Larry Sultan: Here and Home
Larry Sultan, Discussion, Kitchen Table, 1985. ©Estate of Larry Sulton, courtesy the Estate of Larry Sultan
Larry Sultan’s father, Irving, hated the photograph of him sitting on his bed in a dark blue suit, tense, staring straight ahead. He put the suit on because his son, who had just begun photographing him obsessively, asked him to. He sat on the bed because he needed to rest. It was like being an actor on a film set, and then seeing cameras start to roll when you were taking a break--entirely unfair. It also was not a photograph about him. The New York Times obituary for Sultan, who died in 2009 at age 63, quotes Irving reprimanding his son: “[Y]ou tell people that that’s not me. . . . That’s you sitting on the bed.”
Sultan’s photographs of his father, and often his mother, in their Southern California home read as self-portraits even if you do not know how Irving felt. The point of looking so closely at his parents, quirky, charismatic and probably hot-tempered, seems to be to understand his own tastes and origins. Pictures from Home (1984-1994) may be the most memorable series Sultan ever did, and in the artist’s LACMA retrospective, organized by curator Rebecca Morse and on view through March 22, it’s hard to move on from the galleries that hold it.
The first series you see when you enter the show, though, is Sultan’s final one, Homeland (2006-2009), of day laborers against suburban landscapes. He hired the laborers, then took them to vacant lots or un-landscaped yards in the San Fernando Valley. The lighting and staging is exquisite: men carrying dishes of food across an overgrown field in late afternoon sun, men standing languorously, staring out of a batting cage mid-day. But the sentimental prettiness would give the wrong impression of why he is an interesting artist. His sense of light, color, and composition were, in his best work, not the main point but tools to give intimate views into strange, specific worlds.
Larry Sultan, Boxers, Mission Hills, 1999. ©Estate of Larry Sultan, courtesy the Estate of Larry Sulton
Pictures from Home follows Homeland, then transitions into Evidence. A project Sultan completed in the late 1970s with artist Mike Mandel, Evidence involved requesting access to multiple government and corporate archives then culling them for compelling images of politicians, fires or medical patients. The artists sequenced the photographs and then published them in a book that included no contextual information. It became a landmark in conceptual photography, delving deep into strangeness and privileging uncanny, intuitive associations over authorship and narrative.
The show’s final few galleries feature, among other things, The Valley, photographs of porn stars and their surroundings. Sultan, who began this project in the late1990s, would spend all day on set, getting bored but also becoming more familiar with the details: the way an actress holds her robe shut between shoots, the weirdness of neighbors’ windows facing a set.
It is rare that ordering a show chronologically actually seems like the better option. But in this case, it might have been more affecting to start at the beginning, to see Sultan and Mandel grappling with how to represent “official” documentation of their cultural moment; then to see Sultan mining his perceptions of his parents; then on to porn sets and flashy stars. After spending time in these self-contained worlds Sultan excavated, you would encounter the measured beauty of Homeland, with the laborers traversing landscapes, and you might be better primed to appreciate the photographer’s urge to zoom out on bigger vistas.
— By Catherine Wagley 11/26/2014
Lewis Baltz, 1945-2014
Lewis Baltz, the influential photographer whose work was included in the landmark exhibition New Topographics: Photographs of a Man-altered Landscape at the George Eastman House in 1975, died on November 23. Baltz grew up in Newport Beach, California, but he spent his last years between Paris and Venice. He was one of the most important figures in the New Topographics movement in photography in the 1960s and ‘70s, which redefined the parameters of landscape photography in terms of a minimal approach that often examined suburban sprawl.
— By Jean Dykstra 11/25/2014
Fahey/Klein Opens New Space
William Claxton, Chet Baker (Piano), Hollywood, 1954. Courtesy Fahey/Klein Gallery
The Los Angeles-based Fahey/Klein Gallery is opening a second location in Miami, with an inaugural exhibition opening December 4. The opening show will be a group exhibition including such photographers as Henri Cartier-Bresson, Elliott Erwitt, William Klein, Ellen von Unwerth, and Danny Lyon, among others, coinciding with Art Basel Miami (December 4-7). A special portfolio of photographs by William Claxton will be on view, including images of Hollywood celebrities, jazz musicians, and fashion icons.
