Walther Collection Project Space, New York
Samuel Fosso, Self-portrait (from Self-portraits from the '70s), 1976. Courtesy The Walther Collection and Jean Marc Patras Galerie
This past February, looters in Bangui, in the Central African Republic, destroyed the photography studio of Samuel Fosso, dumping negatives and prints into the street. Associated Press photographer Jerome Delay and photojournalist Marcus Bleasdale happened to notice the work scattered in the road and rescued as much of it as they could. The exhibition of Fosso’s photographs at the Walther Collection through January 17 underscores what a loss it would be if that work had been destroyed. Fosso, who was born in Cameroon, opened a photography studio in Bangui when he was 13 years old. More than a dozen small vintage studio portraits are on view in the Walther Collection’s library, mounted on cardboard and displayed on bookshelves. From a photograph of a couple embracing to one of two small, smartly dressed children gazing solemnly at the camera to a young man striking a kung fu pose, they suggest a trusted photographer who enabled his subjects to perform their ideal selves for the camera. The photographs are stylish and playfully empowering.
Samuel Fosso, Le chef qui a vendu l'Afrique aux colons, 1997. Courtesy The Walther Collection and Jean Marc Patras Galerie
Those same elements inform Fosso’s self-portraits, which invite comparisons with studio photographers Seydou Keita and Malick Sidibe, but also with the performative self-portraits of Yasumasa Morimura, Cindy Sherman, or the Nigerian-born Ike Ude. Fosso’s black-and-white self-portraits from the 1970s show him adopting various incarnations of cool, wearing bell bottoms, a Kodak cap, and sunglasses, for instance. Another photograph looks ahead to his African Spirits series from the late 2000s: he wears a t-shirt with the faces of Barthelemy Boganda, the first prime minister of the Central African Republic, and Jean-Bedel Bokassa, military ruler of CAR, slyly introducing iconic imagery of political figures into his work. In African Spirits (2008), Fosso recreates well-known images of Malcolm X, Angela Davis, Muhammed Ali, Kwame Nkrumah, the first president of Ghana, and others, reflecting on style versus substance and the way such images shape the public imagination.
Similar themes underscore the vibrant color photographs commissioned by the Paris department store Magasins Tati in 1997. The sharp political commentary (about class, race, and colonialism) is couched in opulent imagery. In one, he embodies a natty golfer surrounded by plastic potted plants – smartly dressed but full of fakery -- in another (titled Le chef qui a vendu l’Afrique aux colons), a bejeweled, self-satisfied chief in animal skins and white plastic sunglasses. The backdrop is hung with African textiles, which feature a repeating motif of hand-held mirrors, suggesting the chief look hard at himself.
— By Jean Dykstra 10/01/2014
Yvonne Venegas: San Pedro Garza Garcia
Shoshana Wayne Gallery, Santa Monica
Yvonne Venegas, Zally, 2013. Courtesy Shoshana Wayne Gallery
After finishing school, the Mexico City-based photographer Yvonne Venegas worked for a few years for fashion photographers in New York, assisting Juergen Teller and Dana Lixenberg, two photographers known for walking the line between glamour and grit. Without reading too much into those years, it’s worth noting the respect she gives to her subjects’ beauty, and their desire to be beautiful. She frames her subjects in ways that make them immensely pleasing to look at, even when her images have complicated undertones. In the early 2000s, for instance, she photographed the wealthy matriarch Maria Elvia Hank, looking glamorous and composed, placing Christmas candles on a Reindeer-shaped candelabrum. But a servant bends down behind Mrs. Hank, picking up a candle she has dropped, revealing the infrastructure supporting the smooth presentation.
Venegas’s current exhibition, on view through October 25 at Shoshana Wayne Gallery, is called San Pedro Garza Garcia, after the community it depicts. A suburb of Monterrey in the Mexican state of Nuevo Leon, San Pedro Garza Garcia has a population of about 150,000 and the highest per capita income of any Latin American municipality. This attracted Venegas to it, as did the city’s singular ability to ward off the effects of the drug war that has ravaged so many other Mexican communities.
Yvonne Venegas, Rosina and Models, 2013. Courtesy Shoshana Wayne Gallery
Her photographs don’t allude explicitly to this socioeconomic context. Instead, they portray in between moments in an attractive world that appears relatively self-contained. A group of seven models, all brunette and all in white shirts and jeans, look at fashion magazines underneath a chandelier. Three of them level gazes at the camera. A bride, alone underneath a romantic painting of cupid and a candelabrum, adjusts her dress. Two adolescent girls, lanky and maybe bored, sit on a wrap-around beige couch in a living room that’s impressively clutter-free. It’s pristine but languid: The Truman Show meets The Ice Storm. Even her cityscapes, which suggest the existence of a bigger, rougher world, are suspiciously calm.
