Low Country Photographs, 1972-2004 is the first museum survey of work by Leigh since his death. The exhibition is on view through October 2 at the SCAD Museum of Art, which re-opened in 2011 after a major expansion, in a repurposed and beautifully reimagined antebellum train station.
Co-curated by Tim Peterson and Susan A. Laney, this mini retrospective covers three decades and includes images from a number of Leigh’s extended projects and books, including Oystering: A Way of Life; The Ogeechee: A River and Its People; Nets & Doors: Shrimping in Southern Waters; and Seaport: A Waterfront at Work. The beautifully printed images capture their subjects with depth and respect.
— By Bill Mindlin 07/24/2014
Josef Koudelka: Nationality Doubtful
Art Institute of Chicago, Chicago
Josef Koudelka, Romania, from the series Gypsies, 1968. ©Josef Koudelka/Magnum Photos, courtesy Pace/MacGill Gallery
Josef Koudelka’s art and life are comprised of journeys. This is the narrative of Nationality Doubtful, his retrospective on view at the Art Institute of Chicago through September 14 (after which it travels to the J. Paul Getty Museum in Los Angeles and Fundación MAPFRE in Madrid). The title derives from an annotation (“N.D.”) in Koudelka’s passport scribbled by border control, because he had been self-exiled from his native Czechoslovakia and was as nomadic as the Gypsies he famously documented. After chronicling the 1968 week-long Soviet occupation of Prague and its public protests and publishing images of the invasion in magazines in London and New York, Koudelka’s “perilous fame,” writes exhibition curator Matthew Witkovsky in the catalogue, impelled the photographer to wander Europe for years, often sleeping outdoors, photographing other displaced peoples and their divergent notions of home. A worn, hand-annotated map of European festival routes displayed in the gallery seems a tool as important to Koudelka as his Leica.
Josef Koudelka, Student on Tank, Eyes Cross Out, from the series Invasion, August 21/27, 1968. ©Josef Koudelka/Magnum Photos, courtesy Pace/MacGill Gallery
Artifacts and printed ephemera -- the map, but also workbooks and magazine spreads -- lend a personalized texture to the many black-and-white prints in this 54-year career survey. The intimate objects are a pleasure to see, but the real evidence of Koudelka’s lifelong, humanist campaign is the photography itself. Koudelka has contributed a wealth of information to the family album of humankind, granting special attention to people whose struggles are inseparable from their existence.
Koudelka did not claim authorship of his famous war photos until 15 years after they were published and circulated, under the protection of Magnum. During those years of exile, Koudelka produced his best work while traveling throughout Europe, including his many panoramic landscapes of empires in transition, from ancient Greece to the Israel-Palestine border. “But where are the people?” famously asked Cartier-Bresson, an admirer of Koudelka’s Gypsies series. The people are present by virtue of their ruins. In fact, Koudelka’s picturesque panoramas mark a shift from his close-ups of faces and funerals to a wider view, from the vantage point of history. The transition in scale, from the specific to the mythic, may be a consequence of maturity, but the pictures are still emotional, even sublime declarations of the persistence of human beings.
— By Jason Foumberg 07/23/2014
Stephen Wirtz Gallery Closing
Installation view of Larry Sultan and Mike Mandel, We Make You Us, at Stephen Wirtz Gallery earlier this year
Stephen Wirtz has announced that he is closing his eponymous gallery in San Francisco after more than 35 years in business. The gallery has shown such photographers as Michael Kenna, Jim Goldberg, Lewis Baltz, Mark Steinmetz, Todd Hido, Larry Sultan, Mike Brodie, and Chris McCaw, among many others.
The gallery will officially close in mid-August, but on Thursday August 7, from 6 to 8 pm, Stephen and Connie Wirtz invite those who would like to stop in and say farewell to join them at the gallery for drinks.
— By Jean Dykstra 07/23/2014
Justin Kimball: Where We Find Ourselves
Carroll And Sons, Boston
Justin Kimball, Orange, MA, 1996. Courtesy Carroll and Sons.
From intimate close-up views to wide verdant vistas, the 13 large photographs by Justin Kimball on view at Carroll and Sons through August 23 present a variety of respites from the summer heat. Culled from Kimball’s larger project, Where We Find Ourselves (1996-2004), a broader survey of Americans taking their leisure, this exhibition concentrates on swimmers and the arcadian pleasures of swimming holes.
