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Event Calendar

Frida KahloOpen in a New Window

Simultaneously with the Dallas Museum of Art's highly anticipated exhibition, “México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde”, PDNB Gallery will be exhibiting a special selection of photographs of the influential Mexican Surrealist painter and icon, Frida Kahlo.

The exhibition will highlight the playful and candid portraits of Frida taken by artist and close companion, Lucienne Bloch (1909-1999). By an encounter with the great Mexican muralist, Diego Rivera, Bloch was subsequently introduced to Frida, and the two developed a deep friendship. During Diego's turbulent stay in the United States, Bloch became an important figure in Frida's life, helping her overcome a number of obstacles that would later reflect in the artist's most important paintings. Bloch would also document many of Diego's prominent mural works including “Unity Panel” at the New Workers School in New York, 1933, (included in the exhibition) and the only surviving photographs of the controversial Rockefeller Center mural, which was destroyed in 1934.

Also featured in this exhibition are the vibrant color and black & white photographs of Frida Kahlo by the master photographer and Frida's long time lover, Nickolas Muray (1892-1965). Throughout their ten years on and off affair, Muray would photograph Frida during his visits to Mexico and while she was in New York for her solo exhibition at the Julian Levy Gallery. The images included by Muray reveal the eccentric, colorful and forceful figure that was Frida through both candid moments and studio settings.

The powerful work of the artist, Delilah Montoya (1955), paying homage to Frida, through surrealist and alternative photographic processes will also be featured.

This exhibition will be on view from March 11 – July 15, 2017.

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Ruud van Empel: PortraitsOpen in a New Window

Ruud van Empel’s striking large-format photomontages apply painterly precision and detail to a medium often derided in contemporary fine art photography — the digital composite. His youthful subjects and lush settings do not exist outside of van Empel’s Photoshop workspace, where the artist utilizes his own photographs of models in different settings and a large collection of images he has collected over time to create complex portraits of startling realism, marked by a tinge of the uncanny. 


In World, van Empel depicted innocent subjects adrift in elaborate natural settings, evoking magical realism and the pastoral children’s portraits of the German painter Otto Dix. Portraits, van Empel’s third exhibition at Jackson Fine Art, draws on two new series for which van Empel shifts away from the straightforward fantasy of earlier bodies of work in favor of a psychological contemplation of his subjects. Mood and Analogy recall van Empel’s Dutch artistic heritage through clasically posed portraits reminiscent of painted miniatures and distinguished by dark, earthy tones and dramatic chiarrascuro. Van Empel’s young inventions appear not lost in the world, but living in it, with all of the complexity and depth that entails. 


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Matthew Brandt: 1864Open in a New Window

In Matthew Brandt’s work, the artist conflates subject and material, incorporating physical elements from the sources he’s depicting to create unique compositions that are technically inventive and conceptually sly. For Lakes and Reservoirs, his landscapes were bathed in the water of their subjects; 2014’s Dust featured reproductions of historical photographs of demolished structures, rendered in pigments borne of debris collected from those buildings’ contemporary sites. For 1864, his first exhibition at Jackson Fine Art, Brandt again turns to the archives, reinterpreting George N. Barnard’s photographs of a post-Sherman Atlanta by making images of a shattered city into peach pie. 

Brandt began working on 1864 in early 2017, informed by a February visit to Atlanta (his first) and a fascination with the online catalog of the Atlanta Journal Constitution. Fortifying the foundational ingredients of the 19th-century albumen print — egg whites, silver nitrate, and salt — with peaches, sugar, flour, cinnamon, and butter, Brandt plays with external assumptions about the South, at the same time evincing a complex understanding of the history his project excavates. Georgia’s reputation as the Peach State, now tenuous, calcified in the three decades following the Civil War. Brandt’s large scale photographs of the ruins of Union Depot, once situated between Pryor Street and Central Avenue, or Confederate Peachtree Street (then Whitehall), compress time, creating a symbolic conversation at turns funny and reverent, and loaded with unexpected associations. 

1864’s landscapes will be exhibited alongside a series of still life peaches. These photographs were processed with the same recipe (see below) as the Barnard images, but composed using Styrofoam fruit made in China and purchased from eBay, in a gesture that situates the project squarely in the present. 


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Olivia Parker: Vanishing in Plain SightOpen in a New Window

Robert Klein Gallery is pleased to present an exhibition of new, personal work by longtime gallery artist, OLIVIA PARKER . Vanishing in Plain Sight is the artist's journey into Alzheimer's Disease as experienced through her late husband, John Parker, who passed away in December of 2016.

A continuing work in progress, Vanishing in Plain Sight proves to be some of the most emotionally evocative and experimental work of Parker's long career. Poignant and deeply moving, this series finds the artist exploring new grounds, including self-portraiture and dramatic grid sequences, while still retaining the vivid color and abstract liveliness that have become the signature of her still life work.

For over 45 years, OLIVIA PARKER has been producing visually playful and complex photographs through a variety of processes. From the masterful darkroom technique found in her early large format contact prints, to her pioneering adoption of Adobe Photoshop and other digital imaging tools in the early 1990s, Parker has become equally renowned for her technical proficiency as for her dynamic work.

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Sports & LeisureOpen in a New Window

PDNB Gallery is proud to present, Sports & Leisure, a summer group show that explores the icons and legends of sports, and the pleasures of leisure. This energetic exhibition will showcase the unforgettable moments in sports, from the Golden Era of motor sports to the iconic portraits of legendary boxer, Muhammad Ali and baseball player Babe Ruth. It will also include the playful, humorous, and candid images of Americans hard at play.

