LOCATIONS FILTERS

Edie Bresler: Anonymous

April 1 - May 23

67 Shore Rd Winchester, MA +

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Edie Bresler: Anonymous

April 1 - May 23

The Griffin Museum is thrilled to have creative artist Edie Bresler on the walls of the Griffin Gallery in Winchester, Massachusetts. The exhibition Anonymous, opens April 1 and closes May 23, 2021.

Edie will be giving an online presentation about her creative path and the works that comprise Anonymous on Sunday April 11th at 4pm Eastern / 1pm Pacific. 

About the series that the exhibition Anonymous is based on –
During a year-long illness, I spent more time looking at photographs in books than making them. A series of anonymous nudes from various sources, all made between 1843-1910 entered my consciousness and kept me restless. It was not just the finality of the title, “anonymous”, but wonder about the relationship between photographer and subject. I found myself dreamily inventing backstories and imagining what they might have been like outside the photographers studio. To satisfy my curiosity, I scanned the original reproduction to digitally remove them from the studio. Then I began creating an alternate place and time. I embroider, and sew clothing as a gesture of renewal and second chances. Each sewn photograph is a unique echo of the original, akin to a distant, imagined descendent. I gratefully acknowledge the collectors and institutions who collected and preserved the original moments. – EB

About Edie Bresler –

Edie Bresler is a longtime artist who investigates chance and randomness with photography. Her multi-faceted projects embracing a gamut of processes and possibilities is a rarity in this era of branded creativity.

Bresler is a recipient of a Massachusetts Cultural Council fellowship in photography, several Visual Artist Fellowships from the Somerville Arts Council, a Berkshire Taconic Artist Resource Grant, and a New York Foundation for the Arts grant.

Her projects have been featured on Good Morning America and PBS Greater Boston as well as in Photograph Magazine, Lenscratch, Slate, Photo District News, Business Insider, Esquire Russia and many other publications. She is represented by Gallery Kayafas in Boston and her photographs are in the permanent collections of the Houston Museum of Fine Arts, the Danforth Museum of Art and Polaroid Corporation.

Bresler lives in Somerville, MA and is director of the photography program at Simmons University.


Griffin Museum of Photography

67 Shore Rd Winchester, MA 01890

781.729.1158

Open Tues-Sun 12-4



Johanna Jackie Baier, Zackary Drucker, Texas Isaiah, Del LaGrace Volcano: Radical Tenderness: Trans for Trans Portraiture

March 15 - May 28

2 Hylan Boulevard Staten Island, NY +

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Johanna Jackie Baier, Zackary Drucker, Texas Isaiah, Del LaGrace Volcano: Radical Tenderness: Trans for Trans Portraiture

March 15 - May 28

Timed to coincide with the International Day of Transgender Visibility on March 31, Radical Tenderness: Trans for Trans Portraiture highlights photographic work from four trans and non-binary artists whose portrait photography exudes tender intimacy and calls for a radical shift in visibility politics.

The presented images turn away from thinking of visibility in terms of commercial representation made for others. The photographs portray muses, friends, icons, and self on aesthetic terms that say this one is “for us.” Consider the different resonances of the portrayed having their eyes closed or averted. Feel the atmosphere of a bedroom, a dressing room, a private moment in a park. This group show is in honor of the Alice Austen legacy of creating meaningful photographs with friends that both create opportunities to bond and leave a trace of one’s love for each other behind.

Showing work from Johanna Jackie Baier (Germany), Zackary Drucker (US), Texas Isaiah (US), and Del LaGrace Volcano (US/Sweden), Radical Tenderness aims to inspire visitors to consider the role of the photographic camera in practices of survival and care.

This exhibition is curated in partnership with Dr. Eliza Steinbock of Leiden University, the Netherlands. Dr. Steinbock’s work in cultural analysis investigates visual culture mediums like film, digital media, and photography, with a special focus on dimensions of race, gender and sexuality.


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



PHOTO | BRUT: Collection Bruno Decharme & Compagnie

January 24 - June 6

2 Lincoln Square New York, NY +

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PHOTO | BRUT: Collection Bruno Decharme & Compagnie

January 24 - June 6

The exhibition PHOTO | BRUT is a continuation of the American Folk Art Museum’s commitment to champion the works of self-taught artists—this time with a focus on the ever-changing field of photography, the frontiers and accessibility of which expanded proportionally with the invention of portable and affordable cameras.