Kimball travels across the country photographing in secluded places beyond civilization and man-made chlorinated pools. His subjects are caught in a range of ecstatic poses, their eyes tightly shut in trance-like moments or their bodies floating in shimmering pools of light. Sometimes a hint of danger is suggested: In one photograph, a young man in Orange, MA (1996), contemplates a leap from a paved overpass into the dark blue waters below. Kimball places him between the road and the wilderness, implying his jump is like an escape from one world to another. In Cumberland, Rhode Island (1997), we gaze through a vast leafy wooded area that looks out across a pond, where a group of tiny figures cluster around a board jutting out over the still water, their bodies mirrored below. The scene is charged with the anticipation of one boy standing at the end of the board, looking down into the water and preparing to meet his double.
Justin Kimball, Old Orchard Beach, Maine, 2003. Courtesy Carroll and Sons
Kimball chooses moments poised between risk and release to celebrate the larger transformations happening at these swimming holes. With trust and concentration, a father and daughter navigate the unpredictable surf beneath an array of barnacle-encrusted dock pilings in Old Orchard Beach, Maine (2003). They bravely make their way through, hand-in-hand, one step at a time.
— By Edie Bresler 07/21/2014
Jacques Sonck: Archetypes
L. Parker Stephenson Photographs, New York
Jacques Sonck, Untitled (Ghent), 1969. © Jacques Sonck, courtesy L. Parker Stephenson Photographs
Archetypes, the title of Jacques Sonck’s exhibition at L. Parker Stephenson Gallery, announces his debt to August Sander’s typology of the German people in the 1920s. Sonck’s subjects, in all of their quirky glory, suggest an equal debt to Diane Arbus and her beloved freaks: she would surely have found the figure enveloped in an enormous fur hat and coat, or the twee fellow in the cap and raincoat, eyebrow arched in apparent disdain, if she lived in Belgium instead of New York.
On view through August 15, this is Sonck’s first solo show in the United States, though he’s been photographing odd couples and characters in his native Belgium since the 1970s. Until recently, he was a photographer at the Culture Department of the Province of Antwerp, and he has shown his work at Fifty One Fine Art in Antwerp and the National Portrait Gallery in London, among other places. Sonck is a portraitist, not a hit-and-run street photographer. His subjects -- small groups of kids, a pair of cowboys in mirrored sunglasses holdings hands, people with their pets (including a chicken) -- have all paused to pose for him, and he rewards their trust by photographing them without judgment.
Ultimately, the title of the series comes to seem ironic, because his subjects are so singular, that they could hardly be considered archetypes of anything. The big-bosomed mother in a bathing suit looming over the naked child who squints curiously up at her -- could there be another pair like them? The show is nicely sequenced, so that a couple of pre-pubescent boys in bathing suits – one thin as a rail and smiling, the other thick through the middle and glowering – hangs next to a picture of three young girls in long-sleeved, collared white dresses and patent-leather shoes, looking as well-groomed as the boys do unkempt.
The photographs are old-fashioned in the best sense – sharp, black-and-white prints that emphasize tight framing and composition and photographic details like the stripes of a boy’s sweater repeated in his bicycle mirror. Sander and Arbus are obvious influences, but Sonck’s pictures are as distinctive as his subjects.
— By Jean Dykstra 07/21/2014
The Invisible Photograph
Still from The Invisible Photograph, episode 3. Extraterrestrial: The Lunar Orbiter Image Recovery Project. Courtesy Hillman Photography Initiative, Carnegie Museum of Art
The Carnegie Museum of Art’s Hillman Photography Initiative continues its investigations into the life cycle of a photograph with The Invisible Photograph III.
The video explores the idea of obsolescence – in this case, the retrieval of raw images from the NASA lunar orbiter missions. Working out of an abandoned McDonald’s at NASA’s Ames Research Center in Mountain View, California, a team of retired scientists and engineers worked to retrieve a set of photographs from 1966 to 1967, when five unmanned space probes were sent into space to survey the lunar landscape. A 70-millimeter Kodak camera was on board each of the space crafts, and they transmitted nearly 200 high-resolution photographs, only a handful of which were processed. The team of scientists has reconstructed a machine to digitize 1,500 reels of magnetic tape and recover the images.
