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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 Rubenstein, and Jill Friedman, 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


Pittsburgh native David Oresick has been named the new executive director of the Silver Eye Center for Photography in Pittsburgh. Previously, he was the lab manager of Light Work in Syracuse, NY. Oresick received his BFA in photography from the Rochester Institute of Technology and an MFA from Columbia College in Chicago.
 
Oresick served on the selection committee for Light Work’s artist-in-residence program and he founded the experimental film and video series Video Playlist at Chicago’s Museum of Contemporary Photography.
 

— 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

Bonjour Arles!


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

Doug Hall: Bodies in Space

Bonni Benrubi Gallery, New York


Doug Hall, Weekend Cowgirl, 2008. ©Doug Hall, courtesy Bonni Benbrubi Gallery

The photographs in Doug Hall's exhibition Bodies in Space, on view at Bonni Benrubi Gallery through July 25, embody a quintessential contradiction of modern life: While we are part of and shaped by our environments, we are increasingly living within our own worlds of distraction and fantasy.

This seems most evident in Hall's photos of tourists. Whether they're at Yosemite’s Glacier Point, Rome's Piazza della Rotonda, or Mount Rushmore, they've assembled, presumably, out of a desire to view the oft-disseminated stuff of advertisements and postcards. Yet in Hall’s photos, they appear oblivious to their surroundings, preoccupied by cameras or cast adrift by a place utterly foreign to them. In the Rushmore photo, the irony is especially pointed, as the monumental, stone faces in the background are the only ones whose attention seems fully focused.

Doug Hall, Mount Rushmore, 2004. ©Doug Hall, courtesy Bonni Benrubi Gallery

Across the images in Bodies in Space, people look but don't see, they're present but they're not fully there, and they inhabit a reality that seems not quite real. With a flat background and an artificially lit foreground, portraits of a "weekend cowgirl" in Stagecoach, Nevada, and a man in traditional garb at Monument Valley look like the vintage snapshots of a novelty photo studio. Places, through Hall's lens, have a similarly disorienting artificiality: in Gene Autry Rock, the scene has the appearance of a painted backdrop at a museum or zoo.  

Frequently, Hall’s work addresses our relationship to images more literally. His Arrangement #5 of nine photographs from the Metropolitan Museum of Art, though positioned in a crowded, inelegant cluster, speak to the strange, circular ballet of watching, failing to watch, and being watched that occurs in a space where art is presented. In a few photographs, museumgoers (mostly women) look down and away at placards and maps, their eyes anywhere but the art itself. Meanwhile, the works they appear to be ignoring, like Gustave Courbet's Woman with a Parrot, are themselves studies in spectatorship. That we are viewing all of these scenes through the perspective of Hall's camera adds yet another dimension to this already intriguing collage. 

Another photo shows a man in a gallery in Rome's Galleria Corsini by himself. It is a double exposure, so we see him twice, each time a ghostly figure gazing passively at the old paintings. For the viewers standing in Bonni Benrubi Gallery looking, likewise, at art, Hall's perspective resonates: our lives can feel fleeting, but some images are eternal.

 

— By Jordan G. Teicher  07/04/2014

Cahiers d'Art Devoted to Sugimoto


The 100th issue of the journal Cahiers d’Art is devoted to the work of photographer Hiroshi Sugimoto, whose exhibition is on view at the Cahiers d’Art Gallery in Paris through July 30.  The issue is centered around a story Sugimoto wrote, called The World Is Dead Today, for his exhibition at the Palais de Tokyo, on view through July 9, which juxtaposes his photographs with his collection of antiques.

The issue includes work from Sugimoto’s series, Pre-Photography Time-Recording Devices and his Early Modern series. In addition to Sugimoto’s text, Serpentine Gallery director Hans Ulrich Obrist interviewed him for the issues, and Akiko Miki, chief curator at the Palais de Tokyo, has contributed an essay to this tribute issue. 

 

— By Jean Dykstra  07/02/2014

archives

2014
December
November
October
September
August
July
Allan Sekula: Ship of Fools

at Christopher Grimes Gallery, Santa Monica


Cantor Art Center Receives Warhol Archive


Jack Leigh: Full Circle, Low Country Photographs, 1972-2004

at SCAD Museum of Art, Savannah


Josef Koudelka: Nationality Doubtful

at Art Institute of Chicago, Chicago


Stephen Wirtz Gallery Closing


Justin Kimball: Where We Find Ourselves

at Carroll And Sons, Boston


Jacques Sonck: Archetypes

at L. Parker Stephenson Photographs, New York


The Invisible Photograph


Getty Acquires Robert McElroy Archive


Oresick Joins Silver Eye Center


Liz Deschenes Awarded Rappaport Prize


New Avedon App


Bonjour Arles!