American Folk Art Museum

2 Lincoln Square New York, NY 10023

212.265.1040

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


An-My Lê: An-My Lê: On Contested Terrain

April 18 - August 8

3501 Camp Bowie Blvd Ft Worth, TX +

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An-My Lê: An-My Lê: On Contested Terrain

April 18 - August 8

An-My Lê: On Contested Terrain is the first comprehensive survey of the work of Vietnamese-American photographer An-My Lê. Featuring photographs from a selection of the artist’s five major bodies of work, the nationally touring exhibition considers the celebrated photographer’s nearly 25-year career exploring the edges of war and recording these landscapes of conflict in beautiful, classically composed photographs.

Born in Saigon in the midst of the Vietnam War, Lê was evacuated with her family by the U.S. military. She has spent decades considering the complexity of American history and conflict, from war reenactments to the removal of Confederate monuments. This timely exhibition explores politically-charged topics through Lê’s subtle, evocative images that avoid the sensationalism often seen in newspapers and movies. Sweeping views that emphasize the size and breadth of the theater of war display the artist’s technical strengths in the classical landscape tradition, which she uses to compose beautiful images that draw the viewer into deeper consideration of complex themes of history and power.


Press Release

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



Nona Faustine, Kambui Olujimi, Pacifico Silano, Naama Tsabar, Chloe Wise: Fantasy America

March 5 - August 30

117 Sandusky St Pittsburgh, PA +

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Nona Faustine, Kambui Olujimi, Pacifico Silano, Naama Tsabar, Chloe Wise: Fantasy America

March 5 - August 30

Fantasy America invites New York-based artists Nona Faustine, Kambui Olujimi, Pacifico Silano, Naama Tsabar and Chloe Wise to revisit Andy Warhol’s seminal publication, America, and contribute through their own artistic practices.

This exhibition echoes the current moment of political upheaval and social reckoning. Against the backdrop of nationwide protests in the wake of George Floyd’s murder by police, the Black Lives Matter movement, the COVID-19 pandemic and the presidential election, the works in this exhibition probe and challenge the perceptions of what America is and what it can become. Like Warhol, the artists in this exhibition hold a mirror to society, reflecting the country at a critical juncture in history. Each produces work that blurs the boundaries between form and material, offering a complex picture of contemporary American life.

Nona Faustine confronts modern injustices through photography centered on public monuments and civic buildings that relate to hidden African American histories. Kambui Olujimi addresses nationhood and the colonization of bodies, land, time and space, surfacing buried political pasts. Pacifico Silano collages vintage gay men’s magazines to explore love and loss in queer culture and community. Naama Tsabar uses her body and sound compositions to perform outside the boundaries of gender norms with an array of female and gender non-conforming collaborators. Chloe Wise deconstructs advertising and audience through staged narratives to reveal tenuously manufactured social contracts and constructs.

Fantasy America is curated by José Carlos Diaz, chief curator at The Warhol. The exhibition catalogue includes contributions by Diaz, Jessica Lanay Moore, and Alan Pelaez Lopez.

Fantasy America is presented by Bank of America and generously supported by Artis; the Arts, Equity, & Education Fund; the Horace W. Goldsmith Foundation; The Fine Foundation, the Sheila Reicher Fine Foundation; Richard King Mellon Foundation; Joshua Hagen & Todd Kratofil; Highmark Blue Cross Blue Shield and Allegheny Health Network.


The Andy Warhol Museum

117 Sandusky St Pittsburgh, PA 15212

412.237.8300

information@warhol.org

Open Wednesday-Monday 10-5, Fri 10-10


Jeanette May: Tech Vanitas

April 30 - May 22

1463 West Chicago Avenue, Chicago, IL, USA +

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Jeanette May: Tech Vanitas

April 30 - May 22

Jeanette May’s “Tech Vanitas” photographs embrace anxiety over new technology and love for beautifully designed, obsolete machines. Her still lifes suggest 17th Century Dutch vanitas paintings with their air of craft guilds, international trade, and personal wealth. Her carefully disheveled arrangements of familiar devices also allude to product photography and advertising. “Tech Vanitas” examines the present and the past of technology with a sense of wonder and trepidation.