Known as the most important motor sports photographer, Jesse Alexander's images captured the thrilling Golden Era of car racing in the 1950's and 1960's. Included in the show are outstanding photographs documenting the renowned drivers, enthusiastic spectators, and high action famous races of the Grand Prix of Monaco, 24 Hours of Le Mans, the Mille Miglia and the Targa Florio.

Acclaimed photographer, Al Satterwhite, has photographed some of the most significant athletes in sports. Included in this exhibition are a few of his memorable portraits of the late Titan, Muhammad Ali, training at the Fifth Street Gym in Miami.

Further complimenting this dynamic show are the lighthearted and whimsical images by John Albok. Often photographing the street scenes of New York, Albok captured children enjoying the simple satisfactions of tranquil fishing, sunbathing at the beach, and happily racing by his tailor shop on the sidewalk.

Of course, this exhibition would not be complete without Bill Owen's notable series, LEISURE. After successfully documenting the development of suburban life in the early 1970's, Owens began exploring the hobbies and activities people engage in with their spare time. This study depicts familiar scenes of families camping, cookouts, and community gatherings, ultimately illustrating the ideal summer.

An assortment of curious vernacular photographs will also be featured.

Featured Artists:
John Albok, Jesse Alexander, Esteban Pastorino Diaz, Elliott Erwitt,
Harold Feinstein, Paul Greenberg, Earlie Hudnall, Jr., Neal Leifer,
Nickolas Muray, Bill Owens, Al Satterwhite, and Neal Slavin.


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Jefferson Hayman: Things I Saw Without YouOpen in a New Window

Tappan, New York based photographer Jefferson Hayman, most recognized for his delicate imagery and handcrafted frames will debut a new show at Catherine Couturier Gallery titled Things I Saw Without You on May 20, 2017.

Hayman is an artist whose photographic work explores the themes of nostalgia, common symbols, and memory. Through a quiet minimalism, he invites the viewer to partake in the narrative process in a way that is both intimate and deeply personal."

With a deep understanding of traditional craftsmanship and a sense of artistic heritage, each photograph is handcrafted as a silver gelatin, platinum or pigment print, capturing delicate tonalities reminiscent of early Pictorial photography. Finished prints are paired with antique or custom-made frames by Hayman whose attention to the unique attributes of each photograph imbues every piece with a completely individual story and sense of personality.


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Danny LyonOpen in a New Window

Galerie Edwynn Houk Zurich is pleased to present works by the acclaimed photographer Danny Lyon (American, b. 1942). Featuring a selection from the two series Civil Rights and The Bikeriders, the exhibition will be on display from the 24th of May until the 29th of July 2017.

Danny Lyon is one of the most important American photographers of the last half century to renew documentary photography's concern with justice and the universal desire for freedom. Self-taught, and driven by twin passions for social change and the medium of photography, he was shaped by his early experiences covering the unrest of the 1960s as staff photographer for the Student Nonviolent Coordinating Committee. Being active in the Civil Rights movement as a participant and a photojournalist led to the publication of his first book, The Movement (1964) which heralded a new style of realistic photography, a “New Journalism”, in which the photographer is entirely immersed in the subject’s world.

In 1968 Lyon published The Bikeriders, a seminal work of this modern style. The landmark collection of photographs and interviews documented the four-year period Lyon spent on the road with members of a motorcycle club known as the Chicago Outlaws, a group vilified for their efforts to live free of the conventional expectations of society. Photographed between 1963 and 1967, Lyon describes the work as "an attempt to record and glorify the life of the American bikerider”.

A champion of the marginalized, and continuing in the tradition of Walker Evans and Robert Frank, his work has always resisted the obvious. For over fifty years Lyon has recorded the realities of American life, each project accompanied by books, and often films, which have become classics in the field. The common thread to his output has always been a closeness with his subjects and a sense of candor and respect.

Danny Lyon lives in New Mexico and Maine. His work has been the subject of several major exhibitions at galleries including the Museum of Modern Art; Whitney Museum of American Art; Art Institute of Chicago; and Folkwang Museum in Essen, Germany. His work is also currently on display at the Fotomuseum Winterthur in Switzerland. He has received fellowships from the National Endowment for the Arts, the Guggenheim Foundation and The Rockefeller Foundation in both filmmaking and photography. In 2011 he received the prestigious Missouri Honor Medal for Distinguished Service in Journalism and in 2015 the Lucie Award for Achievement in Documentary Photography.


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Simon Roberts: Public PerformanceOpen in a New Window

Robert Morat Gallery is thrilled to be able to show new work by Simon Roberts this summer. Public Performance assembles works from three different series by the British photographer:

Urban Parks – Green Lungs of the City (2015 – 2016)

Until the mid 1600s urban parks were private; the exclusive domain of wealthy families and royalty. By the mid 1800s urban parks were starting to be seen as a way to serve the public and later as a remedy to social ills caused by the Industrial Revolution and overcrowding in lower-income neighbourhoods. Today urban parks are increasingly being created from reclaimed lands in and around cities. This photographic narrative offers a timeline of urban parks beginning in 1660, when St. James’ Park in London was made available to the public, up to the present day. It illustrates the evolving nature of urban parks over time and the philosophies behind them, reflecting the cultural history and role they play as places of social encounter and of self-staging in public space – predecessing today’s social media networks.