Doug Hall: Bodies in Space

at Bonni Benrubi Gallery, New York


Cahiers d'Art Devoted to Sugimoto


Photo Espana Prize Goes to Aitor Lara


June
Anthony Friedkin: The Gay Essay

at de Young Museum, San Francisco


2014 Prix HSBC Awarded to Two Photographers


Rudolf Kicken, 1947-2014


"Biggest Photography Class in History"


Puppies and Pictures


Domesticated: Photographs by Amy Stein

at National Academy of Sciences, Washington


Steel Stillman: Incidents, 1969-2014

at Show Room Gowanus, Brooklyn


Callahan Collection Donated to Vancouver Art Gallery


Brandon Thibodeaux Wins Michael P. Smith Grant


Roger Mayne, 1929-2014


The Fence Goes on View in Brooklyn


Ka-Man Tse Wins Robert Giard Fellowship


Multiple Exposures: Jewelry and Photography / The Embroidered Image

at Museum of Arts and Design / Robert Mann Gallery, New York


Tim Barber: Relations

at Capricious 88, New York


May
Michael Flomen: Wild Nights

at Boite Noire Gallery, West Hollywood


Sze Tsung Leong: Horizons

at Yossi Milo Gallery, New York


Portland Art Museum Acquires Robert Adams Photographs


Michael Schmidt, 1945-2014


Paul Anthony Smith: Mangos and Crab

at Carrie Secrist Gallery, Chicago


Michael Schmidt Wins Prix Pictet


Jaimie Warren

at SF Camerawork, San Francisco


Symposium at Getty Celebrates 175th Anniversary of Photography


Zoe Leonard Receives Buckbaum Award


Andre Serrano Creates Public Art Project


Luigi Ghirri: La Città

at Matthew Marks Gallery (LA), Los Angeles


Richard Mosse Wins Deutsche Börse Prize


Poetics of Light: Pinhole Photography

at New Mexico History Museum, Santa Fe


Prix Pictet Finalists On View at V&A


Richard Renaldi: Touching Strangers / This Grand Show

at Aperture Gallery / Bonni Benrubi Gallery, New York


Hillman Photography Initiative Explores Future of Photography


Walking in Their Shoes


Mark Ruwedel Wins Scotiabank Photography Award


April
Gabor Kerekes, 1945-2014


Major Gifts to High Museum


Hiroshi Sugimoto Wins Isamu Noguchi Prize


Carolle Bénitah: Photos-Souvenirs

at Sous Les Etoiles Gallery, New York


A New Space for Photo-Eye


Maroesjka Lavigne: Island

at Robert Mann Gallery, New York


George Dureau, 1931-2014


More AIPAD Picks from Elisabeth Biondi


Elisabeth Biondi's AIPAD Picks


Sarah Schmerler's Picks from AIPAD


2014 Guggenheim Fellowships


Lisa Sette Relocating


Photo Eye: Avant-Garde Photography in Europe

at Museum of Fine Arts, Boston


Lower East Side Photo Walk


Roe Ethridge: Sacrifice Your Body

at Andrew Kreps Gallery, New York


March
Laurie Simmons: Kigurumi, Dollers and How We See

at Salon 94 Bowery, New York


Getty Museum Acquires Tress Photographs


Amy Elkins Wins Aperture Portfolio Prize


Moutoussamy-Ashe Photos Go to Smithsonian


Walead Beshty: Selected Bodies of Work

at Regen Projects, Los Angeles


Public Intimacy: Art and Other Ordinary Acts in South Africa

at Yerba Buena Center for the Arts, San Francisco


Prince/Cariou Case Settled


Daniel Gordon Wins Paul Huf Award


New Photo Gallery in Williamsburg


ICP on the Move


National Gallery of Art Receives Gift of Photographs


Jamie Warren Wins Baum Award


Chloe Dewe Mathews Wins Gardner Fellowship


Matthew Pillsbury: Nate and Me

at Sasha Wolf Gallery, New York


Getty Images Opens Up Library


Paula McCartney: A Field Guide to Snow and Ice

at Klompching Gallery, Brooklyn


American Cool

at National Portrait Gallery, Washington, D.C.


