LOCATIONS FILTERS

Peter Varley: CANADA & To Be a Dancer

June 23 - August 27

1356 Dundas Street West, Toronto, ON, Canada +

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Peter Varley: CANADA & To Be a Dancer

June 23 - August 27

Exhibition Dates: June 23 ­– August 27, 2022
Opening: Thursday, June 23, 2022, 4pm-7pm
Remarks from the Varley Family: Thursday, June 23, 2022, 5:00pm

The gallery is pleased to present “CANADA & To Be a Dancer”, our first solo exhibition of work by Peter Varley (b. 1921, Toronto, ON; d. 2000, Nanaimo, BC). Varley’s career as a professional photographer is emblematic of leading photographers of his generation, mastering various techniques of the medium to become, and remain, a photographer in demand. By the 1950s, skilled photographers were key contributors to the magazine, newspaper and advertising industries. “Canada & To Be a Dancer” celebrates aspects of Varley’s contributions made over four decades through a selection of vintage B&W photographs, as well as newly printed colour photographs from vintage colour slides.

Peter Varley was a scenic, commercial, and architectural photographer, best remembered for his landscape images and the 1964 publication, Canada. With texts by Kildare Dobbs, the book traces natural nuances across the country, urban scenes, rural life, and the Canadian wilderness. Varley’s photographs illustrate a visual history of mid 20th century Canada and add valuable contributions to the limited history of Canadian photography.

Varley was born in Toronto and raised in western Canada from a young age. British Columbia’s lush natural landscapes and perpetually changing waters informed his early visual culture. As the son of acclaimed Group of Seven painter, Frederick Horsman Varley, he was surrounded by celebrated Canadian artists such as Jock Macdonald and John Vanderpant. His early photographic practice was notably inspired by Vanderpant and many visits to the artist’s studio as a child: it became a “magic land” to him. By 1939, Varley established a darkroom beneath the stairs of his family home in Lynn Valley and began exploring his own photographic practice. At that time, new visual sensibilities in Canadian arts and photography were emerging and Varley was a young protégé among artists at an influential moment.

Varley enlisted in the Royal Canadian Air Force and served as a radio operator during WWII. After his service, he enrolled in the Vancouver School of Art majoring in painting, but eventually continued exploring his creative inclination towards lens-based work. At VSA, Varley met and became close friends with Canadian architect Ron Thom. Soon after graduating in 1950, he specialized in architectural photography, eventually becoming Thom’s photographer of choice for Massey College and Trent University.

In 1952, Varley became art director at Canadian Homes and Gardens. Throughout the 1950s and into the 1960s, he supplemented his income from CHG with photo essays for The Star Weekly Magazine, Weekend, Maclean’s, Chatelaine, and Canadian Magazine. From 1960–1962, he traveled across the country photographing for Canada and from 1962-1969, he partnered in the studio called Camera Three, where he exceled in food photography. Varley’s other commercial pursuits included those taken for the Canada’s National Ballet School, publishing in To Be a Dancer, his 1971 book that illustrates the development of intimate relationships with his subjects through close and continual observation.

His output was more sporadic through the 1970s but contributed to publications such as This Land, This People, as well as two travelling slide productions the National Film Board of Canada, and a survey of his colour nature photography organized by the Art Gallery of Greater Victoria.

Little is known about Varley, but a great deal can be learned from an essay he wrote, “Memories of My Father” published in Varley, the 1983 monograph on his famous father. Varley recounts a family life that was, at times, impoverished and tumultuous. He candidly shares details of his upbringing in different Canadian cities, citing how his father’s precarious successes affected his early sense of security and family life. The written homage to his father’s career and legacy offer insights into influences evident throughout his own photographic oeuvres.

Varley writes, “After years of painting broad landscapes, dad became lovingly aware of the smallest detail of life… he found a visual language that suited his needs.” Interestingly, among photographs of forest covered mountains, vast prairies, and quiet coastal towns, Varley explores texture, colour, and form in his own close-up observations of unique vegetation. His archive of gelatin silver prints and colour slides declare a passion towards land itself, representing the tangible forces of nature to shape our world.

His photographic works are currently in The Feckless Collection (Vancouver, BC), National Gallery of Canada (Ottawa, ON), and Trent University Collections (Peterborough, ON).