— By Jean Dykstra 11/24/2014
RISC Benefit Auction Open Now
Photo by Tim Hetherington
The RISC Silent Auction is open now and concludes on December 3, at a Benefit Auction at Aperture Gallery at 6:30. RISC (Reporters Instructed in Saving Colleagues) was founded by Sebastian Junger and is dedicated to training journalists in all media to treat life-threatening injuries on the battlefield. RISC training is provided free of cost to experienced, published freelance conflict journalists, and the proceeds from the Benefit Auction will go toward the training of more journalists.
The auction features a short program by Sebastian Junger and Magnum photographer Susan Meiselas, hors d'oeuvres and beverages, an work by 46 photographers, including Meiselas, the late Tim Hetherington, Richard Mosse, Roger Ballen, Michael Kamber, and Gillian Laub, among many others.
— By Jean Dykstra 11/21/2014
Orit Raff: Priming
Orit Raff, Special Topics in Calamity Physics, 2013. Courtesy Julie Saul Gallery
In Orit Raff’s photographs of rooms and interior spaces, on view at Julie Saul through December 6, beams of sunlight fall across a floor, and lamplight softly illuminates the corner of a bedroom. Light – that essential tool of photography – is a living, breathing entity in her works, creating the mood and setting the emotional temperature. But these images are not what they seem. For one thing, they are not photographs, and that evanescent light is a digital manifestation, not a record of the real thing. Raff fabricated these images entirely in a computer, using architectural and photo-editing software. The 13 works on view depict rooms or spaces in different novels, ranging from classics such as Madame Bovary to contemporary works such as Jonathan Franzen’s Freedom. They also play with conventions of photography in the oblique but thoughtful way that has characterized Raff’s work.
Raff conjured these spaces with exacting precision after immersing herself in the novels, placing details like the rope clutched by the newly blind Jose Saramago’s Blindness, or the Bob Dylan poster and the Pepsi bottle in the room from Jonathan Franzen’s Freedom. Deftly borrowing visual tropes from architectural and documentary photography, she encourages us to read the pictures as facts. Then she slyly pulls apart the indexical character photography.
Orit Raff, Blindness, 2013. Courtesy Julie Saul Gallery
Raff’s previous series also explored space and architecture. White focused on domestic objects -- a soap dish, a bathroom sink, a drain – and the evidence left there of human habitation. Mobius Strip depicted on the indentations in carpets and other surfaces in recently vacated apartments that suggested the way the space was laid out when it was occupied. She has also photographed old wooden desktops from schools that bear the marks of generations of schoolchildren’s scribbles and doodles.
Priming takes her interest in the traces left by people one step further. As curator Lauri Firstenberg commented in an interview with Raff in 2005, the artist seems to approach her subject sideways, through surrogates – places, objects, and traces, rather than the thing itself. In these images, she sidles into an exploration of memory – her own memory of a place she imagined while engaged in a story, and perhaps viewers’ memories as well. But whether the viewer has read the books or not, these images are full of possibility and tension, percolating with narrative potential.
— By Jean Dykstra 11/19/2014
Lucien Clergue, 1934-2014
French photographer Lucien Clergue died on November 15, at the age of 80. A photographer and champion of the medium, he founded Les Rencontres d'Arles in 1970, one of the forerunners of the many art fairs today. In 2006, he was the first photographer elected to France's Académie des Beaux-Arts.
Clergue, who was born in Arles, was only 19 when he approached Pablo Picasso at a bullfight in Arles to show the famous artist his photographs. Picasso was impressed, and a 30-year friendship was born. Clergue is known for his nudes and landscapes and well as photographs of bullfighting and of Picasso and his circle. On the occasion of Clergue’s 80th birthday in July, l’Oeil de la Photographie devoted an entire issue to him, which has been republished in his memory.
— By Jean Dykstra 11/17/2014
Sandro Miller: Malkovich, Malkovich, Malkovich: Homage to Photographic Masters
Sandro Miller, Andres Serrano / Piss Christ (1987), 2014. ©Sandro Miller, courtesy Catherine Edelman Gallery
There are few somebodies who can become anybody. John Malkovich is one of them. The actor’s 60-year-old face shape-shifts its way through art history in Sandro Miller’s Malkovich, Malkovich, Malkovich: Homage To Photographic Masters at Catherine Edelman Gallery (through January 31, 2015). Famed portraits by Avedon, Mapplethorpe, Penn, and Warhol, among others, are simulated by Sandro, himself a master persona-maker for more than 30 years, and Malkovich. The hilarious images smack of heartfelt collaboration.
