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Event Calendar

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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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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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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Lens on LifeOpen in a New Window

Benrubi Gallery is proud to present Lens on Life Project, a photographic project organized by brothers Sam and Jack Powers. In 2016, the Powerses led a week-long photography workshop entitled Operation Goma in North Kivu, one of the most volatile provinces in the Democratic Republic of Congo. The Powers brothers traveled to North Kivu at the behest of Camme, a Congolese non-profit organization “providing education, entrepreneurship, and social services and life skills for children” in the DRC. Their goal was to provide a setting in which vulnerable young people could both share their stories and gain a new skill to enter the global marketplace. All proceeds from the exhibition will go directly to Camme, for the construction of a media building where workshops on photography and computer literacy will be held.

All the photographs in Lens on Life were taken by children who have been orphaned, abused, or otherwise victimized by the Second Congo War, which has claimed more than 5.4 million lives since 1998. Despite this, the images emphasize community rather than trauma. Social bonds take precedence over social disarray, challenging the traditional Western narrative about life in “war-torn Africa.” Though the poverty of the region is visible in many of the pictures, it is never more than backdrop to the images’ human subjects. People are depicted at work, at play, and at rest, and have a clear sense of agency in their representation. The images aren’t a kind of naive photojournalism, but, rather, an intimate portrait of individuals who are going about their lives in circumstances that are materially very different to most Westerners, but otherwise more familiar than we might have expected.


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Lauren Semivan: PitchOpen in a New Window

Benrubi Gallery is pleased to present Pitch, the gallery’s second solo exhibition by Lauren Semivan, after her 2013 exhibition, Observatory.

Building on the tropes of that previous show, Pitch explores the relationship between the tactile realities of the photographic medium and the conscious and unconscious contributions of the artist to the images she creates when she photographs “hand-built, sculptural environments” of her own making. As with the previous work, all images are made using an early 20th-century 8 x 10 view camera whose large-format negatives are scanned and printed without digital manipulation.

The images in Pitch are rhythmic, moody compositions built around the tension between starkly graphic lines created by pieces of string, folds in fabric and paper, or hand-drawn marks, and the softer slurries of light and shadow. Semivan builds her sets over a period of days using black charcoal, string, wire, paper, fabric, and carefully selected objects, continually monitoring the scene through the lens at it develops. The elaborate constructions last only until they’re photographed, after which they’re discarded as the stage is transformed for the next image.

Many of the images involve pieces of draped translucent fabric or animal pelts sidelit to create patterns that call to mind clouds and waves and the rippled sand after the tide has retreated. The effect is not so much of motion as of past activity—atmospheric, geological, cultural, personal—and the changes wrought by time. In the most abstracted compositions, the ground is flattened until the images seem as one-dimensional as paintings. Others acquire a depth that has as much to do with consciousness as with space.

The tension between tangible and ephemeral, concrete and abstract, is given psychological weight by the presence of the photographer in many images. Semivan uses her own body as the grounds for the string arrays or draped fabric. In doing so she seems to insist that her images be viewed not as “mere” abstractions but semantic communications—symbolic rather than literal, perhaps, but still transmitting vital information from artist to viewer.

“My relationship to photography is essentially a continuous questioning about the world and my own experiences,” Semivan says of the current series. “These images are the result of a similar continuous investigation into the invisible: an identification and interrogation of potential signals.”


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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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Sophie Calle: My mother, my cat, my father, in that orderOpen in a New Window

FraenkelLAB is pleased to present Sophie Calle: My mother, my cat, my father, in that order from June 23–August 26, 2017. This is the artist’s third exhibition with Fraenkel Gallery/FraenkelLAB, and it will feature works from her series Autobiographies, which pair short autobiographical texts and photographs.

My mother, my cat, my father, in that order
follows upon the deaths of Calle’s aforementioned loved ones, examining loss and absence from the artist’s characteristically unsentimental perspective. Several of Calle’s Autobiographies are inspired by her own and her mother’s diaries, such as this text from Autobiographies (My Mother Died):

On December 27, 1986, my mother wrote in
Her diary: “My mother died today.”
On March 15, 2006, in turn, I wrote in mine:
“My mother died today.”
No one will say this about me.
The end.

While she may start from autobiographical sources, Calle is known for her work blending reality and fiction, documentary and invention, creating her own genre of visual and written storytelling. She has commented: “I like rituals, to make games, not only in my work but my life…I took this from [my mother].” Calle often uses events from her life as a jumping-off point to explore intimate relationships and familial bonds in her own mischievous and subversive style.

