Richard Sexton: Louisiana

March 30 - September 29

Call and Response

June 17 - September 3

Dornith Doherty: Dornith Doherty: Archiving Eden

August 12, 2017 - January 14, 2018

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

2017 Aperture Summer Open: On Freedom

July 13 - August 17

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

May 24 - October 29

Robert Frank: Photos Books Films

May 11 - August 25

Helena Almeida: Work is never finished

June 29 - September 4

“My work is my body; my body is my work,” Helena Almeida declared in 1969. Around this time the artist took a photograph of herself wearing a blank pink-toned canvas across her torso—at once a comical and a radical gesture, and one that marked a crucial turn in her practice. Almeida (Portuguese, born 1934) had studied painting in Lisbon in the mid-1950s but since 1969 has produced mainly black-and-white photographs of herself, sometimes painting or tinting them. These are never self-portraits, but the compositions always center on the artist’s body, always differently posed or contorted and almost always captured in the same corner of her studio. She tends to work in long, sometimes open-ended series, and in recent decades she has printed her photographs at full-body scale or larger. While Almeida still calls herself a painter rather than a photographer, she is at the same time also a kind of dancer, engaged in an ongoing, experimental choreography of everyday gestures and physical limits, exploring the seemingly endless malleability of the body.

Almeida emerged in the context of the late 1960s and 1970s—at the advent of feminist and performance-oriented art, when many young, avant-garde practitioners explored the physicality of the artist’s body and art making as a literal record of actions taken in the studio. Indeed, since then she has figured as one of the most significant artists working in Portugal. The Art Institute’s focus series exhibition is Almeida’s first solo show in the United States in more than a decade, and, rather than historicizing the artist’s practice, it emphasizes her work of the last two decades, including examples from several major photographic sequences since 2000. These are masterful series—the lyrical, humorous, poignant, and profound work of an artist who has by now used and reproduced her body for decades. Almeida’s recent photographs not only demonstrate the intimate knowledge the artist has gained by tracking her physical form over time but also remind us that we are all shape shifters—and that our bodies can be revealed to us anew with every considered action. As the exhibition’s title indicates, such work is never finished.

Cade Turner: Photographs

August 9 - August 27

Wayne Guyton, Peter Fischli, David Weiss

June 22 - November 26

Standing Rock: Art and Solidarity

May 20, 2017 - February 18, 2018

Harry Callahan, Aaron Siskind, Minor White: Black, White & Abstract

May 17 - October 1

Black, White & Abstract considers the work of three of the most important and influential American photographers of the 20th century: Harry Callahan, Aaron Siskind, and Minor White.

The BMA is fortunate to have strong holdings of works by Callahan and Siskind, and now White as well thanks to the recent acquisition of the nine-part series Sound of One Hand Clapping, Sequence 14, never before on view at the Museum.

Born within a decade of one another, Callahan, Siskind, and White each took up photography in the 1930s, with their work coming to the fore in the 1940s and 1950s as they embarked on long teaching careers.

Although they worked primarily in black and white they periodically experimented with color photography, especially Callahan. Each, in his own way, was interested in pursuing abstraction, though their work was always tied to representational subject matter.

All three photographers were also intrigued by exploring formal and/or conceptual themes through series of photographs.

Open 10 am – 5 pm.

Closed Mondays and Tuesdays.

Press Release

Keith O. Anderson, Res, Qian Zhao: 2017 Annual Juried Exhibition

August 17 - September 8

Reception: Fri September 8, 6-8pm

Baxter St at CCNY is pleased to announce the results of the 2017 Annual Juried Competition. Juror Andrianna Campbell wrote this about the work submitted: “The photographs chosen play with the body, subjectivity and the place of both in relationship to photography. Some artists used analogue with an interest in the direct relationship of light while others address the fictions in both digital and analogue images. In all there were many great submissions, both the finalists and the honorable mentions engaged with the place of photography in our age.”

The exhibition of work by the three winners, Keith O. Anderson, Res, and Qian Zhao, will be on view from August 17th to September 8th, 2017. There will be a closing reception on September 8th with a screening in the backyard of work by the 15 Honorable Mentions listed below.

Honorable Mentions
Shay Arick
Leah Beeferman
Clint Colbert
Samantha Lynn Croteau
William Glaser
Juliana Halpert
Susan Rosenberg Jones
Dani Lessnau
Bollen Gilles Rie
Victor Rivera
Ryan Spencer
Caroline Tompkins
Anthony Urrea
Aaron Wax
Cristina Velásquez