LOCATIONS FILTERS

Edmund Clark: The Mountains of Majeed

January 27 - March 3

Reception: Sat January 27, 4-6pm

529 W 20th St, 3rd floor, New York, NY +

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Edmund Clark: The Mountains of Majeed

January 27 - March 3

Reception: Sat January 27, 4-6pm

British photographer Edmund Clark has spent more than a decade exploring the unseen processes, experiences and sites of contemporary conflict, with particular focus on the so-called War on Terror.

The Mountains of Majeed is a reflection on the end of ‘Operation Enduring Freedom’ in Afghanistan through photography, found imagery and Taliban poetry. Based at Bagram Airfield, the largest American base in Afghanistan, and formerly home to 40,000, Edmund Clark examines the experience of the vast majority of military personnel and contractors who have serviced Enduring Freedom without ever leaving the base. Clark distills their war down to a concise series of photographs of the two views they have of Afghanistan: what they experience of the country over the walls or through the wire of their bases, and what they see through pictorial representations within these enclaves of high technology and occupation.

At Bagram Airfield, the view, both outside and inside, is dominated by the mountains of the Hindu Kush. Set against their looming presence, Clark’s images from his time spent embedded with the U.S. military, expose the dystopian relationship between the man-made landscape of Bagram and the country beyond its walls. Evoking an intangible awareness of the mountains beyond, and the unseen insurgents hiding within them, Clark’s quiet and contemplative images portray an alternative narrative to the one ordinarily presented by the media.

Echoes of the surrounding landscape resonate in Clark’s photographs of spaces within the walls of the base, finding visual rhymes in the craters formed by construction work, peaks of refuse-strewn razor wire and the precisely ordered vistas of military tents.  Inside the buildings, the landscape is simulated by murals and artworks, representing another view of Afghanistan. On the walls of a dining facility, a series of paintings signed by an artist named ‘Majeed’ portray idealized scenes of mountain passes and lakes, in which Clark questions the influence of Western ideas of romantic or naive painting. Reflecting on the significance of the paintings’ location on an American base, Clark says: “How many tens of thousands of pairs of western eyes have registered the pastoral peace of these mountainscapes? Has anyone considered what they say of the country they are playing a part in occupying?”

In this exhibition, Majeed’s paintings have been reproduced as a series of picture postcards. Likening them to mementos for souvenir hunters of an idealized touristic landscape, Clark’s appropriation of the paintings offers a powerful reminder that the mountains remain out of Western reach. Clark says: “There is distance between these mountains. Vistas of tranquillity fabricated by hand from canvas, wood and paint. Images from an enclave captured in high resolution by the latest digital technology. Two cultures divided by landscape and time. Ever present mountains forever beyond boots confined for a duration, within walls of occupation, on a ground of gravel and tarmac. And there is convergence. Both are mountains of the imagination. Both are representations of enduring freedom; and in both the mountains belong to Majeed.”

This show coincides with Edmund Clark’s first solo museum exhibition in the United States at ICP Museum, New York. Edmund Clark: The Day the Music Died provides a timely and thoughtful exploration of the measures taken by states to protect its citizens from the threat of international terrorism, and the far-reaching effects of such methods of control including issues of security, secrecy, legality, and ethics. It brings together over 100 images, film, official documents, and ephemera exploring the hidden experiences and spaces of control and incarceration in the so-called global war on terror.  The exhibition is on view from Jan 26, 2018 – May 06, 2018, www.icp.org.


Press Release

Flowers

529 W 20th St, 3rd floor, New York, NY 10011

212.439.1700

newyork@flowersgalleries.com

Open Tues-Sat 10-6


Stephen Shore: Stephen Shore

January 11 - February 17

555 West 21st Street, New York, NY, +

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Stephen Shore: Stephen Shore

January 11 - February 17

303 Gallery is pleased to present our sixth exhibition of new photographs by Stephen Shore.

303 Gallery

555 West 21st Street, New York, NY, United States

212.255.1121

Open Tues-Sat 10-6



Michael Kenna

November 30, 2017 - January 28, 2018

241 Chartres St New Orleans, LA +

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Michael Kenna

November 30, 2017 - January 28, 2018


A Gallery for Fine Photography

241 Chartres St New Orleans, LA 70130

504.568.1313

joshuamann@att.net

Open Thur-Mon 10:30-5



Michel Varisco: Below Sea Level

December 9, 2017 - February 25, 2018

241 Chartres St New Orleans, LA +

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Michel Varisco: Below Sea Level

December 9, 2017 - February 25, 2018

 

Below Sea Level, the latest body of work from New Orleans artist Michel Varisco, imagines a metaphorical future for citizens after global sea levels have risen to overtake the land. In these magical realist photographs and assemblages, Varisco explores the intimate and complex experience of life in an endangered community, where citizens feel such a powerful connection to their home that they would rather reinvent themselves than abandon it. Unconventionally shot while submerged underwater, Below Sea Level also functions as a performative collaboration; Varisco gets in the water with a diverse group of residents who have been gently coached to surrender to their subaqueous state, with no air tanks or breathing masks to support them. These photographs establish a profound connection between the viewer, the subject, and the artist herself – all of whom float silently together in this strange oceanic world. Below Sea Level embodies a poetic response to the predicted fate of rising waters, as we struggle, adapt, float, and endure to create a new world beneath the water’s surface.