Venegas’s subjects are mostly unattainable anomalies but her portrayal of relatable moments behind the scenes blurs the abnormality into normality and makes her work compelling. Her images invite you to try to pick apart the roles people are playing, especially in San Pedro Garcia, where it’s clear class and hierarchy matter, but it’s never clear who has what power in the various moments she’s portrayed.
— By Catherine Wagley 09/29/2014
Guarapuava: Valdir Cruz
Throckmorton Fine Art, New York
Valdir Cruz, Gypsy Woman I / Mulher cigana I, Guarapuava series, 1991. Courtesy Throckmorton Fine Art
For Valdir Cruz, Guarapuava will always be home. It is the place where he learned to hunt with a slingshot and fish with his hands. It is where he recognizes the songs of the birds and knows the names of the rivers and trees. It is where he sold oranges on the streets and snuck into movies and fell in love for the first time.
Even after Cruz left the Brazilian countryside, at the age of 23, for the United States, Guarapuava remained a photographic base of sorts, a place where he could return again and again with his camera to flex his photographic muscle. Over the last 30 years, he's brought with him the knowing eye of a native son along with the political and social scrutiny of an anthropologist.
His exhibition at Throckmorton Fine Art through November 1 feels at once intimate and sweeping, personal yet documentary in style. As Cruz's lens traverses the rural landscape of his past, faces seem to peer out of a family album -- albeit a diverse one, made up of indigenous peoples, cattle drivers, potato pickers, Gypsies, and African and German immigrants. They are by turns joyful, somber, and proud. In one, the gaze of an anonymous Gypsy woman pierces the camera, her expression a mystery.
Valdir Cruz, Pinus Araucaria, Guarapuava series, 1991. Courtesy Throckmorton Fine Art
Amongst these portraits, in a sign of the peoples' strong connection to their environment, hang photos of Guarapuava's natural beauty. A lone white horse grazes along the still Jordao River; water, made silky and smooth through long exposure, glides over dark cliffs; a small wooden chapel at the back of a farm peeks through the morning fog.
Cruz's black-and-white photos speak not just of life, but of destruction. The body of water, for instance, in Cruz's photo, Landscape with Trees and Lake, is artificial, created by an electrical dam. The view, Cruz said in an interview, "used to be beautiful." A portrait of an indigenous Guarani man, meanwhile, contains the history of a people whose population has been decimated through the years by colonialism and slavery. The traditional cattle driving Cruz depicts, likewise, is increasingly rare, replaced mostly by trucking.
"Photography is a vision; the rest is technique," Cruz's recounts his friend George Stone telling him in the afterward to his book, Guarapuava. Indeed, while Cruz's technique has improved over the course of 30 years as he evolved from a novice to a master, his vision is consistent, telling a story of timeless grace amid change and ruination.
— By Jordan G. Teicher 09/28/2014
ICP to Bowery
Part of the ICP's collection of more than 150,000 images: David Scherman, Robert Capa, Weymouth, England, 1944. ©David Scherman
The International Center of Photography has decided to relocate to a building on the Bowery, near the New Museum, when the lease expires on its Midtown building next year, according to the New York Times. The center’s board approved a plan to buy the building near the New Museum last week, according to the Times, and the aim is the have the building ready by mid-2015.
“This location provides a real frontage so that we can have a direct dialogue with the street, and that’s key to our mission going forward,” Mark Lubell, the center’s executive director, told the Times. Regarding the neighborhood, he said: “There’s openness to experimentation and ideas in that part of town. Chelsea is a wonderful place, but it’s already done and established. We’d be following, and I don’t want to follow.”
In addition, in January 2015, the ICP will open a 15,000-square-foot collections facility and media lab at Mana Contemporary in Jersey City. The space will house the ICP’s collection of more than 150,000 works by Cornell Capa, Robert Capa, Weegee, Chim, and Gerda Taro. Mana Contemporary is home to the Richard Meier Model Museum, Gary Lichtenstein Editions silkscreen studio, the Eileen S. Kaminsky Family Foundation, the Middle East Center for the Arts, Shen Wei Dance Arts, the Keating Foundry, and more.
— By Jean Dykstra 09/27/2014
Whitney Museum Gets Major Photography Gift
Walker Evans, Torn Movie Poster, 1931.
The photography collection at the Whitney Museum of American Art has gotten a significant boost, with a promised gift of 75 iconic American photographs from the collection of Sondra Gilman Gonzalez-Falla and Celso Gonzalez-Falla.
