The 2010 AIPAD Photography Show New York World's Leading Fine Art Photography Galleries
The AIPAD Photography Show New York, was presented by the Association of International Photography Art Dealers (AIPAD) from March 18 through 21, 2010.
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Review: Man Ray at Edwynn Houk
There are a number of famous photographs in this exhibition of Man Ray's work from Paris: Nancy Cunard, her arms stacked with African bracelets; Peggy Guggenheim, cigarette holder aloft; Max Ernst reflected in shattered glass.
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Review: Joe Szabo at Gitterman Gallery
Szabo, whose empathetic photographs of Long Island teen-agers have attracted a cult following, shows pictures made at Jones Beach during the past four decades, along with shots of fans at a 1978 Rolling Stones concert.
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Review: Mohamed Bourouissa at Yossi Milo
A French photographer whose work was included in the New Museum's "Younger Than Jesus" exhibition, in 2009, makes his New York gallery début with a knockout group of large-scale color images that could almost pass for photojournalism.
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Review: Jocelyn Lee at Pace MacGill
Lee's color photographs of friends, strangers, and her dying mother are tender, melancholy, and full of frustrated longing. Most of her subjects (half of whom she first met online) appear either nude or only partially clothed.
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Review: American Photo Illustration Exhibit at Keith de Lellis
The not so fine line between kitsch and art gets blurred repeatedly in this canny, diverting exhibition, "Artifice: Photo Illustration in America circa 1925-1960." The exhibit features staged and manipulated images by Anton Bruehl, Edward Steichen, George Hoyningen-Huene, Louise Dahl-Wolfe, and a slew of other successful editorial and advertising photographers.
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Joann Verburg at Pace MacGill
Verburg's color photographs of the Italian town of Spoleto are not the views of a tourist. She's so familiar with these narrow passages, painted plaster walls, and bricked-up archways that her pictures feel intimate, loving.
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Review: "Between the Bricks and the Blood: Transgressive Typologies" at Steven Kasher
This exhibition of photographs in grids and groups is not the academic exercise its title might suggest. Instead, it's another engagingly eccentric example of this gallery's penchant for unlikely and provocative combinations.
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"The Heartbeat of Fashion" Exhibit at Howard Greenberg
For a show inspired by the German photographer and collector F. C. Gundlach's book of the same name, the gallery pulls pictures from its vast inventory that question the conventional definition of a fashion photograph.
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"Pioneers of Color" Exhibit at Edwynn Houk
Although this exhibition was clearly designed as a showcase for Joel Meyerowitz (whom the gallery represents), with Stephen Shore and William Eggleston in supporting roles, that's not an issue when there are so many great photographs in the room.
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Pieter Hugo at Yossi Milo
The South African photographer's previous work with itinerant performers and their trained animals led him to a series of far freakier "Nollywood" pictures—portraits of bit players in Nigeria's booming low-budget film industry.
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Esko Männikkö at Yancey Richardson
This Finnish photographer is known as much for his installation style as for his images, but both are distinctive.
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Viviane Sassen at Danziger Projects
The Dutch photographer makes her American début with a vivacious group of images shot in Africa.
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Andy Warhol at Steven Kasher Gallery
Warhol is a seemingly inexhaustible source of art and artifacts, and this large group of smallish black-and-white snapshots—previously unexhibited outtakes from his 1979 book, "Andy Warhol's Exposures"—falls somewhere between the two.
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The AIPAD Photography Show New York to Be Held March 18-21, 2010 World's Leading Fine Art Photography Galleries
One of the most important international photography events, The AIPAD Photography Show New York, will be presented by the Association of International Photography Art Dealers (AIPAD) from March 18 through 21, 2010.
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A Case for Art Insurance Protection
Hauntingly Beautiful Photographic Images Rescued from Infamous Chicago Fire on View at the AXA Art Lounge during The AIPAD Photography Show New York.
Frederick Sommer at Bruce Silverstein
Best known as a photographer, Sommer (1905-99) never restricted himself to one medium, and this sprawling, museum-quality survey shows how closely his photography, drawing, painting, and collage work were linked.