Sight Sacralization: (Re)framing Switzerland (2016)

When wealthy Euopeans set off on their Grand Tour of the continent in the 1800s, they expected Switzerland to inspire them with vistas of sublime grandeur. The landscape’s untamed romanticism was a crucial component of Switzerland’s national identity and cultural prestige. Today, the Swiss landscape often resembles a theater set, where tourists are transported to officially designated areas of natural beauty to gaze upon epic views from the safety of stage-managed viewpoints. This process is referred to by the American scholar Dean MacCannell as “sight sacralization”: a place is named, then framed and elevated, before being enshrined, mechanically reproduced and finally socially reproduced across a variety of media. Tourists are both performers and spectators, part of the circle of representation in which “all we see is seen through the kaleidoscope of all that we have seen before” (Andy Grundberg).
These large-format tableaux photographs are taken of viewing platforms at some of the most photographed places in Switzerland. The locations were sourced using the online mapping software Sightsmap that creates popularity heatmaps based on crowdsourcing geo-tagged photographs uploaded to the Internet. The work raises questions relating to aesthetics, performance, and individual and collective identities. This series was commissioned by Fotostiftung Schweiz and Musée de l’Elysée in Lausanne, where it will be on show October 25 to January 7, 2018.

The Last Moment (2011 – 2014)

In The Last Moment Simon Roberts uses techniques of scanning, layering, marking and masking to create stripped-back, abstract images in which circles of various sizes float free in semi-transparent skies. Much has been written about the huge number of photographs being produced daily on a global scale, of the changing role of the photographer and the constant need to document our lives and the world around us. It is within this social, technological and psychological context that Roberts produced this series of work. In a first step he scanned photographs of key world events that he had collected from British broadsheet newspapers. The act of scanning the entire surface of the printed newspaper is a physical gesture and is followed by an act of mark making: every occasion in which someone is using a camera, whether a pocket-sized phone camera or a professional digital SLR, is noted and then circled, so that only the device is visible. The idea of transluscense, especially as it relates to optics and lenses, is central to the work. Roberts masks off the background, but not entirely, using a white layer to create a ghostly veneer – a negative space – patterned by different constellations of artificial disembodied ‘eyes’. Translucidity is not only a visual aesthetic running through The Last Moment but a metaphor for the various ways cameras function and are used in today’s societies.


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Isaac Abrams: History of My DreamsOpen in a New Window

In conjunction with the 50th Anniversary of the Summer of Love, Robert Koch Gallery is pleased to present an exhibition of paintings by Isaac Abrams.

In the early 1960s, Isaac Abrams was part of New York's artistic beat milieu that included Jerry Jofen the owner of K Gallery, Herbert Hucke, William S. Burroughs, Jack Kerouac, and Allen Ginsberg. After three years of experiences with psychedelics often provided by Jofen, in 1965 while on LSD, Isaac Abrams came to the realization that there was going to be new art that reflects the intensity, immediacy, and dimensionality of hallucinogenic experiences.

Founded on that vision and with the assistance of Timothy Leary in identifying artists, Abrams opened the Coda Gallery in New York City to showcase this new artistic genre. The gallery's opening attracted luminaries such as Andy Warhol, Robert Rauschenberg, Timothy Leary, and Ralph Metzner. The Coda Gallery exhibited paintings, light works, experimental film, held poetry readings, and premiered the Theater of the Ridiculous.

Abram's profound experience with LSD had released his own creativity and empowered him to recognize his identity as an artist. Although not formally trained as an artist, Abrams began producing pen and ink drawings in 1963, and subsequently created his first successful painting in 1965. With a new outpouring of imagination, Abrams began painting impassioned, surreal imagery. Abrams' dreamlike paintings are an amalgam of the cosmological and microscopic, resulting in a synthesis of the inner mind and the universe. His work reflects a dialog between art, culture, and the tumultuous social phenomena of the time.

Over the years Abrams continued his artistic practice, always painting but also working with video, sculpture, and animation. In recent times Abrams has undergone a resurgence of creative inspiration resulting in vibrant paintings of skilled technique and charged emotional intensity.

Isaac Abrams was born in New York City In 1939, where he lived for many years. Abrams currently lives and works in Saugerties, New York. His first major painting Hello Dali (1965) was included in the recent Berkeley Art Museum and Walker Art Center exhibition Hippie Modernism: the Struggle for Utopia. The Centre Pompidou, Paris and the Haus der Kunst, Munich exhibited Abrams' work in the 2008 Traces of the Spiritual. The Tate museum's 2005 Summer of Love: Art of the Psychedelic Era included Abram's paintings and the exhibition traveled to the Whitney Museum of American Art in 2007. In 2006 The Fyr Arte Contemporanea, Florence mounted a one-person exhibition Isaac Abrams: the Shape of the Mind with an accompanying catalog. Abram's work is included in H.H. Arnason's book History of Modern Art (1968), and is featured in the Robert Masters and Jean Houston book Psychedelic Art (1968) with his painting reproduced on the cover.


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Lissa Rivera: Beautiful BoyOpen in a New Window

ClampArt is pleased to announce “Lissa Rivera: Beautiful Boy”—the artist’s first solo show with the gallery.

Lissa Rivera’s “Beautiful Boy” portraits revel in gender as a repertoire.
—Stephen Vider, social and cultural historian

On the subway one evening, Lissa Rivera’s new friend BJ shared that throughout college he had almost exclusively worn women’s clothing. However, after taking a professional job, he felt much less free to explore gender. Lissa, having struggled through her own fraught relationship with the demands of proscribed femininity, suggested to BJ that perhaps photographs might help create a space for him to explore his identity outside isolation.

Lissa writes: “Taking the first pictures was an emotional experience. I connected with my friend’s vulnerability. I wanted to make sure that the images were not a compromise for either of us, and we engaged in many discussions.”

Eventually, Lissa and BJ found themselves falling in love. Now romantic partners, the two are collaborators who have sought to “perform and reshape gender individually and as a couple,” writes Stephen Vider. Rivera relishes in the visual pleasure an intimate muse can inspire, as so many male artists have experienced historically.