— By Jean Dykstra 07/17/2014
Getty Acquires Robert McElroy Archive
Jim Dine, Car Crash, Reuben Gallery, New York. 1960. Photo: Robert McElroy, Getty Research Institute
The Getty Research Institute has acquired the Robert McElroy archives, which document the New York art scene in the 1960s, particularly the advent of performance art. McElroy, who died in 2012, photographed happenings and performances by such artists as Jim Dine, Allan Kaprow, Claes Oldenburg, and Robert Whitman.
The archive contains some 700 vintage prints developed by McElroy, 10,000 negatives and contact sheets, and 2,000 recent prints produced by Pace Gallery for research into its 2012 exhibition Happenings: New York, 1958-1963. The acquisition in part purchase and part donation by McElroy’s widow, Evelyn McElroy.
A Chicago native, McElroy studied at Ohio University with fellow students Jim Dine and Paul Fusco. He moved to New York in 1958 and soon became a regular at various downtown art spaces. Between 1960 and 1965, McElroy documented several landmark events in the art world, including Dine’s Car Crash and Smiling Workman; Oldenburg’s Store Days I and II, Nekropolis I and II, and Circus: Ironworks/Fotodeath; Kaprow’s Apple Shrine, A Spring Happening, Words and Service for the Dead; and Robert Whitman’s American Moon and Mouth. McElroy also shot Kaprow’s celebrated Yard installation at Martha Jackson Gallery and documented the birth of Oldenburg’s soft sculptures. He also recorded the new phenomenon of pop art, photographing work by Roy Lichtenstein, James Rosenquist, Andy Warhol, Arman, Christo, Yves Klein and others.
— By Jean Dykstra 07/13/2014
Oresick Joins Silver Eye Center
— By Jean Dykstra 07/10/2014
Liz Deschenes Awarded Rappaport Prize
Liz Deschenes, Quincy/Braintree, 2014. Courtesy the artist and Miguel Abreu Gallery
The deCordova Sculpture Park and Museum has awarded photographer Liz Deschenes the Rappaport Prize, a $25,000 award given to a contemporary artist with ties to New England. In her recent work, Deschenes has mounted photograms exposed by ambient outdoor light to panels, creating photographic and sculptural objects.
Based in New York, Deschenes received her BFA from the Rhode Island School of Design and she has been on the faculty of Bennington College in Vermont since 2006.
The Rappaport Prize Lecture with Liz Deschenes is scheduled for Thursday, October 16, at 6:30 pm in the Tower Auditorium at Massachusetts College of Art and Design. Admission is free.
— By Jean Dykstra 07/10/2014
New Avedon App
The Richard Avedon Foundation has launched a new app for iPads that surveys the photographer’s 60-year career. The app, which is organized by the major areas of his art, including Fashion, Portraiture, and Reportage, was created in partnership with Potion, an interactive design and technology studio. It contains more than 1,000 images from Dovima with Elephants to his portraits of icons like Marilyn Monroe and Ezra Pound, and can be downloaded from the Avedon Foundation website here.
— By Jean Dykstra 07/08/2014
Les Rencontres d’Arles Photographie, which opens tomorrow, July 7, and continues through September 21, is the long-running summer festival of photography founded by Lucien Clergue, Michel Tournier, and Jean-Maurice Rouquette in 1970. Last year, there were more than 96,000 visitors to the festival, which promotes almost exclusively new work. Among the exhibitions are W.M. Hunt’s Collection Foule (so named because, he has written, “collectors must be fools” for the work they seek), and Daile Kaplan’s collection of pop photographica, images, and objects. In addition, there will be work on view by David Bailey, Vik Muniz, Chema Madoz, and Lucien Clergue, among many photographers.
This year, there will be more than 60 exhibitions, as well as screenings, symposium, lectures, and book-signings. Portfolio reviews and photography workshops will also be scheduled throughout the summer.