February
Steichen/Warhol: Picturing Fame

at Block Museum of Art, Evanston


ICP Announces Infinity Award Winners


Onward in Philly


Samuel Fosso Photographs Rescued


J. Shimon & J. Lindemann: We Go From Where We Know

at John Michael Kohler Art Center, Sheboygan


John Stanmeyer Wins World Press Photo Award


Not Your Grandmother's Librarian


Patrick Nagatani: Outer and Inner: Contemplations on the Physical and the Spiritual

at Andrew Smith Gallery (annex), Santa Fe


New Photo Gallery in Boston


Fred McDarrah: Save the Village

at Steven Kasher Gallery, New York


J.D. 'Okhai Ojeikere, 1930-2014


Kevin Cooley and Phillip Andrew Lewis: Unexplored Territory

at Kopeikin Gallery, Los Angeles


January
Public Art Project Highlights the Boroughs


Carrie Mae Weems: Three Decades of Photography and Video

at Guggenheim Museum, New York


Getty Acquires Pictorialist Photographs


Peter Hujar: Love & Lust

at Fraenkel Gallery, San Francisco


Child Identified in 1908 Lewis Hine Photo


Heather Snider Joins SF Camerawork


The Sochi Project: An Atlas of War and Tourism in the Caucasus

at DePaul Art Museum, Chicago


Phillip Prodger Joins London's National Portrait Gallery


Tanya Marcuse: Fallen

at Julie Saul Gallery, New York


Joshua Chuang Joins CCP


Sophie Calle: Last Seen

at Isabella Stewart Gardner Museum, Boston


Danielle Durchslag: Relative Unknowns

at Denny Gallery, New York


Carnegie Museum Founds Hillman Photography Initiative


Soo Kim Awarded Gutmann Fellowship


Symposium on March on Washington


2013
December
November
Balthus: The Last Studies

at Gagosian Gallery (Mad Ave), New York


Saul Leiter, 1923-2013


Maine Philanthropists Give Collection to Portland Museum of Art


Daniel Morel Wins Suit Against Getty Images/AFP


Sean McFarland: Glass Mountains

at Stephen Wirtz Gallery, San Francisco


John 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 York


ICP Names New Executive Director


Clarence John Laughlin Award Announced


Prix Pictet Shortlist Announced


And the Winner Is ....


Libération's Powerful Homage to Photography


Tanja Hollander: The Landscapes of Are You Really My Friend?