Press Release

Stephen Bulger Gallery

1356 Dundas Street West, Toronto, ON, Canada

416.504.0575

info@bulgergallery.com

Open Tues-Sat 11-6



Nathaniel Tetsuro Paolinelli: Downtown

June 11 - September 3

516 Central Ave SW Albuquerque, NM +

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Nathaniel Tetsuro Paolinelli: Downtown

June 11 - September 3


516 ARTS

516 Central Ave SW Albuquerque, NM 87102

505.242.1445

info@516arts.org

Open Tues-Sat 12-5pm


Timothy Duffy

May 5 - August 31

241 Chartres St New Orleans, LA +

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Timothy Duffy

May 5 - August 31


A Gallery for Fine Photography

241 Chartres St New Orleans, LA 70130

504.568.1313

joshuamann@att.net

Open Thur-Mon 10:30-5


Eugène Atget, E.J. BELLOCQ, Bill Brandt, Harry Callahan, Imogen Cunningham, Mario Giacomelli, André Kertész, Robert Mapplethorpe, Irving Penn, Edward Weston: Vision Past

July 1 - August 31

450 Harrison Avenue, Boston, MA, USA +

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Eugène Atget, E.J. BELLOCQ, Bill Brandt, Harry Callahan, Imogen Cunningham, Mario Giacomelli, André Kertész, Robert Mapplethorpe, Irving Penn, Edward Weston: Vision Past

July 1 - August 31

A summer exhibition featuring 20th century works by Eugène Atget, E.J. Bellocq, Bill Brandt, Harry Callahan, Imogen Cunningham, Mario Giacomelli, André Kertész, Roert Mapplethorpe, Irving Penn, and Edward Weston.

Opening reception: Friday, July 1, 6 – 8:30PM

On view on Sundays from noon to 4PM and by appointment throughout July and August, 2022.

Click HERE to see works from this show.


Press Release

Abakus Projects

450 Harrison Avenue, Boston, MA, USA

Open Open by appointment and during exhibitions



Paul Mpagi Sepuya: 144 Powers

June 14 - September 30

2 Hylan Boulevard Staten Island, NY +

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Paul Mpagi Sepuya: 144 Powers

June 14 - September 30


Alice Austen House Museum

2 Hylan Boulevard Staten Island, NY 10305

718.816.4506

Open Tues--Fri 1:00 - 5:00 PM, Sat-Sun 11:00 - 5:00 Closed Monday



MULTITUDES

January 24, 2021 - September 5, 2022

2 Lincoln Square New York, NY +

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MULTITUDES

January 24, 2021 - September 5, 2022

Many minds, one project: the American Folk Art Museum is a collection of multitudes. Marking the occasion of the Museum’s 60th anniversary, the displays on view mine this figurative expression as a metaphor for the vast breadth of the Museum’s holdings and its many creators. From its inception in the 1960s and gathering momentum over the decades, AFAM developed as a “collection of collections,” a result at once unified and expressive of numerous perspectives.

Omnipresent throughout the exhibition is the concept of multitudes as reflected in the artistic process itself—from gestures of repetition and seriality, as well as organizing acts of systematization, memorialization, inventory-taking, and the creation of casts of characters. Meanwhile, across the galleries, groupings prompt consideration of art-making and collecting as aligned creative practices, each contributing to identity-formation and world-building. Presented non-chronologically, the works are visually clustered to reveal not only their individuality but also their commonalities and underlying patterns.

Moving across four centuries, AFAM’s collection brings together a rich array of voices, experiences, and mindsets, yielding a correspondingly diverse set of objects: community-based creations rooted in long-standing traditions; functional but highly aesthetic objects reflecting widespread popular practices; distinctive works by neurodivergent individuals made outside the purview of artistic peers; works as fragments entangled in lifelong private mythologies. Rejecting artificial and discriminatory boundaries prevalent in dominant art historical narratives, by which formally trained artists are often constrained, the identity of the Museum’s collection has been formed and reformed over the years by newly-added makers and fresh ideas. The idea of multitudes invites a meditation on the complexities of the Museum’s evolving and multifaceted collection as a larger whole, constituting more than the sum of its parts.


American Folk Art Museum

2 Lincoln Square New York, NY 10023

212.265.1040

Open Tues-Sat 12-7:30, Sun 12-6


Black Every Day: Photographs from the Carter Collection

June 11 - September 11

3501 Camp Bowie Blvd Ft Worth, TX +

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Black Every Day: Photographs from the Carter Collection

June 11 - September 11

This exhibition explores over a century of photographic representations of Black Americans as represented in the Carter collection. Instead of focusing on major historical events or contemporary images of strife and violence, Black Every Day explores the fullness and richness of Black culture, addressing themes of community, excellence, family, and labor.


Amon Carter Museum of American Art

3501 Camp Bowie Blvd Ft Worth, TX 76107

817.738.1933

Open Tues-Sat 10-5, Thur 10-8, Sun 12-5



Wendy Red Star: Wendy Red Star: American Progress

April 6 - August 28

Stanford University Stanford, CA +

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Wendy Red Star: Wendy Red Star: American Progress

April 6 - August 28

Wendy Red Star: American Progress presents work by the artist, Wendy Red Star, who was raised on the Apsáalooke (Crow) reservation in Montana. Red Star’s work is informed by her cultural heritage and engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance.This exhibition, installed throughout the first floor of the museum, explores the ideas of Westward Expansion and Manifest Destiny through the lens of John Gast’s 1872 painting, American Progress. Gast’s painting exemplifies the justification of American settlers driving Indigenous communities off their land during the 19th century.