— By Jean Dykstra 07/06/2014
at High Museum of Art, AtlantaWhere There's Smoke. John Gossage: Who Do You Love
at Fraenkel Gallery, San FranciscoAllan Sekula: Ship of Fools
at Christopher Grimes Gallery, Santa MonicaCantor Art Center Receives Warhol ArchiveJack Leigh: Full Circle, Low Country Photographs, 1972-2004
at SCAD Museum of Art, SavannahJosef Koudelka: Nationality Doubtful
at Art Institute of Chicago, ChicagoStephen Wirtz Gallery ClosingJustin Kimball: Where We Find Ourselves
at Carroll And Sons, BostonJacques Sonck: Archetypes
at L. Parker Stephenson Photographs, New YorkThe Invisible PhotographGetty Acquires Robert McElroy ArchiveOresick Joins Silver Eye CenterLiz Deschenes Awarded Rappaport PrizeNew Avedon AppBonjour Arles!Doug Hall: Bodies in Space
at Bonni Benrubi Gallery, New YorkCahiers d'Art Devoted to SugimotoPhoto Espana Prize Goes to Aitor Lara
at de Young Museum, San Francisco2014 Prix HSBC Awarded to Two PhotographersRudolf Kicken, 1947-2014"Biggest Photography Class in History"Puppies and PicturesDomesticated: Photographs by Amy Stein
at National Academy of Sciences, WashingtonSteel Stillman: Incidents, 1969-2014
at Show Room Gowanus, BrooklynCallahan Collection Donated to Vancouver Art GalleryBrandon Thibodeaux Wins Michael P. Smith GrantRoger Mayne, 1929-2014The Fence Goes on View in BrooklynKa-Man Tse Wins Robert Giard FellowshipMultiple Exposures: Jewelry and Photography / The Embroidered Image
at Museum of Arts and Design / Robert Mann Gallery, New YorkTim Barber: Relations
at Capricious 88, New York
at Boite Noire Gallery, West HollywoodSze Tsung Leong: Horizons
at Yossi Milo Gallery, New YorkPortland Art Museum Acquires Robert Adams PhotographsMichael Schmidt, 1945-2014Paul Anthony Smith: Mangos and Crab
at Carrie Secrist Gallery, ChicagoMichael Schmidt Wins Prix PictetJaimie Warren
at SF Camerawork, San FranciscoSymposium at Getty Celebrates 175th Anniversary of PhotographyZoe Leonard Receives Buckbaum AwardAndre Serrano Creates Public Art ProjectLuigi Ghirri: La Città
at Matthew Marks Gallery (LA), Los AngelesRichard Mosse Wins Deutsche Börse PrizePoetics of Light: Pinhole Photography
at New Mexico History Museum, Santa FePrix Pictet Finalists On View at V&ARichard Renaldi: Touching Strangers / This Grand Show
at Aperture Gallery / Bonni Benrubi Gallery, New YorkHillman Photography Initiative Explores Future of PhotographyWalking in Their ShoesMark Ruwedel Wins Scotiabank Photography Award
at Sous Les Etoiles Gallery, New YorkA New Space for Photo-EyeMaroesjka Lavigne: Island
at Robert Mann Gallery, New YorkGeorge Dureau, 1931-2014More AIPAD Picks from Elisabeth BiondiElisabeth Biondi's AIPAD PicksSarah Schmerler's Picks from AIPAD2014 Guggenheim FellowshipsLisa Sette RelocatingPhoto Eye: Avant-Garde Photography in Europe
at Museum of Fine Arts, BostonLower East Side Photo WalkRoe Ethridge: Sacrifice Your Body
at Andrew Kreps Gallery, New York
at Salon 94 Bowery, New YorkGetty Museum Acquires Tress PhotographsAmy Elkins Wins Aperture Portfolio PrizeMoutoussamy-Ashe Photos Go to SmithsonianWalead Beshty: Selected Bodies of Work
at Regen Projects, Los AngelesPublic Intimacy: Art and Other Ordinary Acts in South Africa
at Yerba Buena Center for the Arts, San FranciscoPrince/Cariou Case SettledDaniel Gordon Wins Paul Huf AwardNew Photo Gallery in WilliamsburgICP on the MoveNational Gallery of Art Receives Gift of PhotographsJamie Warren Wins Baum AwardChloe Dewe Mathews Wins Gardner FellowshipMatthew Pillsbury: Nate and Me
at Sasha Wolf Gallery, New YorkGetty Images Opens Up LibraryPaula McCartney: A Field Guide to Snow and Ice
at Klompching Gallery, BrooklynAmerican Cool
at National Portrait Gallery, Washington, D.C.