The Autobiographies series combines the artist’s sly, sardonic sense of visual humor with stories that are too peculiar to have been invented. As with much of her work, Calle’s unique form of autobiography can be seen as a form of performance. Forgoing a sense of nostalgia, the artist puts seemingly private events into the public eye, recounting emotional parent-child interactions that are seldom described.

My mother, my cat, my father, in that order coincides with the exhibition Sophie Calle: Missing, curated by Ars Citizen, to be presented at Fort Mason Center for Arts and Culture, San Francisco, June 29–August 20, 2017.


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Myoung Ho Lee: Tree...Open in a New Window

Yossi Milo Gallery is pleased to announce an exhibition of color photographs by Korean artist Myoung Ho Lee. For the artist’s second solo exhibition in the United States, Tree... will include images produced between 2011 and 2017 in Korea and Mongolia.

Situated somewhere between botanical field studies, studio portraiture and billboard advertising, Myoung Ho Lee’s tree studies pay homage to the everyday object and transform nature’s craft into a work of art worthy of careful study, as one would view a framed work of art. The tree “portraits” play with ideas of scale and perception, creating an image within an image that both highlights and obscures the relationship between object and photograph.

For the Tree... series, Mr. Lee photographs solitary trees growing in the landscape against a constructed white canvas backdrop, which isolates the tree from its surroundings and makes ambiguous its scale. After selecting a tree for its unique formal qualities and distance from other landmarks, the artist constructs a temporary photography studio on site with the help of a large production crew and heavy cranes. Using a large-format camera, Lee photographs each tree and oversized canvas in the center of the image, allowing the natural environment to fill the rest of the frame.

After photographing the tree, minor components of the canvas support system, such as ropes, poles or assistants’ hands, are removed from the image through minimal digital retouching. Small tears and folds of the canvas and shadows of his helpers remain as evidence of the performative and installation aspects of Mr. Lee’s photographs.

Myoung Ho Lee’s photographs are in the collections of the J. Paul Getty Museum, Los Angeles; National Gallery of Victoria, Melbourne, Australia; National Library of France, Paris, France; Museum of Contemporary Art, Salta, Argentina; Museo Provincial de Bellas Artes Franklin Rawson, San Juan, Argentina; Pushkin State Museum of Fine Arts, Moscow, Russia; and numerous South Korean museums including Daegu Art Museum; Gyeonggi Museum of Modern Art; and the Seoul National University Museum of Art. Mr. Lee was born in Daejon, Korea in 1975 and currently lives and works in Seoul, Korea.

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Ezra Stoller: Ezra Stoller Photographs Frank Lloyd Wright ArchitectureOpen in a New Window

Yossi Milo Gallery is pleased to present an exhibition of photographs by Ezra Stoller (American, 1915-2004). Ezra Stoller Photographs Frank Lloyd Wright Architecture is presented in celebration of the 150th anniversary of Wright’s birth and highlights key photographs by Stoller of the architect’s important buildings.

Ezra Stoller’s concise and descriptive photographs defined perceptions of post-War Modern architecture. Architecture critic Paul Goldberger noted that Stoller’s work “.... has made him perhaps the most celebrated architectural photographer of the 20th Century; his pictures ... played a major role in shaping the public’s perception of what modern architecture is about.”

During his career as an architectural photographer from the late 1930s to the 1970s, Stoller worked closely with Frank Lloyd Wright, in addition to many other leading architects of the period, such as Paul Rudolph, Eero Saarinen, I.M. Pei, Marcel Breuer, Le Corbusier and Gordon Bunshaft of Skidmore, Owings & Merrill. Stoller’s connection to Wright began in 1945 with the photographs of Wright’s Taliesin in Spring Green, Wisconsin and Taliesin West in Scottsdale, Arizona, which were widely published and shown at the Museum of Modern Art in 1947.

Stoller subsequently photographed many other Wright buildings, including the Guggenheim Museum, Fallingwater, the Marin County Civic Center, and the SC Johnson Research Tower, examples of which will be among the 20 gelatin silver prints on view in the exhibition. Stoller spoke of the difficulty of capturing the Johnson Research Tower’s opaque quality while showing the interior form. He found the most telling view by photographing the structure back lit very early in the morning, just as the sun had come up. Stoller’s entire archive of Wright’s buildings similarly reflects the photographer’s keen Modernist sensibility and careful attention to vantage point, lighting conditions, line, color and texture. Stoller documented these cultural treasures the way Wright preferred them to be seen, experienced and remembered.