The gift includes 12 work by Walk Evans, Alfred Stieglitz, Robert Frank, Diane Arbus, William Eggleston, and Imogen Cunningham, among other photographers. Sondra Gillman Gonzalez- Falla originated the acquisition committee at the Whitney in 1991 devoted to collecting 20th-century American photography. The photography collection has grown from 50 works in 1991 to several thousand.
— By Jean Dykstra 09/24/2014
Amon Carter Museum Digitizes Trove of Artworks
Laura Gilpin, Steps of the Castillo, Chichen Itza, 1932. Courtesy Amon Carter Museum of American Art
The Amon Carter Museum of American Art in Fort Worth, Texas, has digitized and catalogued more than 35,000 artworks by eight prominent American photographers -- Carlotta Corpron (1901–1988), Nell Dorr (1893–1988), Laura Gilpin (1891–1979), Eliot Porter (1901–1990), Helen Post (1907–1979), Clara Sipprell (1885–1975), Erwin E. Smith (1886–1947) and Karl Struss (1886–1981) – and put the works online. The project was made possible by a $75,000 digitization grant from the National Endowment for the Humanities in 2012.
— By Jean Dykstra 09/19/2014
Climate Week NYC at ICP
© Sebastião Salgado/Amazonas images—Contact Press Images.
The International Center of Photography is hosting a series of exhibitions, film screenings, lectures and panels beginning with Climate Week NYC, from September 22-28. The series of events launches with the exhibition Sebastiao Salgado: Genesis, on view through January 11, and continues with talks and presentations into December, from Photography and the Environment 1: The Concerned Photographer on September 29 to Confronting Climate Change on November 17.
— By Jean Dykstra 09/19/2014
Filter Photo Festival
Greg Stimac, Old Faithful Inversion, 2012, showing at the Museum of Contemporary Photography, Chicago
The Filter Photo Festival takes place in Chicago from September 24 to 28, with portfolio reviews, workshops, exhibitions, and lectures. The festival will include lectures by Carrie Mae Weems and Eli Reed; a tour of the exhibition Phantoms in the Dirt by guest curator Karsten Lund; and a gallery walk in the River North district.
— By Jean Dykstra 09/19/2014
Richard Mosse at Indianapolis Museum of Contemporary Art
Richard Mosse, from Fermata. Courtesy Indianapolis Museum of Contemporary Art
The Indianapolis Museum of Contemporary Art is opening its new City Way location, at 215 East South Street, with Richard Mosse’s Fermata. The show opens October 3, with a reception from 6 to 11 pm and a free concert by Helado Negro at 9 pm. Mosse, the winner of the 2014 Deutsche Borse Photography Prize, used discontinued infrared reconnaissance film to photograph the ongoing conflict in the Congo for his series Fermata.
— By Jean Dykstra 09/19/2014
Ernest Cole: Photographer
Grey Art Gallery, New York
Ernest Cole, Earnest boy squats on haunches and strains to follow lesson in heat of packed classroom, 1967. ©The Ernest Cole Family Trust, courtesy the Hasselblad Foundation
In 2011, the South African National Gallery in Capetown was devoted to the work of two photographers and both responded in very different ways to the realities of what was once a divided country: Roger Ballen and Ernest Cole (1940-1990). Ballen was already internationally recognized in art circles for an expressionistic, theatrical style that explored the idea of marginality in South African society. Cole (who died just after the release of Nelson Mandela) was almost unknown. No significant exhibition of his work had ever been presented in the United States – or in South Africa, for that matter. The exhibition in South Africa was mounted by Sweden’s Hasselbald Foundation, which houses the Cole archive, and that is substantially the show at the Grey Art Gallery through December 6. Having been conditioned by many books and exhibitions of anti-apartheid photojournalism, viewers might miss the enormous significance of these pictures. If some of these black-and-white photos of life under pass laws and segregated facilities seem familiar, it is because Cole set the standard for showing life behind racial barriers.
Born in a township near Pretoria, Cole worked for black publications, but all the while he nursed a project he hoped would reveal the true character of apartheid, in pictures that could never be published in South Africa. In 1966 he was arrested in connection with a street gang he was photographing. Under pressure to give information, he somehow managed to obtain a passport and leave the country. He never returned. He spent parts of the next 25 years in Sweden, London, and New York, where his life spiraled downward. He became homeless, possibly the result of bipolar disorder, and he died of pancreatic cancer.