 


ARC Gallery & Educational Foundation

1463 West Chicago Avenue, Chicago, IL, USA

312.877.5760

Open (Temporary COVID Hours) Friday 3-7pm, Saturday & Sunday 12-4pm


Jo Ractliffe: Jo Ractliffe: DRIVES

October 17, 2020 - August 9, 2021

111 S Michigan Ave Chicago, IL +

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Jo Ractliffe: Jo Ractliffe: DRIVES

October 17, 2020 - August 9, 2021

In the mid-1980s, as a young photographer, Jo Ractliffe confronted a country turned into a police state.

The years preceding South Africa’s first free vote in 1994, which saw Nelson Mandela elected president, were disheartening and at times brutal.

Rather than capturing front-page acts of violence under the legalized racism known as apartheid, however, Ractliffe (South African, born 1961) found her creative voice by working indirectly—through allegories and aftermath. Ractliffe offered symbolic depictions of human character in pictures of common animals, particularly donkeys and dogs, as in her 1987 series of photolithographs Nadir (“the low point”): stray curs roaming or leaping in a postapocalyptic landscape. In other early landscape photographs, she showed what remained after neighborhoods and townships for people of color were razed in favor of the white minority.

This exhibition—the first survey ever organized of Ractliffe’s work—brings together more than 100 artworks from across her career. These include dreamlike photographs the artist made in the 1990s with one-dollar cameras while cruising the port city of Durban and on a cross-country road trip, as well as a second highway piece, the unsettling installation N1 Incident/End of Time (1997/99). Large-scale color prints, video installations, and documentary photographs made from around 2000 to as recently as 2018 round out this comprehensive look at the artist’s varied and haunting body of work.


Press Release

Art Institute of Chicago

111 S Michigan Ave Chicago, IL 60603

312.443.3600

Open daily 10:30-5, Thur 10:30-8



Kate Breakey, Brett Starr: The Sky — Images by Kate Breakey and Brett Starr

May 1 - June 19

207 N Gilbert Rd, Ste 201 Gilbert, AZ +

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Kate Breakey, Brett Starr: The Sky — Images by Kate Breakey and Brett Starr

May 1 - June 19

The Sky is an exhibition of images by two Tucson artists, Kate Breakey and Brett Starr, who recently discovered they had a mutual interest in the heavens. Both of them have looked upward, and felt compelled to make images of the sky for years. For this exhibition they have gathered together their daytime and nighttime images of clouds, rainbows, the sun and the moon, comets and cosmic events. Most recently they collaborated to make deep sky images using an online telescope on the other side of the world.

“It was exciting and conceptually poetic to instruct a telescope that is 9,000 miles away to point at an object – a galaxy, or nebulae- on the other side of the universe, and make an image for us to contemplate and print. The incomprehension and wonder you feel is transforming – it puts time and life on earth into perspective, and that is always a good thing.”

Image credit: Kate Breakey


Art Intersection

207 N Gilbert Rd, Ste 201 Gilbert, AZ 85234

480.361.1118

info@artintersection.com

Open Wednesday - Saturday, 10am - 6pm


Lewis Hine: Our Strength Is Our People: The Humanist Photographs of Lewis Hine

May 7 - August 2

2 South Pack Square, Asheville, NC, USA +

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Lewis Hine: Our Strength Is Our People: The Humanist Photographs of Lewis Hine

May 7 - August 2

This exhibition surveys the life’s work of Lewis Wickes Hine (1874–1940), the father of American documentary photography. Consisting entirely of 65 rare vintage prints, it covers the three overarching themes of Hine’s three-decade career—the immigrant experience, child labor, and the American worker—and culminates in his magnificent studies of the construction of the Empire State Building.

Our Strength Is Our People coincides with the complementary exhibition, Old World/New Soil: Foreign-Born American Artists from the Asheville Art Museum Collection.

Our Strength Is Our People is organized by art2art Circulating Exhibitions, LLC. All works are from the private collection of Michael Mattis & Judith Hochberg. This exhibition is generously supported by the Workers’ Legacy Foundation.

Click here to learn more.