Ezra Stoller Photographs Frank Lloyd Wright Architecture will be on view during the Museum of Modern Art’s exhibition, Frank Lloyd Wright at 150: Unpacking the Archive (June 12 - October 1) and the Guggenheim Museum’s birthday celebration in honor of Wright on June 8.


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Tom Bianchi: Fire Island Pines: Polaroids 1975-1983Open in a New Window

THROCKMORTON FINE ART is pleased to announce our summer exhibition, a show of Polaroid images of Fire Island Pines from 1975-1983, by the celebrated photographer Tom Bianchi. The exhibition contains dozens of exuberantly and sexually-charged SX-70 Polaroid images taken between 1975 and 1983. Bianchi documented the gay community at play in one of the few places where they then could be openly gay—Fire Island Pines.

The images in the exhibition, are color, limited edition, enlarged prints of the Polaroids. The photographs are whimsical and playful. Yet they also harken to the long tradition in art of celebrating the male physique.

The Pines is a mile-long sliver of some 600 modest and grand houses, on a 36-mile- long barrier island, 60 miles east of Manhattan along the Long Island coast. Fire Island Pines: Polaroids 1975-1983 is a homage to the free spirited community that was Fire Island Pines in the “golden” age of the 1970s. This “paradise” was a refuge for as many as 10,000 gay men each weekend who pulled little red wagons from the harbor to their homes and reveled at afternoon “Tea Dances” and legendary bacchanals. For many, it was the first chance to openly walk hand-in-hand on the beach with a romantic partner.

It is nearly impossible for younger generations to understand just how circumspect gay men had to be in that era. There were laws against homosexual activity and men risked their reputations, livelihoods, and sometimes their very lives, if discovered. In the cities, police decoys trolled for arrests, and blackmail threats caused many men to bottle their desires for emotional and physical intimacy.

We are fortunate that Bianchi earned the trust of enough gay men to allow him to record their lives in the rare place where they could feel safe and accepted. Many were wary of having their pictures taken. But by sharing the Polaroids with them, the men he shot could see that Bianchi was celebrating them.

It has taken over thirty years for us to see his book of Polaroids in print. Publishers long found the book “too queer” to be commercial: “the public” did not want to see homosexuals. Despite impressive endorsements from those in the art world, including Andy Warhol and Sam Wagstaff, Bianchi put the book on hold as the AIDS pandemic devastated the gay community. The box he used to store the images became a mausoleum.

Yet Bianchi still views those years, 1975-1983, as “magical.” The blazing sun, the naked bodies in the surf, and the dance music attracted a mix of world-class celebrities, models, designers, and artists “the best and the brightest.” They gave Bianchi his creative voice: “In the Pines, my dreams of being an out gay man and artist became possible.”

Fortunately, Bianchi’s weekend artwork came to the attention of Betty Parsons and Carol Dreyfuss who gave him his first one-man show in 1980. Betty Parsons the legendary dealer who introduced abstract modern art through masters such as Jackson Pollack, Mark Rothko, Clifford Still, Jasper Johns, and Robert Rauschenberg. That show gave Bianchi the courage to discard his law degree and become a full-time artist.

When his lover died of AIDS in 1988, Bianchi turned his focus to photography, employing the camera to heal psychic, sexual and social shame. He has exhibited at galleries and museums in the United States and beyond. His works are held in many private and public collections. Bianchi has produced twenty-one books exploring sexual identity.

The moving memoir Bianchi wrote for Fire Island Pines Polaroids 1975-1983, together with the photographs, recorded the birth and development of a new culture at a critical time in America’s political and aesthetic life. Much of the good we see accomplished today for gay civil liberties and queer consciousness began on the beach at Fire Island. Bianchi was there, ensuring that the beauty of the moment would live on.

“Every emerging minority needs not only a record of its grievances but also an idealized image of its expectations. Tom Bianchi has given us one version of gay happiness – an earthly paradise where handsome men love one another on white sands under an eternally cloudless sky. These photographs are at once formal and intimate, for they bring both rigor and tenderness to glimpses of real people”. – Edmund White


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Tony Vaccaro: War and PeaceOpen in a New Window

In 2016 HBO Films premiered "Under Fire: The Untold Story of Private First Class Tony Vaccaro". The film tells the story of how Tony survived the war, fighting the enemy while also documenting his experience at great risk, developing his photos in combat helmets at night and hanging the negatives from tree branches. The film also encompasses a wide range of contemporary issues regarding combat photography such as the ethical challenges of witnessing and recording conflict, the ways in which combat photography helps to define how wars are perceived by the public, and the sheer difficulty of staying alive while taking photos in a war zone.