at Block Museum of Art, EvanstonICP Announces Infinity Award WinnersOnward in PhillySamuel Fosso Photographs RescuedJ. Shimon & J. Lindemann: We Go From Where We Know
at John Michael Kohler Art Center, SheboyganJohn Stanmeyer Wins World Press Photo AwardNot Your Grandmother's LibrarianPatrick Nagatani: Outer and Inner: Contemplations on the Physical and the Spiritual
at Andrew Smith Gallery (annex), Santa FeNew Photo Gallery in BostonFred McDarrah: Save the Village
at Steven Kasher Gallery, New YorkJ.D. 'Okhai Ojeikere, 1930-2014Kevin Cooley and Phillip Andrew Lewis: Unexplored Territory
at Kopeikin Gallery, Los Angeles
at Guggenheim Museum, New YorkGetty Acquires Pictorialist PhotographsPeter Hujar: Love & Lust
at Fraenkel Gallery, San FranciscoChild Identified in 1908 Lewis Hine PhotoHeather Snider Joins SF CameraworkThe Sochi Project: An Atlas of War and Tourism in the Caucasus
at DePaul Art Museum, ChicagoPhillip Prodger Joins London's National Portrait GalleryTanya Marcuse: Fallen
at Julie Saul Gallery, New YorkJoshua Chuang Joins CCPSophie Calle: Last Seen
at Isabella Stewart Gardner Museum, BostonDanielle Durchslag: Relative Unknowns
at Denny Gallery, New YorkCarnegie Museum Founds Hillman Photography InitiativeSoo Kim Awarded Gutmann FellowshipSymposium on March on Washington
at Nailya Alexander Gallery, New YorkNelson Mandela, 1918 - 2013Sylvie Pénichon New Photo Conservator at Art InstituteICP Awarded Ford Foundation Grant for "Rise and Fall of Apartheid"Carson Fisk-Vittori
at Carrie Secrist Gallery, ChicagoAttention Photographers: Interested in the South of France this Summer?API Launches Online ExhibitionVivian Maier: Self-Portrait
at Howard Greenberg Gallery, New YorkDavid Vestal, 1924-2013Danny Custodio: Trees
at Gallery Kayafas, BostonBarry Friedman RetiringMeet Me in MiamiThomas Demand: Dailies
at Matthew Marks Gallery (526), New YorkChuck Mobley Leaving SF CameraworkCatherine Evans Named Chief Curator of the Carnegie Museum of Art
at Gagosian Gallery (Mad Ave), New YorkSaul Leiter, 1923-2013Maine Philanthropists Give Collection to Portland Museum of ArtDaniel Morel Wins Suit Against Getty Images/AFPSean McFarland: Glass Mountains
at Stephen Wirtz Gallery, San FranciscoJohn Divola: As Far As I Could get
at Santa Barbara Museum of Art, LACMA, Pomona Museum of Art,Eileen Quinlan: Curtains
at Miguel Abreu Gallery, New YorkICP Names New Executive DirectorClarence John Laughlin Award AnnouncedPrix Pictet Shortlist AnnouncedAnd the Winner Is ....Libération's Powerful Homage to PhotographyTanja Hollander: The Landscapes of Are You Really My Friend?