The two artists met in Chicago while working at the Steppenwolf Theatre, Malkovich on stage and Sandro shooting playbills. Apparently the idea for the series sprang from Sandro’s gigantic library of photo books—he is self-taught—and the two men reenact some of the 20th century’s most iconic, beautiful, and strange photographic portraits. Dorothea Lange’s 1936 Migrant Mother and Diane Arbus’s 1967 twins are popular favorites. Malkovich as Christ submerged in piss shocks anew.
Sandro Miller, Dorothea Lange / Migrant Mother, Nipomo, California (1936), 2014. ©Sandro Miller, courtesy Catherine Edelman Gallery
Ultimately, Malkovich’s face and its encyclopedia of expressions dominate each scene’s flawless mimesis. But this is John Malkovich, not some Everyman Actor. One no longer sees Malkovich the man (whoever he is) but that which Malkovich’s face has come to signify: a metaphysics of identity.
The series is not just a nightmare where everything you love has been replaced with the face of a monkey; rather, Sandro’s work with Malkovich demonstrates icon fantasy. These are the saints of art history transformed by Sandro’s—and our—obsession with masterpieces and geniuses. Even as millions of personal images circulate the globe daily, it is likely that only a few will define you. Such is the paradox and power of images in the celebrity age.
The reenactments hit a high note of performance energy. Malkovich soars. The sets and costuming are impeccable. Perhaps the series will not be as eternal as their sources, but they remain a curious delicacy in the oeuvres of Sandro and Malkovich.
— By Jason Foumberg 11/15/2014
Paris Photo-Aperture PhotoBook Awards
The winners of the Paris Photo-Aperture Foundation PhotoBook Awards were announced in Paris on November 14: Hidden Islam by Nicoló Degiorgis is the winner of $10,000 in the First PhotoBook category. The award for a new category this year, Photography Catalogue of the Year, went to a set of catalogues, Christopher Williams: The Production Line of Happiness and Christopher Williams: Printed in Germany. Imaginary Club by Oliver Sieber is the winner of PhotoBook of the Year. A special mention in that category goes to Vytautas V. Stanionis’s Photographs for Documents.
— By Jean Dykstra 11/14/2014
Sunil Gupta: Out and About: New York and New Delhi
Sunil Gupta, Untitled #21, from Christopher Street, 1976. Courtesy Sunil Gupta and sepiaEYE
On the surface, the two bodies of work in Sunil Gupta's exhibition, Out and About: New York and New Delhi, on view at sepiaEYE through December 20, have a lot in common. In both Christopher Street and Mr. Malhotra's Party, Gupta explores queer presence in public spaces. But context is crucial, and ultimately the series, separated by place and more than 30 years, reveal key differences, opening up an intriguing conversation about freedom and identity.
Christopher Street, like much of Gupta's work, straddles the personal and the political. In 1976 Gupta abandoned a master’s program in business administration in New York City to pursue photography education at the New School. His photos of fellow gay men on Christopher Street from this period may be seen not only as a reflection of the gay liberation movement taking hold at the time, but Gupta's own "coming out" as an artist.
The Village was a revelation to Gupta, who'd never seen a place where sexuality was so openly expressed. His enthrallment shows in his photographs, in which his camera acts as a proxy for his own wandering, curious eye. His subjects, pictured in black and white walking the streets of the gay haven, are mostly unaware that they're being photographed, and perhaps equally heedless of their own unprecedented freedom.
Sunil Gupta, Bikram, India Gate, 2007, from Mr. Malhotra's Party. Courtesy Sunil Gupta and sepiaEYE
Mr. Malhotra's Party, taken more than 30 years later, reveals the luxury of that freedom by comparison. In Delhi, where the photos were taken, centuries-old anti-sodomy laws were only struck down in 2009, two years after Gupta began taking photos of queer people around the city (the laws were re-instated in 2013). There are no gay bars in the city; gatherings for queer people are advertised as private parties under the name of a host.
In this political environment, a queer person posing for the camera is a conscious act of defiance, one that Gupta instigated with friends and acquaintances for the photographs. His subjects face the camera directly, as though challenging those who oppose them. Their expressions are powerful and moving.