Ernest Cole. ©The Ernest Cole Family Trust, courtesy the Hasselblad Foundation
The essence of his work, House of Bondage, was published as a book in 1967. This exhibition presents the photographs as Cole would have wanted, uncropped, with his captions. More importantly, they reveal a photographer, not simply a man with a message. Cole’s model was Henri Cartier-Bresson, and the political power of Cole’s images resides precisely in his commitment to portraying lives as lived, in a place where even the ordinary moments are decisive. Among the many powerful images of discrimination and displacement, I am more drawn to quiet pictures that convey the texture of apartheid from the inside: two black women eating grapes on the lawn of a middle-class house, just beyond a wall bordering the front garden. It seems so benign, but Cole tells us that as servants, blacks were not allowed to receive any visitors on their employers’ premises, and so had to meet people away from the houses, near the street. Closer to invisibility. Piercing this invisibility was Cole’s great achievement.
— By Lyle Rexer 09/18/2014
August Sander: Just Women / Jess T. Dugan: Every Breath We Drew
Gallery Kayafas, Boston
August Sander, Painter's Wife (Helen Abelen), 1926. Courtesy Gallery Kayafas
Halfway through Virginia Woolf’s 1928 novel Orlando, an extraordinary thing happens: he becomes a she. This gender-bending character romps through centuries of shifting cultural and sexual expectations, and an exhibition at Gallery Kayafas through October 11 covers similar terrain. A selection of portraits of women by August Sander, culled from his monumental 1920s series Citizens of the Twentieth Century is paired with contemporary photographer Jess T. Dugan’s large color explorations of herself and others enacting carefully constructed masculine identities.
Both photographers dig below the surface of identity to mine instances where body language, clothing, and environment foster a sympathetic connection to the individual. A rich conversation ensues among the photographs, concerning the slippery nature of masculine or feminine archetypes. Dresses were the conventional uniform of the day for Sander’s subject, but his Painter's Wife defies this norm: she wears a white shirt, trousers, and a tie. Clenching a cigarette between her teeth and striking a match, she exudes an aggressive power without sacrificing any of her female sophistication. Across the room, Dugan’s Self portrait (muscle shirt) offers another side of the same coin. With muscled arms stretched overhead, Dugan flirts with the camera in a beefcake pose that oozes self-assurance and virility, minus the machismo.
Jess T. Dugan, Self-portrait (muscle shirt), 2013. Courtesy Gallery Kayafas
Dugan strives to form an intimate connection with her subjects to present their gentle, introspective sides, and Sander is a worthy teacher. He had an extraordinary knack for eliciting a deep humanity from a wide range of subjects. Two Small town women, classically dressed in white embroidered dresses, are shown sharing tea in their parlor. Details such as tousled hair, bemused expressions and two paintings, one askew that hang on the wall behind them, suggest a little mayhem below the surface of their proper dresses.
— By Edie Bresler 09/17/2014
Photo Shanghai Debuts
Robert Polidori, Green Car, Havana, 1997. Courtesy Camera Work, Berlin
The Asia-Pacific region gets its own international photography fair when Photo Shanghai debuts September 5-7. Located in the Shanghai Exhibition Centre, the fair is directed by Alexander Montague-Sparey, previously head of photographs at Christie’s London. With some 40 photography galleries from around the world, the fair will also include talks by photographers Roger Ballen, Birdhead, and Martin Parr and a panel on the Chinese Photo Book and a panel on Chinese contemporary photography (with ICP curator Chris Phillips and artist RongDong), among others.
— By Jean Dykstra 08/31/2014
Kasher|Potamkin Launches New Gallery/Boutique
Delphine Diallo, Hybrid IV, 2011. Courtesy Kasher|Potamkin
Launching in September, a new gallery/boutique run by veteran photography dealer Steven Kasher and Andi Potamkin, proprietor of the fashionable hair salon Three Squares Studio, on 17th Street in Chelsea. Kasher, who is known for showing documentary and fashion photography, collaborated with Potamkin on a show of photographs by Phyllis Galembo at Three Squares Studio in 2012. That successful show led to the formation of Kasher|Potamkin, located at 515 West 26th Street in the same space as the Steven Kasher Gallery. The boutique, offering artworks, furniture, and accessories, opens September 6 with the exhibition Intangible Beauty: Beautiful Women and the Endless Void, including photographs by Vee Speers, Marianna Rothen, Delphine Diallo, furniture by the Haas Brothers, and vases and objects by Michael Verheyden.
— By Jean Dykstra 08/25/2014
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
at Shoshana Wayne Gallery, Santa MonicaGuarapuava: Valdir Cruz
at Throckmorton Fine Art, New YorkICP to BoweryWhitney Museum Gets Major Photography GiftAmon Carter Museum Digitizes Trove of ArtworksClimate Week NYC at ICPFilter Photo FestivalRichard Mosse at Indianapolis Museum of Contemporary ArtErnest Cole: Photographer
at Grey Art Gallery, New YorkAugust Sander: Just Women / Jess T. Dugan: Every Breath We Drew
at Gallery Kayafas, Boston
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 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