at Carroll And Sons, BostonWar/Photography: Images of Armed Conflict and its Aftermath
at Brooklyn Museum of Art, BrooklynLisa Hostetler to Eastman HouseDispatched to TexasFinding Vivian MaierQueens Museum Reopens with Photos by Jeff Chien-Hsing LiaoNew E-Book from Library of CongressHello, Goodbye
at Leila Heller Gallery, New YorkDeborah Turbeville, 1932-2013ICP Celebrates Robert Capa's CentenaryOf Walking
at Museum of Contemporary Photography, ChicagoHere is New YorkPolly Borland: You
at PK Shop, New YorkExhibition Showcases Martin Weinstein's CollectionThey Are Us: Animal Identity and the Anthropomorphic Urge
at Rick Wester Fine Art, New YorkRoxana Marcoci Named Senior Curator at MoMAMuseum of Fine Arts, Houston, Acquires Manfred Heiting Photo Book CollectionDocumerica Looks BackMatthew Porter: Greet the Dust
at M+B Gallery, Los AngelesGeorge Tice: 60 Years of Photography
at Nailya Alexander Gallery, New York
at Edwynn Houk Gallery, New YorkCarrie Mae Weems Is a MacArthur GeniusWe Shall: Photographs by Paul D'Amato
at DePaul Art Museum, ChicagoShe Who Tells a Story: Women Photographers from Iran and the Arab World
at Museum of Fine Arts, BostonMalcolm Daniel Heading to TexasRyan McGinley: Yearbook
at Ratio 3, San FranciscoBrian Sholis Joins Cincinnati Art MuseumPieter Hugo: Kin
at Yossi Milo Gallery, New YorkAdieu to Le Journal de la PhotographieNadia Sablin Wins Firecracker Photography AwardGetty Acquires Baltz Archive
at Hosfelt Gallery, San FranciscoParty Picks: Estate of Jimmy DeSana
at Salon 94 Bowery, New YorkIn The Studio
at John Messinger, East HamptonThat Which Is: Marcia Lippman
at KMR Arts, Washington DepotBen Lifson, 1941-2013Jan Banning: Down and Out in the South
at Hagedorn Foundation Gallery, AtlantaTom Wood: Men and Women
at Thomas Erben Gallery, New YorkFrom the Ground Up: The Tent Camera Photographs of Abelardo Morell
at Stephen Daiter Gallery, ChicagoPortion Control: Chrisopher Boffoli
at Winston Wachter Fine Art, New York
at James Harris Gallery, SeattleA Different Kind of Order: The International Center of Photography Triennial
at International Center of Photography, New YorkJR / Jose Parla, Wrinkles of the City, Havana Cuba
at Bryce Wolkowitz Gallery, New York
at Carroll And Sons, BostonJapan's Modern Divide: Photographs by Hiroshi Hamaya and Kansuke Yamamoto
at Getty Center, Los AngelesMichael Jang: The Jangs
at Stephen Wirtz Gallery, San FranciscoDavid Levinthal: War Games
at Corcoran Gallery of Art, Washington, D.C.Mike Brodie's Period of Juvenile ProsperitySpectator Sports
at Museum of Contemporary Photography, ChicagoJoshua Lutz: Hesitating Beauty
at ClampArt, New York
at Museum of Modern Art, New YorkIwan Baan: The Way We Live
at Perry Rubenstein Gallery, Los AngelesSuburbia
at Hagedorn Foundation Gallery, AtlantaJulie Weitz
at The Suburban, Oak ParkArmory Show 2013
at Armory Show, New YorkScope New York 2013
at SCOPE New York, New YorkADAA Art Show 2013
at ADAA Art Show, New YorkShooting Stars: Publicity Stills from Early Hollywood and Portraits by Andy Warhol
at Corcoran Gallery of Art, Washington, D.C.
at G. Gibson Gallery, SeattleMiles Barth Joins ArtnetThe Unphotographable
at Fraenkel Gallery, San FranciscoKatrina del Mar: Girls Girls Girls
at Participant, Inc., New YorkRobin Rhode: Take Your Mind off the Street
at Lehmann Maupin (26th St), New YorkArne Svenson: The Neighbors
at Western Project, Culver City
at Bruce Silverstein Gallery, New YorkBeat Memories: The Photographs of Allen Ginsberg
at Grey Art Gallery, New YorkKatherine Bussard Named Curator at
Princeton Art MuseumCatherine Wagner: trans/literate.
at Stephen Wirtz Gallery, San FranciscoKarl Baden: Roadside Attractions
at Miller Yezerski Gallery, BostonViviane Sassen on ViewJanuary is for Hot ShotsRichard Pare: The Lost Vanguard: Soviet Modernist Architecture, 1922–32
at Graham Foundation, Chicago
at Metropolitan Museum of Art, New YorkIdris Khan: New Photographs
at Fraenkel Gallery, San FranciscoJessica Eaton: Polytopes
at M+B Gallery, Los AngelesNadav Kander: Yangtze: The Long River
at Flowers, New YorkOri Gersht: History Repeating
at Museum of Fine Arts, Boston, BostonAttachments
at The Hole, New York1979:1—2012:21: Jan Tichy Works with the MoCP Collection
at Museum of Contemporary Photography, ChicagoBonni Benrubi, 1953-2012