“Beautiful Boy” investigates a visual language of femininity that is deeply embedded in the DNA of our cultural perceptions. Drawing from Lissa and BJ’s shared interests, the earliest photographs mine the history of 20th-century film, photography, and painting. However, as the project evolved, the images began to flood over boundaries of scripts and sets, and reveal individual experiences of gender, desire, and cultural taboo.

Lissa Rivera is based in Brooklyn. Her work has received multiple grants and honors and has been exhibited internationally. She grew up near Rochester, New York, home of Eastman Kodak, where as a child she was exposed to the treasures at the Eastman Museum. After receiving an MFA from the School of Visual Arts in New York City, Rivera worked professionally in collections, including the Museum of the City of New York, where she became fascinated with the social history of photography and the evolution of identity in relationship to photographic technologies. Rivera was chosen as a "Woman to Watch" for the biennial exhibition at the National Museum of Woman in Arts. Selected honors include the Griffin Museum’s Peter Urban Legacy Award; Feature Shoot’s Emerging Photography Award; Photographic Resource Center Exposure 2016; Danforth Museum Purchase Prize; Filter Photo Festival’s People’s Choice Award; and the 2017 D&AD Next Photographer Shortlist. She is now Associate Curator at the Museum of Sex in Manhattan.


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Brian Buckley: Ghost ShipOpen in a New Window

ClampArt is pleased to announce “Brian Buckley: Ghost Ship”—the artist’s first solo exhibition with the gallery. “Ghost Ship” is an installation of unique, large-scale cyanotype prints. Through the use of a 19th-century photographic process that pre-dates silver-based practices, the artist employs its naturally rich, blue tones to endeavor to express his thoughts on the beauty and mystery of the vast seas and his long-felt fascination with the power and danger of deep waters.

Incorporating aspects of Greek mythology into the project, the artist uses these stories to express his own personal experiences at sea. Loosely drawing from the narrative and imagery in The Odyssey—a text taught by Buckley’s father at City College in New York City—the artist’s prints reference ghost ships and sea monsters, sirens and Sappho.

Brian Buckley sources his chemicals and mixes them by hand in small batches before applying them to watercolor paper. Often creating layers of multiple coats, the artist covers his sheets with light sensitive chemicals using a variety of tools from sponges to brushes and glass rods. Buckley plans specific types of applications appropriate for particular subjects, and his hand is evident in and integral to subtle variations in the final artworks. Employing more straightforward photogram techniques in concert with digitally enlarged negatives, each cyanotype is distinct and one-of-a-kind. Exposures range from a single hour up to three full days.

Brian Buckley’s work has always centered on analog photographic techniques, celebrating the orchestration of light, chemistry, and papers, harmonizing process and image. After an eye-opening photography course in college, Buckley quickly threw himself headlong into the darkroom. His first job was for renowned paparazzo photographer Ron Gallella, printing older work for publication. Then, while attending Parsons School of Design on a foundation scholarship, the artist began working in commercial labs in New York City. At Ken Taranto Photo Lab, Buckley worked under master printer Ira Mandelbaum. He then was employed by photographer Shelia Metzner, managing cross-processed large format Polaroid film. After later spending a few years as the overnight shift printer for Color Edge in Chelsea, Buckley finally ended up processing work and problem solving darkroom challenges for artist Adam Fuss. Working with Fuss solidified his commitment to the powerful language of analog photographic processes.


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Alan Klotz Gallery 40th Anniversary ExhibitionOpen in a New Window

Highlights from the 40th Anniversary Catalogue and Exhibition

Click here to see the illustrated CATALOGUE and PRICE LIST.

Click here
to see our NEW ACQUISITIONS EXHIBITION, some of these are not in the 40th Anniversary Catalogue.


John Wood: there is waste in everythingOpen in a New Window

Bruce Silverstein is pleased to announce the third solo exhibition dedicated to the work of John Wood. A master of process, Wood worked decisively across a variety of artistic forms with ease, incorporating photography, collage, offset lithography, and drawing, moving freely between conceptual and visual exploration. This exhibition will focus on the undercurrent of social and environmental issues that have informed Wood’s works since the early 1960s, featuring several examples that were included in his traveling retrospective, On the Edge of Clear Meaning (2009).

Referred to as ‘quiet protest,’ Wood addressed issues such as gun violence, nuclear waste and ecological concerns without imposing his own personal narrative or solution. The artist has assembled multi-layered compositions that invite the viewer to physically experience these complex topics in visual terms, hopefully without much prejudice, and find their own meanings in the work, referencing the open nature of democracy. In 1977, he wrote, “I would like my pictures to be abstract and poetic visual images of friends and the world- no story telling-sometimes slight propaganda and quiet protest-on the edge of clear meaning.”

The exhibition will feature Wood’s conceptual and more politically motivated works, including L.B.J. and Hands, 1965, Rifle with Cloud, 1967, and Cooling Tower: With What Will We Store Our Waste, 1991. Wood has utilized a variety of media to encourage conversation regarding industrialization and its associated fallout. Interview, 1999, incorporates a poetic dialogue concerning waste in the Polaroid process, though the resigned response, ‘there is waste in everything’ belies a potentially more ubiquitous, metaphoric application, as his plea for the viewer's awareness can be felt.

Eagle Pelt from 1985 portrays the national emblem of America, with bound tarsi, conveying his sense of the direction the country was heading. By resurrecting these works three decades later, we witness the repetitive, cyclical nature of history and the projected consequences of such reality. Loudspeaker Collage (1960s) acted as a call to speak out; in 2017, the urgency of this message resonates just as widely. The loudspeaker can be viewed as symbolizing contemporary media outlets and the accessible means of spreading information, true or false.