Asheville Art Museum

2 South Pack Square, Asheville, NC, USA

828.2.53..3227

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



Alanna Fields: Mirages of Dreams Past

May 5 - June 9

126 Baxter St. New York, NY +

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Alanna Fields: Mirages of Dreams Past

May 5 - June 9

Baxter St at the Camera Club of New York is pleased to present Mirages of Dreams Past by lens-based mixed media artist, archivist, and 2020 Workspace Resident Alanna Fields. On view May 5 through June 9, 2021, the exhibition is comprised of a new series of large-scale mixed-media collages exploring the representation of Black queer desire, sensuality, leisure, and memory.

For the works in Mirages of Dreams Past—Fields’s first solo exhibition—the artist draws upon an eclectic range of vernacular photographs of Black queer people dating from the 1960s to the 1970s. Reframing this found archive using a kaleidoscopic technique, Fields repeats and layers a single image to both reconstruct the way we process images and push beyond the constructs of nostalgia and memory.  Through the use of wax, she applies different levels of transparency to each figure: they emerge and dissolve, slipping in and out of view, in constant stages of revealing and concealing what can’t be accessed in real time. 

The pieces in Mirages of Dreams Past build upon Fields’s acclaimed recent series “Audacity” (2019-20) and “As We Were” (2019), in which wax served as a means to seal and memorialize Black queer life and visually address how it has historically been obscured and concealed. In the new works, however, the wax begins to frame rather than conceal: nature, vibrant interiors, and images of home come into focus.

“The past is always with us as we carry our histories in our bodies,” says Fields. “It holds a richness that we must engage in order to understand and unpack our collective memories, grapple with the present, and imagine the future. Reflecting upon intimate moments of solitude, freedom and desire, these works traverse through a boundless black queer dream space that amplifies, echoes and reverberates back to the viewer, bringing memory into focus.”

Alanna Fields asks the viewer to look more deeply and closely at tender and quiet moments and to reflect upon memory, intimacy, and vulnerability. Working to create a new archive, the artist explores dreaming and dream spaces as a means of venturing through memory, piercing the historical record’s veil and shining a light on what was hiding in plain sight. 

Alanna Fields (b. 1990, Upper Marlboro, MD) is a lens-based mixed media artist and archivist whose work investigates and challenges representations of Black queer identity and history through the lens of photography. Fields’ work has been featured in exhibitions including Felix Art Fair, LA, UNTITLED Art Fair, Miami, MoCADA, and Pratt Institute. Fields is a Gordon Parks Foundation Scholar, 2020 Light Work AIR and Baxter St. CCNY Workspace AIR. She received her MFA in Photography from Pratt Institute and has given talks at the Aperture Foundation, Stanford University, NYU Tisch School of the Arts, Parsons New School, and Syracuse University. Fields lives and works in New York City.

Baxter St at the Camera Club of New York supports emerging lens-based artists at critical moments of their careers. Founded in 1884, Baxter St is one of New York’s oldest artist-run nonprofit spaces and has long been a catalyst for innovative creation within the artistic mediums of photography and video practices. Through exhibitions, workspace residency programs, and conversation series, Baxter St is a hub for a vibrant community deeply engaged in the art of lens-based contemporary practices.

Image: Alanna Fields, from the series Mirages of Dreams Past, 2021


Press Release

Baxter St at CCNY

126 Baxter St. New York, NY 10013

212.260.9927

baxterst@cameraclubny.org

Open Tues-Sat 12-6

Summer Hours: Closed July 3rd, August 7-11



John Edmonds: John Edmonds: A Sidelong Glance

October 23, 2020 - August 8, 2021

200 Eastern Pkwy Brooklyn, NY +

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John Edmonds: John Edmonds: A Sidelong Glance

October 23, 2020 - August 8, 2021

John Edmonds: A Sidelong Glance is presented as part of the inaugural UOVO Prize for an emerging Brooklyn artist. John Edmonds is best known for his use of photography and video to create sensitive portraits and still lifes that center Black queer experiences and reimagine art historical precedents. This is the artist’s first solo museum exhibition and features new and recent photographic portraits and still lifes of Central and West African sculptures alongside friends and acquaintances from Edmonds’s creative community in New York. These works explore the intersections of representation, modernity, and identity in the African diaspora.