Born in Greensburg, Pennsylvania on December 20, 1922, Tony Vaccaro spent the first years of his life in the village of Bonefro, Italy after his family left America under threat from the Mafia. Both of his parents had died by the time he was eight years old and he was raised by an uncaring aunt. When World War II broke out, the American Ambassador in Rome ordered Tony to return to the States. He settled in with his sisters in New Rochelle, NY where he joined his high school camera club. A year later, at the age of 21, Tony was drafted into the war, and by the spring of 1944 he was photographing war games in Wales. By June, now a combat infantryman in the 83rd Infantry Division, he was on a boat heading toward Omaha Beach, six days after the first landings at Normandy. Denied access to the Signal Corps, Tony was determined to photograph the war, and had his portable 35mm Argus C-3 with him from the start. For the next 272 days, Tony fought on the front lines of the war.

After the war, Tony remained in Germany to photograph the rebuilding of the country for Stars And Stripes magazine. Returning to the US in 1950, Tony started his career as a commercial photographer, eventually working for virtually every major publication: Look, Life, Harper’s Bazaar, Town and Country, Newsweek, and many more. Tony went on to become one the most sought after photographers of his day and now 94, Tony still carries a camera and oversee the creation of his prints.


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Sandi Haber Fifield: LineationsOpen in a New Window

In Lineations, SANDI HABER FIFIELD challenges the photograph's privilege as a record of the seen by manipulating images in a variety of ways and combining them with drawings on vellum to expand their formal and expressive possibilities. Through her combination of materials, her embrace of the contingent and ephemeral, and in her choreographed meeting of the found and the invented, HABER FIFIELD articulates the tenuous beauty and fragility of the natural world.


HABER FIFIELD has experimented with multiple images throughout her career, exploring various ways of extending the photographic frame since the 1970s. As the artist explains, "I have never felt constrained by the parameters of traditional photography and have only rarely been interested in pursuing photography as fact." In Lineations, HABER FIFIELD has used the camera to capture what resembles a drawing in nature - telecommunication wires and invasive vines, the prosaic line of a tennis court crack, the swirls of desiccated dune grass on a beach and the determined joints in a concrete sidewalk. Treating the resulting imagery as raw material, HABER FIFIELD may adjust a photograph's color or layer different versions of the same image, varying the size and changing the orientation; or, she may embellish the lines inherent in the image with her own drawn lines. Graphite and wax pastel drawings made in response to and as an extension of these altered images have been conjoined to the photographic print.


Intimate in scale, the drawings are both intuitive and insistent with a line that is spindly and brittle as well as elegant. The vellum adds another layer, translucent and atmospheric, that one looks both at and through. HABER FIFIELD'S drawings complete and clarify the given lines in the photograph, amplifying both the logic and whimsy of nature, while revealing a satisfying order in the world. The tactile layering of these hybrid images creates an immediacy that resists the homogeneity of our mediated culture.


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Notions of HomeOpen in a New Window

John Baldessari | Tina Barney | Mike Brodie | Amy Elkins | Mitch Epstein | Samuel Gratacap | Jitka Hanzlova | Anthony Hernandez | David Hilliard | Tom Hunter | Justine Kurland | Lisa Kereszi | Laura Letinsky | Alex MacLean | Esko Mannikko | Andrew Moore | Mark Ruwedel | Sebastiao Salgado | Julius Shulman | Mark Steinmetz | Larry Sultan | Bertien van Manen

In response to the ongoing crises of population displacement and income disparity, Notions of Home explores how the idea of “home” can manifest in a myriad of ways, whether physical or psychological, permanent or transient, ancestral or nouveau, aspirational or impoverished.


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TargetedOpen in a New Window

Every day the news about Syria is dire, as the country finds itself in a civil war with no apparent end. As of today, 6.6 million people have been displaced and the number keeps rising. More than 400,000 people have been murdered, and hundreds of thousands more have been severely beaten, starved and detained. More than 17,000 people have died in Syrian prisons, as a result of torture or inhumane conditions, and another 13,000 sentenced to death. The horror in Syria is now entering its 6th year, as the government seems to be systematically annihilating its people.