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Mathieu Bernard-Reymond: TransformOpen in a New Window

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Elaine Mayes: Summer of LoveOpen in a New Window

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition, Summer of Love, by Elaine Mayes. The exhibition will open on June 10th and continue through August 26th, 2017. In addition to Mayes’ solo exhibition in the atrium gallery; a group Summer Selections exhibition will run concurrently.

Elaine Mayes: Summer of Love coincides with the 50th anniversary of the summer of love; a period of great social, cultural, and political change that brought together over 100,000 like-minded young people to San Francisco to usher in a new era.

The exhibition will feature Mayes’ intimate vintage black and white portraits of youth counterculture in San Francisco’s Haight-Ashbury district during the late 1960’s. The photographs are compelling depictions that are at once specific to the individuals pictured, as well as definers of that age and era. They reveal a freedom of expression and camaraderie that was shared by a generation at odds with its current social ideals. Together with these images will be informal portraits of musicians and festivalgoers.

Mayes photographs from this series will also be on exhibit at the De Young Museum through August 20th, as part of their Summer of Love Experience: Art, Fashion, and Rock & Roll.

Running concurrently with Summer of Love will be a group show featuring photographs from gallery artists.

Elaine Mayes is currently a Professor Emerita in the Tisch School of the Arts, New York University. Her photographs have been exhibited at the Museum of Modern Art, New York, San Francisco Museum of Modern Art, The Brooklyn Museum, de Young Museum and the Smithsonian Art Museum, among others.

She was the recipient of two National Endowment for the Arts Fellowships, and a Guggenheim Fellowship. Mayes' photographs are held within numerous museums collections, including: the J. Paul Getty Museum, Metropolitan Museum of Art, Museum of Fine Arts, Boston, San Francisco Museum of Modern Art, Museum of Modern Art, Center for Creative Photography, and the George Eastman Museum.


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Helen Levitt: Pairs And ApplesOpen in a New Window

Laurence Miller Gallery presents HELEN LEVITT: PAIRS AND APPLES from June 14 – July 21. The show highlights Levitt’s unique gift for capturing the way people communicate through body language, with special emphasis on one of her perennial interests: pairs of people sharing a moment in the streets and on the stoops of her native New York City. Helen had a singularly lyrical eye and, whether it’s two children dancing in the street or two nuns perched at the bank of the East River, her work never fails to show the playfulness that is at the heart of human interaction. Not surprisingly, Helen reveals this in animals as well, joyfully sharing two New Hampshire pigs in a barnyard kiss, from 1986.

This 30 print show surveys these themes across her six decade career, featuring both her classic black and white work which began in the late 1930’s, as well as her pioneering color work from 1959 on through the 1980’s. Among the works selected are a number of unique first prints, including two 4x5” contact prints of a gypsy boy at home, shot in 1939 using her friend Walker Evans’ camera and flash. The slight turn of the boy’s hand was the key to Helen’s choice to publish this one over the variant.

Part of the pleasure of Helen’s pictures is their glimpse of an old New York, before television and air conditioning, when people were lined up on their stoops like the fruit in a street vendor’s display. Conversely, Helen’s work is forever young because its true subject is the ageless spark between two people (or animals).


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Teju Cole: Blind Spot and Black PaperOpen in a New Window

“Many artists have felt the lure of juxtaposing photographs and text, but few have succeeded as well as Teju Cole. He approaches this problem with an understanding of the limitations and glories of each medium.”—Stephen Shore

Steven Kasher Gallery is pleased to present the first solo exhibition in the United States of acclaimed photographer, essayist and novelist Teju Cole. The exhibition features over 30 color photographs from the series Blind Spot, each accompanied by Cole’s lyrical and evocative prose. These works comprise a n image/text diary of years of near-constant travel. The exhibition accompanies the publication of Cole’s fourth volume, Blind Spot (Random House, 2017) with a foreword by Siri Hustvedt.

In the Blind Spot photographs, we see what Cole has seen: a park in Berlin, a mountain range in Switzerland, a church exterior in Lagos, a parking lot in Brooklyn. We are drawn into the texts, which function as voiceovers, and which complicate Cole's already enigmatic images. At stake here is the question of vision, an exploration Cole began following a temporary spell of blindness in 2011, and which he presents here in a photographic sequence of novelistic intensity.

The exhibition also presents Black Paper, a visceral photographic response to Cole’s experiences following the election of November 2016. This continuously evolving, large-scale work explores buried feelings, haunted space, and all that can be seen through darkness.

Teju Cole (b. 1975, Nigeria) is a writer, art historian, and photographer. He is the photography critic of the New York Times Magazine and Distinguished Writer in Residence at Bard College. He is the author of three previous books. His novella, Every Day is for the Thief (2014), was named a book of the year by the New York Times, the Globe and Mail, NPR, and the Telegraph and shortlisted for the PEN/Open Book Award. His novel, Open City (2011) won the PEN/Hemingway Award, the New York City Book Award for Fiction, the Rosenthal Award of the American Academy of Arts and Letters, and the Internationaler Literaturpreis. Open City was also shortlisted for the National Book Critics Circle Award, the New York Public Library Young Lions Award, and the Ondaatje Prize of the Royal Society of Literature. His essay collection, Known and Strange Things (2016), the core of which is his photography essays, was published to rave reviews in the New York Times and the New York Review of Books, among others; named a book of the year by the Guardian, the Financial Times, Time Magazine, and many others; and is the only book to have been shortlisted for two PEN Awards in the same year: the PEN/Diamonstein-Spielvogel Award for the Art of the Essay and the PEN/Jean Stein Award for originality, merit, and impact.

Cole’s photography has been exhibited in India, Iceland, and the US, published widely, and was the subject of a solo exhibition in Italy in the spring of 2016. His photography column at the New York Times Magazine was a finalist for a 2016 National Magazine Award. He is a recipient of a US Artists award, and received the 2015 Windham Campbell Prize for Fiction.