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Deborah Turbeville at Staley-Wise
Turbeville's eccentric, romantic, and decidedly hands-on approach to photography is underscored by her unique exhibition design.
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Aaron Siskind at Alan Klotz Gallery
Forty black-and-white photographs dating from 1938 to 1985 emphasize the marvellous range and consistency of Siskind's Abstract Expressionist work.
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Joshua Lutz at Robert Koch
New York photographer Joshua Lutz presents works from two series, "Meadowlands" and "AmStarDam."
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Dennis Darzacq at Laurence Miller
Suspended in midair, the young subjects of this French photographer's big color pictures appear to be levitating in the otherwise unpopulated aisles of supermarkets.
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Jacob Aue Sobol at Yossi Milo
In two complementary series of black-and-white photographs, this Danish photographer immerses us in a dark, erotic, and occasionally violent world a lot like the one we've seen in pictures by Daido Moriyama, J. H. Engstrom, Anders Petersen, and other frequenters of the lower depths.
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Robert Voit at Amador Gallery
Yet another graduate of the Düsseldorfer Akademie (fellow-alumni include Thomas Struth and Andreas Gursky) carries on the spirit of Bernd and Hilla Becher in witty, deadpan color photographs of what appear to be unusually tall and neatly trimmed trees.
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Richard Misrach at Pace/MacGill
Misrach continues to amaze, with a group of massive photographs whose color has been digitally altered.
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Lauren E. Simonutti at Catherine Edelman Gallery
Lauren E. Simonutti's black-and-white images depict meticulously staged representations of life as she experiences it, starring herself as the main character.
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William Christenberry at Hemphill Fine Arts
William Christenberry, who is 73, has been one of Washington's most important artists for something like 40 years, working as a painter, fine-art photographer, meticulous sculptor and careful installer of found things.
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Tina Modotti at Throckmorton
This show of more than forty photographs, taken in Mexico between 1923 and 1930, is a welcome reminder that Modotti's cult status is based on a substantial body of work, not just on her history of lovers, controversies, and Communist sympathies.
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Homer Page at Howard Greenberg
Since it opened, in 1986, this gallery has been known for reviving the work of forgotten or overlooked photographers. Homer Page (1918-85) is the latest of these rediscoveries.
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Martin Denker at Bruce Silverstein
Denker's huge color photographs would not exist without the latest digital technology. Although there are bits of recognizable photographic subjects here, they've been whipped up into a dazzling, chaotic concoction that has very little foothold in reality.
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Massimo Vitali at Bonni Benrubi
Vitali is famous for his huge color photographs of Europeans at the beach—landscapes of leisure that are as big as history paintings but a lot more matter-of-fact.
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William Christenberry at Pace MacGill
Works in several mediums, including color photography, painting, and drawing, continue Christenberry's ongoing documentation of buildings and landscapes in rural Alabama.
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Diane Arbus and Robert Gober at Fraenkel Gallery
San Francisco photography dealer Jeffrey Fraenkel has played host in his gallery to artists as little identified with photography as Sol LeWitt, Christian Marclay and Steve Wolfe.
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Ellen von Unwerth at Staley-Wise
Many of von Unwerth's photographs, fashion and otherwise, take place in a casually eroticized world without men, a place where girls just wanna have fun wearing nothing but expensive lingerie.
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Ferenc Berko at Gitterman Gallery
Born in Hungary, Berko was brought up in Germany, and spent many years shuttling between Europe, India, and America before settling in Aspen. His peripatetic life is reflected in this show of photographs, made between 1933 and 1951, when he refined his distinctly modernist vision.
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Paolo Ventura at Hasted Hunt Kraeutler
"Winter Stories" continues Ventura's imaginary re-creation of prewar Italy, in photographs of wonderfully evocative sets and figures he constructs himself.
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"Heads," Group Show on Portraiture, at Julie Saul
This cleverly chosen group of photographs suggests the various ways artists deal with portraiture. In many instances here, they avoid direct confrontation with human subjects by photographing dolls, mannequins, paintings, or other representations.
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Lee Friedlander at Janet Borden
With just 47 new and recent photographs, this is a relatively sparse show for Friedlander, but it would probably look crowded with half that number.