Press Release

A Gallery for Fine Photography

241 Chartres St New Orleans, LA 70130

504.568.1313

joshuamann@att.net

Open Thur-Mon 10:30-5



sad poems.

November 15, 2017 - March 4, 2018

Phillips Academy, 180 Main St Andover, MA +

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sad poems.

November 15, 2017 - March 4, 2018

​In his introduction to The Americans, poet Jack Kerouac claimed that photographer Robert Frank’s images “sucked a sad poem right out of America onto film.” This exhibition, sad poems., explores the notion of sadness by presenting photographs that focus on American life by artists such as Ansel Adams, Roy DeCarava, and Frank himself, and captures these poetic and tragic qualities. To investigate this relationship between photography, poetry, and sadness, and to acknowledge the universality of this emotion, the images in this show are placed into dialogue with poetry from around the world. Whether the lament of an ancient Japanese poet upon seeing a snow-covered meadow, or the eerie stillness haunting the frame of an American living room, each image and text reveal the power and ubiquity of sadness.​

This exhibition has been curated by Phillips Academy students in the course Art 400: Exploring the Addison, taught by Stephanie Sparling Williams, Assistant Curator and Visiting Scholar at the Addison Gallery.


Addison Gallery of American Art

Phillips Academy, 180 Main St Andover, MA 01810

978.749.4015

Open Tues-Sat 10-5, Sun 1-5



Micro/Macro: Views of Earth by Marilyn Bridges and Jeannette Klute

September 2, 2017 - March 11, 2018

One South High Akron, OH +

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Micro/Macro: Views of Earth by Marilyn Bridges and Jeannette Klute

September 2, 2017 - March 11, 2018

Marilyn Bridges and Jeannette Klute both chose Earth’s natural and human-touched terrain as their subject matter. Micro/Macro illustrates how photographs of the Earth on both an intimate and aerial scale can be disorienting as well as familiar, and the inherent compositional parallels between the work of two very different artists.

Bridges photographs sites around the world that show signs of past or present human activities. Looking down from the open door of a small plane flying at an altitude between 300 and 1000 feet, her aerial photographs record a visual experience that is neither like standing on the ground, nor looking out the window of a commercial jet. Her black and white images flatten Earth’s terrain into patterns of light, dark and texture. Exact scale and orientation are not clear except through detailed examination.

Klute is known for her contributions to the technical development and expressive value of color photography in the mid-1900s, when few artistic photographers used color processes. She was hired by Eastman Kodak in 1939, one of few women in the field at the time, and by 1945 was head of the visual research studio in the company’s color technology division. Klute tested a variety of subjects and environments in her research and art, often turning to nature as a source of myriad colors and textures. Her photographs of tide pools emphasize the colors and patterns in these micro environments, with overall compositions that decline to privilege particular objects but rather aim to translate the fascination and wonder she felt towards shore life.

The photographs featured in Micro/Macro: Views of Earth by Marilyn Bridges and Jeannette Klute come from the collection of the Akron Art Museum.

This exhibition is organized by the Akron Art Museum and is supported by the Ohio Arts Council. 


Akron Art Museum

One South High Akron, OH 44308

330.376.9185

Open Wed-Sun 11-5, Thur 11-9


Shared Space: A New Era

October 1, 2017 - April 22, 2018

258 Main St Ridgefield, CT +

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Shared Space: A New Era

October 1, 2017 - April 22, 2018

The Aldrich Contemporary Art Museum is pleased to present Shared Space: A New Era, an exhibition of photographs and video from 1987 through 2010 that considers the world’s social, economic, and political climate over the past thirty years and how the growing impact of technology during this time, with radically increased and diversified communication, has introduced a new phase of globalization. This exhibition has been curated by Lillian Lambrechts from the Bank of America Collection and is on loan from its Art in our Communities® program.

Shared Space features contemporary artists from twelve countries: the United States, Great Britain, Canada, Germany, the Netherlands, India, Iran, Italy, Japan, Mexico, the Czech Republic, and Switzerland. These artists capture myriad spaces for communication and interaction—urban and rural landscapes, homes and backyards, city streets and plazas, and ports and terminals. The exhibition’s point of departure is 1987, a seminal year that marks the signing of the Intermediate-Range Nuclear Forces Treaty by Ronald Reagan and Mikhail Gorbachev, and soon thereafter the fall of the Berlin Wall, events marking the end of the Cold War and the beginning of a new age of international exchange.

Sze Tsung Leong’s cityscapes illustrate the impact of a global economy. Thomas Ruff’s and Günther Förg’s photographs show the rapid transformation of the built environment through images of Modernist architecture constructed upon utopian ideals, now derelict and failing to realize its original intention. Photographs by Raghubir Singh, Thomas Struth, and Massimo Vitali depict masses of people gathering in public spaces from Los Angeles to Vietnam, and the Netherlands—expressing an unprecedented universality of access to information. Despite the interconnectivity of this time, a distancing and disconnect remains between individuals and groups, near and afar, as evidenced in Ben Gest’s Jessica & Samantha (2003), family members in close physical proximity who seem deeply psychologically distanced from one another. Shared Space reminds viewers of their place in the world and their role and impact on current global and interpersonal affairs while also provoking them to consider how they will contribute to “shared space” in the future.