Teju Cole: Blind Spot and Black Paper will be on view June 15 – August 11, 2017. Steven Kasher Gallery is located at 515 W. 26th St., New York, NY 10001. Gallery hours are Tuesday through Saturday, 10 AM to 6 PM.


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Fons Iannelli: War/Post-WarOpen in a New Window

Steven Kasher Gallery is proud to present the first ever exhibition of photographer Alfonso “Fons” Iannelli (1917-1988). The exhibition includes over 50 vintage black and white prints from this recently discovered archive. On view are Iannelli’s images of the daily lives of U. S. Navy sailors in the Pacific theater during World War II, taken while Iannelli was part of Edward Steichen’s famed Naval Aviation Photographic Unit. . The team included a brace of photographers later held in high regard: Horace Bristol, Wayne Miller, Charles Fenno Jacobs, Victor Jorgensen -- and Iannelli, who is only now becoming recognized. Iannelli’s war time images are complimented by his iconic images of everyday life in post-war America, from prospering suburban housewives to poverty-stricken coal miners in Harlan County, Kentucky.

Iannelli began photographing at his father’s sculpture studio, Iannelli Studios, in Park Ridge, Illinois. Alfonso Iannelli, Sr. was an esteemed industrial designer, graphic designer, and sculptor. Iannelli, Sr. created sculptures for Frank Lloyd Wright’s Midway Gardens project (1914) as well as the 1933 Chicago World’s fair. Books about Iannelli, Sr. include Everyday Modern: The Industrial Design of Alfonso Iannelli, and Alfonso Iannelli: Modern by Design.

Fons Iannelli trained as an apprentice to Gordon Coster, the prominent Chicago industrial photographer. Iannelli opened his own studio in 1940. In 1941, he was recruited by Edward Steichen to join the Naval Aviation Photographic Unit, a unit of the U.S. Navy employed to document and publicize its operations in order to recruit Navy pilots. Fons began working with the unit as an assistant and darkroom developer but was promoted to photographer. He was given the task of documenting the emotions of the men on the ship and developed his “fly-on-the-wall” style. His photographs were published in a collection edited by Steichen entitled U.S. Navy War Photographs: Pearl Harbor to Tokyo Harbor (1945) and were included in the exhibition Power in the Pacific: Battle Photographs of our Navy in Action on the Sea and in the Sky at the Museum of Modern Art in 1945.

After the war, Iannelli’s photographs present a complex and paradoxical picture of American life. Iannelli became a highly successful photojournalist for McCall’s, Life, Fortune, Collier’s and The Saturday Evening Post. His photographs for Ladies Home Journal “How America Lives” section sympathetically portray post-war consumerist aspiration. Other images document that the security, happiness, and tranquility promised at the end of the war were elusive for many. By the late 1940's, he was rumored to be the most highly paid magazine photographer in New York. He was known for his ability to overcome difficult lighting situations and is said to have introduced bounce-light techniques for softer lighting into photojournalism. An unpublished story for Harper’s noted that Iannelli was likely the first to use a hand-held camera with a sync system for strobe lights out in the field. He was one of the first photographers to use 33mm film for magazine work and published the industry’s first 35mm color cover, for McCall’s in October 1950.

In 1948, Iannelli founded Scope Associates, a photographer-run co-op agency. Several members from Steichen’s naval unit were represented by Scope including Horace Bristol, and Victor Jorgensen. In 1951, Iannelli established his own movie production studio, Filmscope Inc. The company produced and directed several 16mm shorts for Omnibus (1952-1961), an educational television series created by the Ford Foundation that brought science, art, and the humanities into homes via the major TV networks. Iannelli transformed Filmscope into a distribution firm in 1954, and turned his attention to pragmatic technological developments to advance journalistic capabilities in film. Among other inventions, Iannelli is credited with developing a rapid rewind for Leica Camera, the first use of bounced strobes, and numerous designs for advanced tape recorders and motion picture cameras. He provided equipment for the documentary films made by his friend Pete Seeger.

Iannelli continued to make photographs and films through the 1980s. In 1982 his studio caught fire and many of his vintage prints and equipment were destroyed. In 1988, shortly before he passed away, he submitted an application to the W. Eugene Smith Memorial Grant to reshoot the Kentucky Coal Miner series to see how the life of the family had evolved over 40 years. The application for the grant was rejected.

Iannelli’s son, Kim King, was a guitarist and synthesizer player for the band Lothar and the Hand People. The band is credited with being the first to tour and record using synthesizers, thereby inspiring a whole generation of electronic music-makers. The band jammed with Jimi Hendrix and, performing at the Fillmore East and elsewhere, played gigs with The Doors, The Byrds, Canned Heat, The Chambers Brothers, The Grateful Dead and The Lovin' Spoonful. They played the music for Sam Shepard's play The Unseen Hand, were the opening act at the Atlantic City Pop Festival in 1969.

Fons Iannelli: War/Post-War will be on view June 15th – August 11th, 2017. Steven Kasher Gallery is located at 515 W. 26th St., New York, NY 10001. Summer hours are Monday - Friday, 10 AM to 6 PM beginning July 5th.


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David Zimmerman: One VoiceOpen in a New Window

Sous Les Etoiles Gallery is pleased to present "One Voice", American photographer David Zimmerman’s third solo exhibition with the gallery. An opening reception and book signing with the artist will be held on Thursday, June 15, 2017 from 6 – 8 PM. A movie screening of "The Places Behind One Voice", followed by an Artist Talk is scheduled for Monday, June 19, at 7 PM.