Anderson Collection

Stanford University Stanford, CA 94305

650.721.6055

Open Wed-Mon 11-5, Thur 11-8



Gideon Mendel: Watermarks

July 15 - August 13

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Gideon Mendel: Watermarks

July 15 - August 13


ARTCO Galerie Aachen

Seilgraben 31, 52062 Aachen, Germany

4902414.012.6750

Open Thursday - Friday: 13.00 - 18.00



Joyce Tenneson: Draped and Veiled: 20×24 Polaroid Photographs by Joyce Tenneson

May 25 - October 10

2 South Pack Square, Asheville, NC, USA +

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Joyce Tenneson: Draped and Veiled: 20×24 Polaroid Photographs by Joyce Tenneson

May 25 - October 10

Standing behind the substantial presence of the large format Polaroid 20×24 camera—weighing 200 pounds and the size of a refrigerator—artists peer through the viewfinder towards another world. The process of creating the unique large dye transfer prints imparts framing to a scene and quality to an image that balances subtlety with boldness, softness paired with an undeniable presence. The 20×24 Polaroid adds an additional layer of veiling and diaphanous softness to the imagery in Joyce Tenneson’s Transformations series, which she began in 1985 and engaged with through 2005.

Transformations features partially or fully nude figures poetically presented; Tenneson’s photographs have always been interested in the magic of the human figure, contained within bodies of all ages and emotions in a broad range that are both vulnerable and bold. She interweaves elements that feel vaguely mythological or symbolic, her figures embodying Classical sculptures of gods and goddesses, both mighty and mercurial. Elements such as shells, fruits, or daggers are expressions of inner journeys and self-discovery, and draped fabric and netting echo the shifting flow of time, energy, and identity. The ethereal quality imparted by the Polaroid process resonated with Tenneson, who stated: “I often felt like a channel—the images that had been part of my inner psyche for years emerged from some mysterious source.”

This exhibition is organized by the Asheville Art Museum and curated by Hilary Schroeder, assistant curator.


Asheville Art Museum

2 South Pack Square, Asheville, NC, USA

828.2.53..3227

Open Wed-Mon 11-6, Thur 11-9



Richard Misrach, Guillermo Galindo: Border Cantos | Sonic Border

July 22 - October 24

2 South Pack Square, Asheville, NC, USA +

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Richard Misrach, Guillermo Galindo: Border Cantos | Sonic Border

July 22 - October 24

Border Cantos | Sonic Border, a unique collaboration between American photographer Richard Misrach and Mexican American sculptor and composer Guillermo Galindo, uses the power of art to explore and humanize the complex issues surrounding the Mexican-American border through a transformative and multi-sensory experience.

Misrach, who has photographed the border since 2004, beautifully captures landscapes and objects, including things left behind by migrants. His large-scale photographs, along with grids of smaller photos, highlight issues surrounding migration and its effect on regions and people, and also introduce a complicated look at policing the boundary.

Responding to these photographs, Galindo fashioned sound-generating sculptures from items Misrach collected along the border, such as water bottles, Border Patrol “drag tires,” spent shotgun shells, ladders, and sections of the border wall itself. The sounds they produce give voices to people through the personal belongings they have left behind. The composition embraces the Pre-Columbian belief that there was an intimate connection between an instrument and the material from which it was made, with no separation between spiritual and physical worlds. Based on the Mesoamerican Venus calendar, Sonic Border plays for a total of 260 minutes and is separated into 13 cycles of 20 minutes. Within these cycles, the instruments play in small groups of two or more, or all together as an orchestra.

Presented in English and Spanish, Border Cantos | Sonic Border offers perspective on the challenges of migration, inviting us to bridge boundaries. When experienced as a whole, the images, instruments, and emanating sounds create an immersive space in which to look, listen, and learn about the complicated issues surrounding the Mexican-American border. While the artists do not seek to provide solutions to these issues, they do provide insight into a place where most people have never ventured, creating a poignant connection that draws on our humanity.

Border Cantos | Sonic Border is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas. Support for the national tour of Border Cantos | Sonic Border is provided by Art Bridges.


Asheville Art Museum

2 South Pack Square, Asheville, NC, USA

828.2.53..3227

Open Wed-Mon 11-6, Thur 11-9



Cristina Velasquez: As If It Were the Sun

July 16 - August 27

4411 Montrose Blvd, Houston, TX, USA +

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Cristina Velasquez: As If It Were the Sun

July 16 - August 27

Assembly is pleased to present As If It Were the Sun, new work by Colombian artist, Cristina Velásquez. This is Assembly’s debut exhibition at our brick-and-mortar gallery in Houston, Texas. As If It Were the Sun extends the artist’s inquiry into the photographic gaze against issues of identity, history, and colonialism through photographs and photographic weavings made with cardboard. 


Assembly

4411 Montrose Blvd, Houston, TX, USA

713.485.5510

info@assembly.art

Open Tuesday – Saturday 11 AM – 6 PM or by appointment