In 2012, Syrian activist turned photographer Omar Imam (b. 1979, Damascus) was kidnapped and tortured by a militia and only let go when a friend intervened. Soon after, Imam left Damascus with his parents and wife, settling in Beirut where he and his wife started a family. In 2016, he moved to Amsterdam, where he currently resides. His family recently received paperwork that will finally allow them to join him.

Live, Love, Refugee is Imam’s photographic response to the chaos erupting in his homeland. In refugee camps across Lebanon, Imam collaborated with Syrians to create photographs that talked about their reality, rather than presenting them as a simple statistic. As a refugee himself, Imam understands the loss and chaos of being displaced from ones home. But dreams cannot be eradicated -- dreams of escape, dreams of love, and dreams of terror. These dreams are what Imam set out to capture. The resulting images peel back the façade of flight, to reveal the spirit of those who persevere, despite losing everything that was familiar. These composed photographs challenge our perception of victimization, offering access into the heart and soul of humanity.

In the United States, roughly 40% of households own a firearm. There are enough guns—approximately 300 million—to arm nearly every man, woman, and child in the country. This statistic is at the core of work being done by Garrett O. Hansen (b. 1979, NYC). In 2013, Hansen moved from Indonesia to teach at the University of Kentucky. It was in Lexington that the prevalence of gun culture caught his attention and became the focus of his work. He began making weekly visits to a local gun range and collecting the cardboard pieces that sit behind familiar targets of a generic unarmed silhouette. Each shooter is given a fresh target, while the backings slowly erode from the rounds shot at the figures chest and head. In Silhouette, Hansen brings these pieces of cardboard into the darkroom, where he creates full sized contact prints of them. These photographs are then scanned and form the basis for the final pieces that are made of mirrored Plexiglas and represent a one-to-one replica of the original cardboard backings. As viewers approach the piece, they see their own reflections hollowed out by the countless bullets. Through this series, Hansen seeks to engage the viewer in a broader discussion about gun culture in America.

According to available data, 2016 was the deadliest year in the city of Chicago since 1997. A huge uptick in violence resulted in 723 gun deaths… the highest of any city. The entire state of Kentucky had 278. In his newest series Memorial, Hansen examines these statistics by physically shooting pieces of paper multiple times, from which he creates gelatin silver prints, mirroring the number of gun deaths in each month. A comparison between Chicago and Kentucky will be on view. Through pieces of paper riddled with bullet holes, Hansen illuminates the heavy price of an armed civilian population.

Most people encounter endangered animals in a zoo, behind protective glass or a large moat. Designed to educate, preserve and foster conservationism, zoos have come under fire by animal rights activists who question the welfare of captured animals in an artificial environment. Colleen Plumb (b. 1970, Chicago) tackles these issues in Path Infinitum, a video projection that explores the complexities and contradictions of keeping wild animals in captivity and raises questions about our participation as a spectator.

Traveling to more than 60 zoos in the U.S. and Europe, Plumb filmed animals exhibiting stereotypy, a behavior only seen in captive animals, which includes rhythmic rocking, swaying, head bobbing, stepping back and forth and pacing. Path Infinitum looks at elephants, lions, and polar bears, along with many other animals that exhibit stereotypy or hopelessness due to lack of adequate mental stimulation or an inability to engage in natural activities. As more and more animals face extinction due to human consumption, sport and profit, Plumb raises questions that are meant to provoke discussion and raise awareness about endangered species.


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Thomas Jackson: Emergent BehaviorOpen in a New Window

In Thomas Jackson's series, Emergent Behavior, he features hovering installations that are inspired by self-organizing, "emergent" systems in nature such as termite mounds, swarming locusts, schooling fish and flocking birds. The images attempt to tap the mixture of fear and fascination that those phenomena tend to evoke, while creating an uneasy interplay between the natural and the manufactured and the real and the imaginary. At the same time, each image is an experiment in juxtaposition. By constructing the installations from unexpected materials and placing them where they seem least to belong, I aim to tweak the margins of our visual vocabulary, and to invite fresh interpretations of everyday things.