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Robert Bergman at Yossi Milo
The breathlessly over-the-top critical support that propelled the 1998 publication of Robert Bergman's photographs of Americans on the margins (in his afterword, Meyer Schapiro called the portraits "truly profound works of art") seemed all out of proportion to the modesty and intimacy of the work itself.
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Ray K. Metzker at Laurence Miller
A survey of photographs involving automobiles provides an ideal opportunity to study the terrific sweep and intelligence of Metzker's inventiveness.
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Jeff Mermelstein at Rick Wester Fine Art
A New York street photographer in the rough-and-tumble tradition of Weegee, Garry Winogrand, Joel Meyerowitz, and Lee Friedlander, Mermelstein is alert to the idiosyncrasies of people in public.
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Andrew Moore at Yancey Richardson
After his work with Cuba's crumbling architecture, Moore's large-scale photographs of Detroit in ruins are a lot less romantic but just as fascinating.
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Bruce Davidson at Bryce Wolkowitz and Howard Greenberg
The photographer Bruce Davidson is having a well-deserved moment. At the age of seventy-six, he has two exhibitions running concurrently, and a new, three-volume survey of his fifty-year career.
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Robert Frank at Pace MacGill
A group of contact sheets has been reconfigured by the artist so that each row contains one image from "The Americans." It's the core of this show and a complement to the Met's current exhibition on Frank's groundbreaking book.
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John Wood, Yao Lu, and Aaron Siskind at Bruce Silverstein Gallery
A strong group of Wood's photo-collages, made between 1955 and 2006, are the centerpiece here. Yao, a Chinese photographer making his U.S. début, adds the flash with a shrewd series of large color images inspired by classic Chinese landscape paintings.
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Lillian Bassman at Staley-Wise
At ninety-two, this great American fashion photographer is making the biggest and most challenging work of her career.
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25th Anniversary Exhibition at Hans P Kraus Jr
The gallery celebrates twenty-five years in business with a remarkable group of mostly nineteenth-century photographs.
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Neil Winokur at Janet Borden
Winokur's portraits of artists and friends, made in the eighties, look even better in retrospect. Forty of the garishly colored photographs are here, many on view for the first time.
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Marcello Geppetti and Weegee at Keith de Lellis Gallery
This exhibition of celebrity portraits from the golden age of the candid camera—from Marilyn Monroe to Brigitte Bardot—is primarily a showcase for one of Italy's first and most audacious paparazzi.
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Edward Burtynsky at Hasted Hunt Kraeutler
The portentousness and inflated size of Burtynsky's photographs can be off-putting, but his color prints are frequently beautiful, and an artist's willingness to tackle big subjects can't be taken for granted these days.
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Alfred Gescheidt at Higher Pictures
Gescheidt's photographs, made between 1949 and 1979, are brash, crass, and bound to offend contemporary sensibilities.
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Keizo Kitajima at Amador Gallery
The portraits in this Japanese photographer's exhibition were made between 1975 and 1991, primarily on the street but also in places ranging from dive bars off the U.S. Army base on Okinawa to New York's Danceteria.
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Hiroshi Sugimoto at Fraenkel Gallery
Kenneth Baker of the San Francisco Chronicle reviews an exhibition of Hiroshi Sugimoto's "Lightning Fields" at Fraenkel Gallery.
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Nicholas Nixon at Pace MacGill
Nixon used a 1946 view camera to make the black-and-white prints in his latest show, which is divided between two very different but oddly complementary bodies of work, both from the past two years.
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Brassaï at Edwynn Houk
Brassaï's photographs of Paris in the thirties, nearly all of which were taken after dark, have come to define the seamy, seductive glamour of that city's night life.
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Allen Frame at Gitterman Gallery
Frame's big, handsome color photographs of friends and lovers are not unlike the black-and-white images he's shown previously; they're subtle, intimate, and often quite dark, with a painterly feel for the chiaroscuro effects of shadow and light.