Over the past two decades, Zimmerman’s art has come to focus on endangered landscapes and cultures displaced by environmental, social, economic and political causes. "One Voice" is an ongoing project that began in 2011. For the past six years, David Zimmerman has lived and worked amongst Tibetan refugees in Northern India, creating a series of intimate portraits. Photographing the exile is to make a state of the time. It is the time that passes and also the time which resists, which never ceases to address its question, its anger, its refusal, its energy of survival. As David Zimmerman said: “One Voice is the story of a people’s struggle to adapt and survive in a new reality. For those who seem to have lost everything though, the soul remains inseparable, and history, and their past, is unchangeable.” Yet, those portraits are far from sad, instead they translate a majestic and magnificent strength, beauty and dignity. “Beauty works by joining form and subject matter. David’s photographs create an intensified experience of both texture and depth, and these modalities of experience are found in both the image itself and the subject being portrayed” comments Robert Hariman.

The exhibition coincides with the release of the monograph, "One Voice", published by Kehrer Verlag. The 100-page book contains 50 images along with an introduction by Robert Hariman, professor of rhetoric and public culture in the Department of Communication Studies at Northwestern University, with texts and poetry by Robert Adams, Tsering Wangmo Dhompa, Dhondup Gyal, Milarepa, Pankaj Mishra, Bhuchung D. Sonam, Tenzin Tsundue, and Tsering Woeser.

From the edges of urban landscapes, to the catastrophic oil spill in the Gulf, to homeless and fringe settlements of the Southwest, David Zimmerman has found himself befriending and documenting those whose lives were irrevocably impacted by environmental, social or political events. Having developed a significant connection with the community in Jogiwara, India, Zimmerman has built the Himalayan Art Centre, a studio and school that provides free education in visual storytelling and as a meeting and workshop space for visual artists and writers from around the world.

Zimmerman is the recipient of numerous awards including the Sony World Photography Awards L’Iris D’or Prize in 2009 for his work in the deserts of the Southwest U.S. His work is held in numerous private and corporate collections, and he is exhibited internationally. Specifically, images from his One Voice series have recently been exhibited at Castello Di Rivolli Museum of Contemporary Art (Turin, Italy), and Witte de With Center for Contemporary Art (Rotterdam, Netherlands), and are currently part of the Refugees exhibition curated by the Annenberg Foundation on view at Fotofest International, until July 15th, 2017.


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Pop-UpOpen in a New Window

An eclectic selection of gallery-owned + other artwork

With work by Amanda Knowles, Anne Siems, Anonymous, Barbara Robertson, Beverly Rayner, Brian Murphy, Charles Katz, Claire Garoutte, Chris Crites, Dawn Cerny, Dionne Hartounian, Debbie Fleming Caffery, Deborah Luster, Don Wallin, Faryn Davis, Jack Spencer, James Fee, Jaq Chartier, Maija Fiebig, John Divola, Jose Guadlupe Posada, Juan Alonzo, Justin Gibbens, Kawase Hasui, Keith Carter, Larry Calkins, Linda Connor, Luis Gonzales Palma, Marsha Burns, Mary Ann Peters, Masao Yamamoto, Michael Brophy, Michael Burns, Michael Kenna, Mona Kuhn, Olivia Parker, Patrick Locierco, Paul Strand, Rachel Maxi, Randy Hayes, Richard Hutter, Robert Flynt, Sally Schuh, Saya Moiryasu, Susan Bennerstrom, Tom Feher and Vernon Miller.


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Women Seeing WomenOpen in a New Window

Staley-Wise Gallery presents an exhibition celebrating prominent women photographers from the fields of documentary and fashion photography. Twelve photographers from the legendary cooperative Magnum Photos are engaged in a visual and thematic dialogue with twelve photographers working globally in the field of editorial and advertising photography.

Photographing and moving in different spheres, they are recording and interacting with women in the larger world to highlight disparate subjects such as war, childhood, religion, sexuality and style while celebrating the complexity of the female experience.

Photographers included: Eve Arnold / Olivia Arthur / Lillian Bassman / Louise Dahl-Wolfe / Bieke Depoorter / Carolyn Drake / Martine Franck / Toni Frissell / Sheva Fruitman / Isabella Ginanneschi / Pamela Hanson / Ruth Harriet Louise / Diana Markosian / Susan Meiselas / Sheila Metzner / Inge Morath / Genevieve Naylor / Priscilla Rattazzi / Cristina Garcia Rodero / Alessandra Sanguinetti / Marilyn Silverstone / Newsha Tavakolian / Deborah Turbeville / Ellen von Unwerth

“I feel there is something unexplored about women that only a woman can explore.” Georgia O’Keeffe, 1925


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Elene Usdin: Les HabitantsOpen in a New Window

Elene Usdin is proving that she is not only an excellent photographer, but that she can also handle the brush like the great classical masters. Last autumn at Paris Photo, the French artist exhibited in exclusivity some of her newly fresh and unique pieces from her latest series, Les Habitants (The Inhabitants). Starting with the timeless genre of portrait, Elene Usdin then disrupts it by directly painting on the photographic print. And she paints the emotions, hidden behind the calm look of her teenage models. The artist also questions a certain idea of photography (almost a cliché) which defines a photograph by its reproducibility. With the previous series Femmes d’intérieur, exhibited at the Galerie Esther Woerdehoff in 2015, she already highlighted her photographs with paint to create originals. Once again, her photographs from Les Habitants have become unique pieces, but the gap is made even greater between the brief moment of the shooting and the timeless hours that Elene Usdin needs afterwards, paintbrush in hand, to ornate meticulously each portrait with a multitude of marvelous figures.