Taken together, these photos speak to the variety of experiences in gay communities, but they also tell a story about the development of a photographer and activist. While he is an anonymous, wide-eyed observer in the Village, Gupta shows himself to be an active dissenter in Delhi, driven to create a world in which, one day, perhaps, images of gay life in the West and the East might not look so different.
— By Jordan G. Teicher 11/13/2014
Builder Levy: Photographer
Builder Levy, Toby Moore, Old House Branch Mine, Eastern Coal Company, Pike County, Kentucky, 1970. Courtesy Arnika Dawson Gallery
Over the 50 years that Builder Levy has been photographing, the genre of street photography has gone from being novel to ubiquitous. While the evolution of technology has coincided with the outsourcing of technical skills, Levy continues to shoot film and produce fastidious gold-toned gelatin silver prints.
A survey of Levy’s work at Arnika Dawkins through November 22 provides an overview of his work that also suggests his values, as seen in his choice of subject matter. Raised in New York in a socially progressive home, Levy has had a lifelong interest in issues of social justice. Influenced by Paul Strand and Helen Levitt, who mentored him, he has consistently sought to represent hard-luck people in troubled times.
He photographed the Civil Rights struggle and anti-Vietnam protests in the 1960s, and street scenes throughout New York CIty, especially in the poverty-ravaged Brooklyn of the 1960s, ’70s and '80s. In 1968, Levy made his first trip to Appalachian coal-mining country to document the lives of the miners and their families, which he has continued to track over the decades. A selection of those images was published in 2013 as Appalachia USA: Photographs, 1968-2009. Iconic among them is Toby Moore, Old House Branch Mine, Eastern Coal Company, Pike County, Kentucky (1970). In the vein of Walker Evans’s Allie Mae Burroughs, Hale County, Alabama and Dorothea Lange’s Migrant Mother (both 1936), it features a black miner staring directly at the camera, headlamp askew, with a look of tired resignation.
Builder Levy, Church and Tipple, 1970. Courtesy Arnika Dawson Gallery
Church and Tipple, shot in West Virginia in 1970, has a Becher-like quality—a dilapidated church building, dingy with soot from the coal-moving tipple behind it, occupies nearly the entire frame, so that two young children standing in front are easily overlooked, their lives literally lived in the shadow of the coal industry.
Several of Levy’s interests converge in Harlem Peace March (No Vietnamese...) NYC, 1967, which shows two young boys in the foreground and a man holding a sign that says “No Vietnamese Ever Called Me Nigger.” In another work from his Civil Rights series, a black woman with a forlorn expression stares past the camera. Titled Martin Luther King Funeral—Woman with Umbrella (1968), its poignancy lies in its understated quality, a magnitude of grief belied by stunned silence.
— By Stephanie Cash 11/12/2014
Mayumi Lake: Latent Heat
Mayumi Lake, Dark Sun #4340, 2014. Courtesy Miyako Yoshinaga Gallery
The images in Mayumi Lake's exhibition, Latent Heat, at Miyako Yoshinaga through December 24, are an elegant, minimalist expression of existential unease. Made in response to the 2011 tsunami and nuclear meltdown in Japan, as well as the deaths of several of Lake’s loved ones, the images are not merely mournful – they also reflect an acute anxiety about the survival of Japanese culture.
Everywhere you look in Lake’s images, there is a ghostly sense of absence and isolation. Much of that feeling might be attributed to the personal items, including kimonos, parasols, and dresses, which appear suspended in mid-air or abandoned, as though their owners had suddenly vanished.
The people in Lake’s images are always alone, their faces obscured. In one particularly haunting photograph, Layered Solitude #1537, a solitary figure stands, arms outstretched, in a dark wood, draped in a blood red robe, evoking the iconic image of a tortured Abu Ghraib prisoner.
Mayumi Lake, Will-'o-the-Wisp, #4451, 2014. Courtesy Miyako Yoshinaga Gallery
Clearly, Lake sees traditional Japanese culture as endangered: In Spiral Echoes #141136, a Navajo dancer performs at night in an empty athletic field, suggesting a parallel between the two peoples. In Dark Sun #4340, we see that symbol of tradition and patriotism in a faded light, as though in the last gasps of a glorious sunset.