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Jed Fielding at Andrea Meislin Gallery
Fielding's photographs of the blind children he met at schools in Mexico City are not in the tradition of photojournalistic muckraking. Like his terrific earlier series from the streets of Naples, these images are vivacious, audacious, and in your face.
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Todd Hido at Bruce Silverstein Gallery
Hido's American landscapes—fallow fields, empty roads, a few bare trees—are seen in passing through dirty windshields, so his photographs appear smudged and indistinct.
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Review: Jacques Henri Lartigue at Howard Greenberg
Lartigue's earliest photographs were made at the turn of the last century, when he was a child, and if the excitement, spontaneity, playfulness, and wonder of those pictures were difficult to sustain in his later years, they never entirely disappeared.
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Review: Simen Johan at Yossi Milo
Johan works the fertile ground between reality and illusion in big color photographs of animals and one spooky, fogbound weeping willow.
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Review: Hellen van Meene at Yancey Richardson
The Dutch photographer shows portraits of girls and some boys made over the past two years in Russia, the Netherlands, New York, and on a trip through the American South.
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National Geographic Society Photographs at Steven Kasher Gallery
For many years there has been a kind of secret museum of photography under the streets of northwest Washington — an immense, windowless, climate-controlled archive with roots reaching back more than a century.
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Glitz & Grime: Photographs of Times Square at Yancey Richardson
Yet another broad take on New York City, this one zeroing in on a crossroads that photographers helped make famous. The five pictures on the opening wall range from 1947 to 1997, from Rudy Burckhardt to Philip-Lorca diCorcia, and are as choreographed as a modern dance, with silhouetted figures converging and separating.
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Review: Nicholas Nixon: Self & City at Fraenkel Gallery
The city and the individual figure exist as polar extremes in much modern fiction and social thought. So Fraenkel's current shuffle of pictures from Nicholas Nixon's series "Self" and "City" makes immediate sense, with its contrast of flesh and stone (and mirroring glass).
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"Sexy and the City" Photographs of New York at Yossi Milo
Andrew Bush's terrific photographs of drivers in their cars still occupy the gallery's main space, but in the back there's a new show that looks at New York as a city in heat.
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Review: Lillian Birnbaum at Andrea Meislin
Birnbaum is not the only contemporary photographer whose focus is adolescence, and her pictures of young girls occasionally recall other, stronger and more provocative work.
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Review: "Hot Fun in the Summertime" at Bonni Benrubi
With all the damp and unseasonable weather this summer, these photographs of sun, sand, and surf are reminders of what we've been missing, as well as what we've endured.
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Review: Tod Papageorge at Pace MacGill
In 1970, when the country was at war with Vietnam, Papageorge traveled across the United States to take photographs of sporting events, including the World Series, the Indianapolis 500, and the Iron Bowl.
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Review: Paul Himmel at Keith de Lellis Gallery
Himmel, a New York photographer with a long, vivid career, died in February, at age ninety-four, so the exhibition that he helped plan has become a memorial of sorts—inadequate to his legacy but heartfelt and welcome.
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Review: Mark Cohen at Hasted Hunt
Other photographers are known for their pictures of Los Angeles, Paris, or Tokyo. Cohen's beat is Wilkes-Barre, Pennsylvania, his gritty, working-class hometown, but he's not exactly recording civic landmarks.
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Review: "Helluva Town" at Janet Borden
Many of the city's photography galleries have banded together to salute New York this summer. Borden's lively mix is exemplary, and not just because it features photographs by Tina Barney, Lee Friedlander, and Martin Parr.
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Review: Sid Kaplan at Deborah Bell
The twenty-two photographs in a series Kaplan calls "Urban Stonehenge" look, at first glance, almost identical. All are views of Manhattan looking west, down a corridor of towering buildings toward a jagged patch of sky and the setting sun.
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Review: Dennis Stock at Howard Greenberg
If Stock's name rings a bell, it's probably because he took some of the most soulful photographs of James Dean in his Actors Studio days, a few of which are included in this career-spanning survey.
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Review: Eugene Richards at Fahey/Klein Gallery
Photographer Eugene Richards has chronicled poverty, drug addiction, aging and death. He's documented emergency room medicine, his first wife's struggle with cancer and the toll of river blindness and pediatric AIDS.