“Bank of America is committed to strengthening artistic institutions and in turn, the communities we serve,” said Bill Tommins, Bank of America Southern Connecticut Market President. “Sharing our collection with the public through partners such as The Aldrich Contemporary Art Museum not only makes business sense for the bank, but also helps support museums in Connecticut.”

For press inquiries, please contact Emily Devoe at 203.438.4519, extension 140, or edevoe@aldrichart.org

Shared Space: A New Era is generously supported by the Bank of America Art in our Communities® program and Crozier.


Press Release

Aldrich Contemporary Art Museum

258 Main St Ridgefield, CT 06877

203.438.4519

Open Mon, Wed-Sat 10-5, Sun 12-5


Rania Matar: In Her Image: Photographs by Rania Matar

December 23, 2017 - June 17, 2018

3501 Camp Bowie Blvd Ft Worth, TX +

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Rania Matar: In Her Image: Photographs by Rania Matar

December 23, 2017 - June 17, 2018

This exhibition brings together four bodies of work by the Lebanese-American photographer Rania Matar that trace the development of female identity through portraiture. Depicting transitional moments of life, from young girlhood to middle age, Matar’s works address personal and collective identity through photographs mining female adolescence and womanhood. Photographing girls and women in both the United States and the Middle East, the artist shows how the forces that shape female identity transcend cultural and geographic boundaries.


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



Ellen Carey: Ellen Carey: Dings, Pulls, and Shadows

January 20 - July 22

3501 Camp Bowie Blvd Ft Worth, TX +

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Ellen Carey: Ellen Carey: Dings, Pulls, and Shadows

January 20 - July 22

Since the 1990s, experimental photographer Ellen Carey has been making photographs that defy photographic conventions of depicting identifiable subjects. Instead, her works depict vibrant fields of color that are meditations on the very nature of photography as an image created by the action of light on a light-sensitive surface. The exhibition Ellen Carey: Dings, Pulls, and Shadows features seven key works that explore the artist’s interest in color, light, and the photographic process as the subject of her practice.


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



Paul Bulteel: Waste Not

September 20, 2017 - January 31, 2018

143 Ludlow St New York, NY +

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Paul Bulteel: Waste Not

September 20, 2017 - January 31, 2018

The world is consuming at unprecedented rates. Three and a half million tons of waste is generated globally every day. By 2100, that figure is expected to triple to a daily rate of 11 million. With a directive to mitigate its environmental effects, Bulteel’s home country of Belgium consistently ranks one of the best in the world at recycling, boasting a rate of 62 percent. Comparatively, the US stands at 35 percent.

Waste Not exhibits scenes from the extensive recycling systems working to restore materials for reuse. Since 2013, Bulteel has photographed 50 companies active in collecting, sorting, recycling and reclaiming waste across Western Europe. His work aims to document a variety of waste streams and make viewers aware of the enormous quantities of materials left behind. Waste Not illustrates and encourages efforts to recycle waste on an unprecedented scale.


Anastasia Photo

143 Ludlow St New York, NY 10002

212.677.9725

kaley@anastasia-photo.com

Open Tues-Sun 11-7



Ruthie Abel: Let It Be The Dream It Used To Be

November 30, 2017 - January 24, 2018

143 Ludlow St New York, NY +

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Ruthie Abel: Let It Be The Dream It Used To Be

November 30, 2017 - January 24, 2018

Over 30,000 children currently face complex deportation proceedings without legal counsel. Most come to the United States alone from El Salvador, Honduras, and Guatemala, countries with the highest murder rates in the world. These children face deadly violence if deported, and thus have strong legal cases for immigration relief. Let It Be The Dream documents children who, through an extraordinary network of pro bono legal service providers, have won the right to stay in America.


Press Release

Anastasia Photo

143 Ludlow St New York, NY 10002

212.677.9725

kaley@anastasia-photo.com

Open Tues-Sun 11-7



Adrian Fernandez, Elliott Erwitt, Hermes Mallea, Leysis Quesada Vera, Luis Gispert, Michael Christopher Brown, Michael Dweck, Raul Canibano, Rene Pena, Tria Giovan: Cuba Is

September 8, 2017 - March 4, 2018

2000 Avenue of the Stars Los Angeles, CA +

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Adrian Fernandez, Elliott Erwitt, Hermes Mallea, Leysis Quesada Vera, Luis Gispert, Michael Christopher Brown, Michael Dweck, Raul Canibano, Rene Pena, Tria Giovan: Cuba Is

September 8, 2017 - March 4, 2018


Annenberg Space For Photography

2000 Avenue of the Stars Los Angeles, CA 90067

213.403.3000

info@annenbergspaceforphotography.org

Open Wed-Sun 11-6