Elene Usdin paints chimerical costumes on her photographed models, in a phantasmagoric dialogue with the history of art. As they are captured at the fragileage of adolescence, that brief but intense passage from childhood to adulthood, girls and boys come to exteriorize an inner chaos through their painted ornaments. With each of them, the photographer refers to a classical or modern painting, dark scene of history or mythology she drowns in an effervescent world of tiny imaginary characters, witches and demons, overflowing vegetation and carnivorous plants, a disturbing and visionary echo to the inhabited spirits of the teenagers. Although these paintings come with a cultural heritage, which forms and educates us, they metamorphose into a wild adornment for these young people with the emotion and violence the artists of the past have managed to convey.


The artist chose to have her models pose in the same place, using the light from a window that recalls the atmosphere of Flemish paintings. Contemporary, instantaneous with a purity close to a documentary, Elene’s photography contrasts with the devouring imagination of her painting, its aristocratic sophistication and the incompressible passing of time required for the creation of these unique works - 250 hours to illuminate each portrait with the patience and delicacy of a goldsmith and the fantasy of an awaken dreamer ...


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Mariana Cook: LifelineOpen in a New Window

In the year before the world's turn to the 21st century, portrait-photographer Mariana Cook made a radical shift in subject matter. She decided to make one photograph per day of objects in her life, close at hand, in her home and while travelling--a bird in flight on a cloudy day, a perfect stack of pancakes, the bottom of her young daughter's foot, the shadow of her own hand, a stonemason's bucket. From the year's daily photographs, her book Close at Hand was assembled and eventually published in 2007.

Cook's mother died in 2004. In addition to earlier close-at-hand work, some of the photographs in this on-line exhibition were made in the last ten days of her mother's life. Most of these images are light abstractions. Cook has said, "Light is what inspires me to make photographs and that is what I live for. Light represents life." The last photograph in the exhibition, "Holding Hands", was made the last time the artist and her mother held hands. It is an image that departs from the otherwise abstract nature of this exhibition, an edited version of Lifeline, currently on view at Ivorypress, Madrid, May 30-July 15, 2017.

Mariana Cook works exclusively with black-and-white film and makes gelatin silver prints. She is the last protégé of Ansel Adams.


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Laura GilpinOpen in a New Window

Laura Gilpin (1891 – 1979) was a long time Santa Fe resident and renowned photographer. Since her death in 1979, Gilpin’s photographs have been rarely shown in Santa Fe. After many years of seeking out work, we have now amassed an exquisite collection of Laura Gilpin’s photographs representing many facets of her 60-year career as a photographer of the southwest and the Navajo. Included in this exhibition are extraordinary examples of her early masterful platinum prints that are much admired by photographers and connoisseurs alike as well as magnificent examples of her Gevaluxe and gelatin silver prints.


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Amy Park: Ed Ruscha's Nine Pools and a Broken GlassOpen in a New Window

Kopeikin Gallery is pleased to present Ed Ruscha’s Nine Swimming Pools and a Broken Glass, by Amy Park.

Nine Swimming Pools and a Broken Glass is Amy Park’s sequel to last year’s exhibition Every Building on The Sunset Strip, both book titles by Ed Ruscha. Rendered in watercolor as her aforementioned series, her paintings serve as both a meditation and further investigation into Ed Ruscha’s photographic imagery reconceived as bright and imaginative architectural paintings.

The photographs Ruscha published in his artist book are of generic uninhabited swimming pools, some with traces of water on the concrete deck or rippled water in the pool from a diver and the final image is of a mysterious broken glass. According to Amy Park’s exploration: “In reading about the book, I discovered that the pools are not from Los Angeles or even California, but are from Las Vegas. Most of Ruscha’s books were printed in black and white; “Nine Swimming Pools and a Broken Glass” was printed in color.”


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Modern HieroglyphicsOpen in a New Window

Kopeikin Gallery is pleased to present Modern Hieroglyphics, a group exhibition curated by Matthew Gardocki. Participating artists Claire Colette, Rob Clayton, Alexander Kori Girard, Maysha Mohamedi, and Erin Morrison.

In Modern Hieroglyphics, Gardocki explores contemporary methods of artistic representation and esoteric ideas through the use of pictograms, gestural mark making and primitive sculptural form. Means of communication, dreams and cognitive science are subjects investigated through paintings, works on paper and sculpture.


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Doris Ulmann: Platinum PrintsOpen in a New Window

Keith de Lellis Gallery presents the work of Pictorialist photographer Doris Ulmann (American, 1882-1934) for its summer exhibition at 1045 Madison Avenue.

A graduate of the Clarence White School of Photography and one of the earliest social documentary photographers, Ulmann began her career in New York, creating portraits of elite writers, artists, and intellectuals in her Park Avenue apartment. The artist captured both her humble and prominent subjects alike with great care and dignity. Ulmann sought out "A face that has the marks of having lived intensely, that expresses some phase of life, some dominant quality or intellectual power" in her portraiture (Bookman 72).

Her inclination towards those who have "lived intensely" explains her dedication to documenting the people of rural Appalachia and the African American and Gullah communities of the Deep South, waning cultures of hardworking families bound by traditional values. The photographer approached folk artists, farmers, fishermen, and musicians to authentically capture their respective crafts. Although she was an upper-class New Yorker, she approached these humble communities with the respect and curiosity of an ethnographer.

Ulmann's soft-focus platinum prints soothe the hardened features of her subjects, directing the viewer's attention to their dignified and proud bearings. Her work blurs the lines between the documentarian and the fine art, combining her humanist background instilled by the Ethical Culture School with her Pictorialist training.

The soft natural light and rich shadows of Ulmann's scenes maintain a focus on the figure. The subjects' expressions are natural, pensive, and rarely is their gaze to the camera. They seem comfortable both in their environment and with the photographer.

This exhibition will be on view at the Keith de Lellis Gallery through August 3, 2017.


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