One sees something of Ishiuchi Miyako’s work in Lake’s treatment of loss. Like Ishiuchi’s photos of the clothes of Hiroshima victims, Lake’s focus on unpeopled garments suggests the transience of human existence as well as its ability to carry on through physical artifacts.
These photos are not solely dour. There is, in some of them, a sense of tribute and grace: In It’s Alright #141199, white parasols dot a green landscape from the foreground all the way to the sunny background, as though forming a heavenly procession. And finally, in her video, Latent Heat (Awakening #9295), clothes burn on a pyre, the resulting sky-bound smoke suggesting at once death and, perhaps, rebirth.
— By Jordan G. Teicher 11/10/2014
Special Sale of Magnum Photos
photo by David Alan Harvey
Collectors and photojournalism fans won’t want to miss this opportunity: for a short time – November 10 – 14 – Magnum is offering signed prints for $100 each. Magnum photographers have looked into their archives and each selected a single photograph that they have always liked but that has gone unpublished or otherwise unnoticed. On November 10, those images will be available through Magnum’s online store as signed square prints.
— By Jean Dykstra 11/10/2014
New Space for Foley Gallery
Photo by Wyatt Gallery
After two years on Allen Street, the Foley Gallery is moving to a storefront space on 59 Orchard Street on New York's Lower East Side, with more than 2,000 square feet of exhibition space. The inaugural show in the new space is Select Cuts & Alterations, opening November 19. The show features more than 20 artists who cut, crumple, or crease their materials, including Thomas Allen, Wyatt Gallery + Hank Willis Thomas, Gerald Slota, Mia Pearlman, and Chris McCaw, among others.
— By Jean Dykstra 11/04/2014
Juan Fernando Herrán Win Prix Pictet Commission
Juan Fernando Herrán, Untitled from 'Escalas,' 2008-2009
Columbian photographer Juan Hernando Herran has been selected for the Prix Pictet commission, with the theme of Consumption. The commission will enable Herran to produce a body of work material culture and consumption in indigenous communities in his native Columbia. His project will be supported by the Geneva-based charity, OneAction, and his work will be exhibited in London in 2015.
— By Jean Dykstra 11/03/2014
Maurice Ortega to Head Curatorial Assistance
Maurice Ortega has been named Director of Exhibitions at Curatorial Assistance, the Pasadena, California, organization that produces traveling exhibitions and publications and provides exhibition-design and collection-management services, among other things. Ortega is the former director of the Queensland Centre for Photography in Brisbane, Australia, where he organized more than 390 exhibitions and more than 100 catalogues. Curatorial Assistance’s current portfolio of exhibitions includes Dusk to Dusk: Unsettled, Unraveled, Unreal; Posing Beauty in African American Culture; Hoppé Portraits: Society, Studio and Street; Where Children Sleep: Photographs by James Mollison and This Place, a photographic survey of Israel by photographers including Josef Koudelka, Stephen Shore, Thomas Struth, and Jeff Wall.
— By Jean Dykstra 11/03/2014
at LACMA, Los AngelesLewis Baltz, 1945-2014Fahey/Klein Opens New SpaceRISC Benefit Auction Open NowOrit Raff: Priming
at Julie Saul Gallery, New YorkLucien Clergue, 1934-2014Sandro Miller: Malkovich, Malkovich, Malkovich: Homage to Photographic Masters
at Catherine Edelman Gallery, ChicagoParis Photo-Aperture PhotoBook AwardsSunil Gupta: Out and About: New York and New Delhi
at sepiaEYE, New YorkBuilder Levy: Photographer
at Arnika Dawkins Gallery, AtlantaMayumi Lake: Latent Heat
at Miyako Yoshinaga Gallery, New YorkSpecial Sale of Magnum PhotosNew Space for Foley GalleryJuan Fernando Herrán Win Prix Pictet CommissionMaurice Ortega to Head Curatorial Assistance
at Gitterman Gallery, New YorkHoward Greenberg / SteidlMagic on Earth: Jean-Claude Moschetti
at M.I.A. Gallery, SeattleBlind Spot | Griffin Editions Project SpaceShannon Ebner: Public Surface Pattern
at Altman Siegel Gallery, San FranciscoRuud van Empel: New Work
at Jackson Fine Art, AtlantaGetty Acquires Chris Killip PhotographsSamuel Fosso
at Walther Collection Project Space, New York
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 ShowHillman 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 (Chelsea), 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