For this exhibition, Edmonds was invited to engage directly with our Arts of Africa collection, photographing select objects donated to the Museum in 2015 by the estate of the late African American novelist Ralph Ellison. The presentation of the collection objects, along with Edmonds’s excerpts from scholarly texts on Baule art, considers the distinct role that individuals and institutions—from collectors to art historians to art museums—play in the bestowal of meaning, authenticity, and value. While Edmonds’s work recognizes the persistence of power imbalances, it offers new aesthetic and conceptual possibilities.

John Edmonds: A Sidelong Glance draws its title from an essay by scholar Krista Thompson that looks at perspectives on Black diaspora art history, and how they have shifted from examining relationships with Africa to questioning forms of representation in Western cultures.

Edmonds is the inaugural recipient of the UOVO Prize for an emerging Brooklyn artist. As the awardee, he receives a solo exhibition at the Brooklyn Museum, a commission for a 50×50-foot art installation on the façade of the new UOVO: BROOKLYN art storage and services facility, and a $25,000 unrestricted cash grant. The mural is on view through spring 2021.

John Edmonds: A Sidelong Glance is curated by Drew Sawyer, Philip Leonian and Edith Rosenbaum Leonian Curator, Photography, Brooklyn Museum, and Ashley James, former Assistant Curator, Contemporary Art, Brooklyn Museum (currently Associate Curator, Contemporary Art, Solomon R. Guggenheim Museum).

The UOVO Prize is made possible by

Generous support for this exhibition is provided by the Rockefeller Brothers Fund.

https://www.brooklynmuseum.org/exhibitions/john_edmonds


Brooklyn Museum

200 Eastern Pkwy Brooklyn, NY 11238

718.638.5000

Open Wed 11-6, Thur 11-10, Fri-Sun 11-6



Lorraine O’Grady: Lorraine O’Grady: Both/And

March 5 - July 18

200 Eastern Pkwy Brooklyn, NY +

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Lorraine O’Grady: Lorraine O’Grady: Both/And

March 5 - July 18

Lorraine O’Grady: Both/And is the first retrospective of one of the most significant contemporary figures working in performance, conceptual, and feminist art. Lorraine O’Grady replaces either/or ways of thinking with the endless loop of “both/and,” challenging the fixed positions of self and other, here and there, now and then, all while reflecting on the poignancy of lives lived within dualistic frameworks. The artist addresses her own experience as a person marked by racial hybridity―her family histories connect the Caribbean, Africa, Europe, and the United States―who is nonetheless definitively a Black woman. Through her exploration of legacies of cultural interconnection and reciprocal influences, O’Grady sheds light on the ways Blackness has always existed at the heart of Western modernism.

The exhibition features twelve of the major projects O’Grady has produced over her four-decade career and also debuts a much-anticipated new installation. In addition to works presented in the Elizabeth A. Sackler Center for Feminist Art, five of O’Grady’s projects are installed in collection galleries throughout the Museum, highlighting the artist’s long engagement with art historical omissions and institutional failings related to the creative agency of those excluded from the canon. O’Grady’s radical revisionism of the 1980s and 1990s anticipated themes that have been embraced by a younger generation of artists and thinkers, inspiring them to resist and reshape a world structured by difference and inequity.

Lorraine O’Grady: Both/And is organized by Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and writer Aruna D’Souza with Jenée-Daria Strand, Curatorial Assistant, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum.

Leadership support for this exhibition is provided by the Kaleta A. Doolin Foundation, Henry Luce Foundation, and Andy Warhol Foundation for the Visual Arts. Major support is provided by the Elizabeth A. Sackler Museum Educational Trust. Generous support is provided by Shelley Fox Aarons and Philip Aarons, the Maurer Family Foundation, the National Endowment for the Arts, and the Rockefeller Brothers Fund. Additional support is provided by J.A. Forde and the May and Samuel Rudin Family Foundation, Inc.

https://www.brooklynmuseum.org/exhibitions/lorraine_ogrady

Image caption and credit: Lorraine O’Grady (American, born 1934). Rivers, First Draft: The Woman in White eats coconut and looks away from the action, 1982/2015. Courtesy Alexander Gray Associates, New York. © Lorraine O’Grady / Artists Rights Society (ARS), New York


Brooklyn Museum

200 Eastern Pkwy Brooklyn, NY 11238

718.638.5000

Open Wed 11-6, Thur 11-10, Fri-Sun 11-6