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Review: Kenneth Josephson at Robert Koch Gallery
Everyone interested in 20th century photography has seen the one or two pictures by Kenneth Josephson that always make it into anthologies, and probably no more. So the Koch Gallery performs a great service in presenting a substantial show of his work.
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Review: Don Schol at PDNB Gallery
Don Schol is a Vietnam veteran and no stranger to the horror of war. But from the moment he arrived in 1967, his experience was destined to be different.
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Review: Debbie Fleming Caffery at Gitterman Gallery
Caffery's black-and-white photographs have always had an otherworldly cast—a sense that she's looking beyond the physical to something more ethereal.
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Review: Lili Almog at Andrea Meislin Gallery
Almog's photographs of Chinese women, many of them members of the Muslim minority living in rural provinces, are at once affectionate and anthropological—occasionally radiant, unfailingly sincere, but rather stiff and a little dry.
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Review: Hiroh Kikai at Yancey Richardson
Fourteen black-and-white photographs taken in one Tokyo neighborhood between 1974 and 2003 provide a core sample of a portrait project that Kikai continues to pursue after some thirty years on the street.
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Review: Helen Levitt at Laurence Miller
The great New York street photographer, who died in March, at the age of ninety-five, left behind an extraordinary and endlessly engaging body of work, the best known examples of which were made in the nineteen-forties.
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Vince Aletti reviews Leonard Freed Exhibit at Silverstein Gallery
Leonard Freed was one of the six photographers first identified as "concerned" by Cornell Capa. Like André Kertész, Werner Bischof, and Capa's brother Robert, Freed was an artist with a deeply humanist bent—an engaged photojournalist, never a dispassionate observer.
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Review: Ray Mortenson at Janet Borden
Mortenson's small black-and-white photographs of Manhattan have so many precedents that they already look comfortably familiar.
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Review: Jeff Bark at Charles Cowles Gallery
For his first New York exhibition, "Flesh Rainbow," Bark shows large-scale photographs of male nudes, female nudes, and still-lifes, in triptychs that include one of each.
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Review: Andrew Bush at Yossi Milo
Bush's big color photographs of people driving their cars are spread between two galleries (held in conjunction with Julie Saul Gallery), providing ample opportunities for the kind of voyeurism and snap judgments that are usually indulged on the road.
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Review: Mary Mattingly at Robert Mann
Mattingly's color photographs are sci-fi fantasies of a future in which nomadic figures in tentlike robes or protective jumpsuits wander through a brave new depopulated world.
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Review: Edward Steichen and Martin Munkácsi at Howard Greenberg
32 vintage prints by Edward Steichen document his mastery of the sharp focus and straightforward composition that characterized the new photography of the post-World War I era.
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Review: Paul Himmel at Keith de Lellis Gallery
Originally conceived as a 95th birthday celebration, this show became a memorial tribute when the photographer died shortly before the opening.
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Kathleen Ewing, Former Executive Director of AIPAD, Closes DC Gallery
In 1976, when a 28-year-old Kathleen Ewing ditched her National Gallery of Art job and decided to sell photographs instead, photography was struggling to make its place in the art world.
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Review: Masato Seto at Yancey Richardson
The Tokyo-based photographer, making his U.S. début here, takes a detached, sociological approach to portraiture with a series of glossy color pictures of solitary salesgirls at the counters of tiny, glass-front roadside shops in Taiwan.
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Review: Marcia Resnick at Deborah Bell
The captioned black-and-white photographs from Resnick's 1978 book, "Re-visions," subvert the innocent appeal of children's books with a sketchy narrative that hints at adolescent repression and rebellion.
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Review: Elaine Mayes at Steven Kasher Gallery
All but one of Mayes's portraits of young people in Haight-Ashbury were made in 1968, when San Francisco's hippies shared the streets with runaway teens and a growing population of drifters and drug addicts.
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Review: Myoung Ho Lee at Yossi Milo Gallery
This Korean photographer's U.S. solo début includes eight color images in sizes that range from ten inches square to seven feet wide; the over-all effect is modest and elegantly restrained.
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