at Carroll And Sons, Boston


War/Photography: Images of Armed Conflict and its Aftermath

at Brooklyn Museum of Art, Brooklyn


Lisa Hostetler to Eastman House


Dispatched to Texas


Finding Vivian Maier


Queens Museum Reopens with Photos by Jeff Chien-Hsing Liao


New E-Book from Library of Congress


Hello, Goodbye


October
Iké Udé: Style and Sympathies

at Leila Heller Gallery, New York


Deborah Turbeville, 1932-2013


ICP Celebrates Robert Capa's Centenary


Of Walking

at Museum of Contemporary Photography, Chicago


Here is New York


Polly Borland: You

at PK Shop, New York


Exhibition Showcases Martin Weinstein's Collection


They Are Us: Animal Identity and the Anthropomorphic Urge

at Rick Wester Fine Art, New York


Roxana Marcoci Named Senior Curator at MoMA


Museum of Fine Arts, Houston, Acquires Manfred Heiting Photo Book Collection


Documerica Looks Back


Matthew Porter: Greet the Dust

at M+B Gallery, Los Angeles


George Tice: 60 Years of Photography

at Nailya Alexander Gallery, New York


September
Sebastiaan Bremer

at Edwynn Houk Gallery, New York


Carrie Mae Weems Is a MacArthur Genius


We Shall: Photographs by Paul D'Amato

at DePaul Art Museum, Chicago


She Who Tells a Story: Women Photographers from Iran and the Arab World

at Museum of Fine Arts, Boston


Malcolm Daniel Heading to Texas


Ryan McGinley: Yearbook

at Ratio 3, San Francisco


Brian Sholis Joins Cincinnati Art Museum


Pieter Hugo: Kin

at Yossi Milo Gallery, New York


Adieu to Le Journal de la Photographie


Nadia Sablin Wins Firecracker Photography Award


Getty Acquires Baltz Archive


August
Ray Metzker: Shadow Catcher

at Andrew Smith Gallery, Santa Fe


Guillermo Santos: La Ciudad Blanca

at Fotografica Bogota 2013,


The Getty Shares Its Collections


Inez & Vinoodh

at Gagosian Gallery (LA), Beverly Hills


July
Christian Houge: Shadow Within

at Hosfelt Gallery, San Francisco


Party Picks: Estate of Jimmy DeSana

at Salon 94 Bowery, New York


In The Studio

at John Messinger, East Hampton


That Which Is: Marcia Lippman

at KMR Arts, Washington Depot


Ben Lifson, 1941-2013


Jan Banning: Down and Out in the South

at Hagedorn Foundation Gallery, Atlanta


Tom Wood: Men and Women

at Thomas Erben Gallery, New York


From the Ground Up: The Tent Camera Photographs of Abelardo Morell

at Stephen Daiter Gallery, Chicago


Portion Control: Chrisopher Boffoli

at Winston Wachter Fine Art, New York


June
Bing Wright: Broken Mirror/Evening Sky

at James Harris Gallery, Seattle


A Different Kind of Order: The International Center of Photography Triennial

at International Center of Photography, New York


JR / Jose Parla, Wrinkles of the City, Havana Cuba

at Bryce Wolkowitz Gallery, New York


May
David Hilliard: The Tale is True

at Carroll And Sons, Boston


Japan's Modern Divide: Photographs by Hiroshi Hamaya and Kansuke Yamamoto

at Getty Center, Los Angeles


Michael Jang: The Jangs

at Stephen Wirtz Gallery, San Francisco


David Levinthal: War Games

at Corcoran Gallery of Art, Washington, D.C.


Mike Brodie's Period of Juvenile Prosperity


Spectator Sports

at Museum of Contemporary Photography, Chicago


Joshua Lutz: Hesitating Beauty

at ClampArt, New York


April
Shiprock and Mont St. Michel: Photographs by William Clift

at New Mexico Museum of Art, Santa Fe


Garry Winogrand

at SFMOMA, San Francisco


Liliana Porter: 1973

at Barbara Krakow Gallery, Boston


In The Studio

at Dillon DeWaters, Brooklyn


AIPAD's Photography Show


Bruce Davidson


March
Bill Brandt: Shadow and Light

at Museum of Modern Art, New York


Iwan Baan: The Way We Live

at Perry Rubenstein Gallery, Los Angeles


Suburbia

at Hagedorn Foundation Gallery, Atlanta


Julie Weitz

at The Suburban, Oak Park


Armory Show 2013

at Armory Show, New York


Scope New York 2013

at SCOPE New York, New York


ADAA Art Show 2013

at ADAA Art Show, New York


Shooting Stars: Publicity Stills from Early Hollywood and Portraits by Andy Warhol

at Corcoran Gallery of Art, Washington, D.C.


February
Topsy Turvy in Madison Square Park


JoAnn Verburg: Present Tense

at G. Gibson Gallery, Seattle


Miles Barth Joins Artnet


The Unphotographable

at Fraenkel Gallery, San Francisco


Katrina del Mar: Girls Girls Girls

at Participant, Inc., New York


Robin Rhode: Take Your Mind off the Street

at Lehmann Maupin (26th St), New York


Arne Svenson: The Neighbors

at Western Project, Culver City


January
Silvio Wolf: Us

at Bruce Silverstein Gallery, New York


Beat Memories: The Photographs of Allen Ginsberg

at Grey Art Gallery, New York


Katherine Bussard Named Curator at
Princeton Art Museum


Catherine Wagner: trans/literate.

at Stephen Wirtz Gallery, San Francisco


Karl Baden: Roadside Attractions

at Miller Yezerski Gallery, Boston


Viviane Sassen on View


January is for Hot Shots


Richard Pare: The Lost Vanguard: Soviet Modernist Architecture, 1922–32

at Graham Foundation, Chicago


2012
December
Faking it: Manipulated Photography Before Photoshop

at Metropolitan Museum of Art, New York


Idris Khan: New Photographs

at Fraenkel Gallery, San Francisco


Jessica Eaton: Polytopes

at M+B Gallery, Los Angeles


Nadav Kander: Yangtze: The Long River

at Flowers, New York


Ori Gersht: History Repeating

at Museum of Fine Arts, Boston, Boston


Attachments

at The Hole, New York


1979:1—2012:21: Jan Tichy Works with the MoCP Collection

at Museum of Contemporary Photography, Chicago


Bonni Benrubi, 1953-2012


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