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Joseph Szabo: Almost GrownOpen in a New Window

Joe Szabo is a teacher, photographer and author who began his photographic studies at Pratt Institute where he received an MFA degree in 1968. He taught photography at Malverne High School in Long Island from 1972-1999 and at the International Center of Photography in New York since 1978. His work has been exhibited at the Venice Biennial, the International Center of Photography, the Museum of Modern Art in New York, and the Brooklyn Museum among others. Szabo’s work is in the collection of many prestigious institutions including the Bibliotheque National in Paris, France, The George Eastman House Museum in Rochester, New York, and the Metropolitan Museum of Art in New York. Szabo’s photographs have been published in numerous magazines and newspapers such as the New York Times, Vogue Hommes International, New York Magazine, Newsday, New Yorker, the Los Angeles Times and many more.

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Frank Paulin: New York, The Early YearsOpen in a New Window

Bruce Silverstein is pleased to present an online exhibition devoted to the photographs of Frank Paulin, predominantly captured in the 1950s on the streets of New York City. Many of these early images by Paulin were featured in a 1957 solo exhibition at Helen Gee’s pioneering gallery and café, Limelight—then New York’s only gallery for fine art photography, as well as a local hangout for the great photographers of the time. Despite the fact that his 1957 solo show at Limelight predated the recognition of photography as a commonly appreciated medium, admiring reviews for the show appeared in the New York Times as well as the Village Voice, praising Paulin’s ‘humor and compassion’ and his uncanny ability to perceive irony and record what they referred to as ‘poetic accidents.’

Born in Pittsburgh in 1926, Frank Paulin grew up in New York and Chicago. At age 16, he began studying fashion illustration and photography while moonlighting as an art apprentice at Whittaker-Christiansen Studio in Chicago. Two years later, in 1944, he was drafted into the Army Signal Corps where he would spend the next two years developing his documentary style through photographing war-torn German cities.

Returning to Chicago following the war, he enrolled under the GI Bill at the Institute of Design in 1946, arriving the exact same day as Harry Callahan had begun teaching. As a requirement of the school’s utopian curriculum, photography was required in order to train its students to think in new ways. Callahan, Laszlo Moholy-Nagy and Arthur Siegel fostered an environment brimming with potential for experimentation with paper and light. While in school, Paulin held a full-time day job as fashion illustrator at a local art studio and freelanced for department stores throughout the region like Marshall Field’s, Mandel Brothers and Charles A. Stevens. Able only to attend classes at night, Paulin remained in school through 1948.

By the end of the 1950s, Paulin had returned to New York where he continued to freelance in fashion illustration. He had also been taking classes under acclaimed art director Alexey Brodovitch at the New School. With most of his days occupied by school and work, he would take to the city’s streets at night, stoking his passion for ‘grab shots’ and often gritty street documentary. Paulin spent most of his time in and around Times Square, which provided him with subjects from all walks of life set against the stunning visual framework of advertisements, neon signs, and reflective store windows. It was during this time that he crossed paths with Louis Faurer, whose own work had been inspired by walking those same streets a decade earlier.

For the next 50 years, Paulin continued to roam the streets finding these ‘poetic accidents’ expanding his stomping grounds from New Orleans to Paris to suburban America. His images recall a distinct moment in American history, and here, as further distilled through the filter of New York – is a passionate vision that keeps us looking.


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Michael Crouser: Mountain RanchOpen in a New Window

ClampArt is pleased to announce “Michael Crouser: Mountain Ranch”—the artist’s first solo exhibition with the gallery.

In the snowy early spring of 2006, photographer Michael Crouser was invited to Sweetwater Ranch in Northwestern Colorado by his friends Matt and Hope Kapsner. They thought the artist might be interested in documenting their neighboring ranchers during calving season. Initially reluctant about making the trip, once he arrived, Crouser soon was pleasantly surprised to find the fourth-, fifth-, and even sixth-generation ranchers he met kind and welcoming, and he soon was intrigued and inspired by their work and the authentic if sometimes austere way of life he observed. Traveling back to the mountain ranch over nearly a decade, Crouser found himself drawn not to the ways in which ranching life and work had changed over the years, but rather the constancy. He writes: “There is the mending, by hand, of miles of barbed-wire fences. There are long-abandoned home-steads, still used by neighbors for their crumbling corrals, grass and water. There are the animals the ranchers work with, the animals they guard against, and the animals they raise for slaughter. And there is the landscape, which frames and defines these people’s niche in ranching and which, because of its beauty and richness, may ultimately, and perhaps ironically, hasten the demise of this traditional way of life.”

Shot on Kodak Tri-X film with either a Pentax 67 or a Nikon F4, all of Crouser’s photographs are hand-printed. The artist believes how you say something is just as important as what you say, and tactile photography is part of his personal expression.


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