Showing posts with label photography exhibitions. Show all posts
Showing posts with label photography exhibitions. Show all posts

Wednesday, November 1, 2023

Join Curator Niki Stewart on Nov. 9 for an in-depth look at the Tony Vaccaro photography exhibition American Icons: Wright & O’Keeffe

 

Via Taliesin West

black and white graphic for the Taliesin West exhibit "American Icons: wright and O'Keeffe" with portraits of Frank Lloyd Wright and Georgia O'Keeffe




American Icons: Wright & O’Keeffe

Taliesin West is the winter home and desert laboratory of Frank Lloyd Wright. The site in Scottsdale, Arizona, welcomes visitors year round through tours and programs for all ages. Since 2021, Taliesin West has offered changing exhibitions to explore during tours. From October 20, 2023 – June 3, 2024, American Icons: Wright & O’Keeffe is on display, featuring  photographs by Michael A. “Tony” Vaccaro.

In this course, exhibition curator Niki Stewart will take you on an in-depth journey into the similarities between Frank Lloyd Wright and Georgia O’Keeffe. Both legendary figures, they are typically seen in isolation. Through this exhibition, we compare and contrast the photographs, homes, and lives of these influential figures.

In these photographs — many of which have never been seen before — we see an intimate view of Wright and O’Keeffe in their homes and studios. Taken at Wright’s Wisconsin home, Taliesin, and O’Keeffe’s homes in New Mexico, Vaccaro casts an intimate lens on these well-known figures. By viewing the pictures in pairs, we begin to see all the ways Wright and O’Keeffe were similar, beyond the photographs themselves.

Thursday, November 9, 2023

10-11 am MST

Register here.

The exhibition is organized and presented at Taliesin West by the Frank Lloyd Wright Foundation. All photographs courtesy of the Tony Vaccaro Studio and Monroe Gallery of Photography.


About the Curator Niki Stewart:

Educator, Artist, and Museum Leader

Niki Stewart is passionate advocate for arts and education.  She serves as the Vice President and Chief Learning & Engagement Officer at The Frank Lloyd Wright Foundation. Based at Taliesin West, Wright’s winter home and desert laboratory, she oversees all public engagement programs, tours, and exhibitions at this UNESCO World Heritage site.  Her museum experience also includes leadership roles at the Academy of Natural Sciences of Drexel University (Philadelphia, PA), Crystal Bridges Museum of American Art (Bentonville, AR), and the John and Mable Ringling Museum of Art (Sarasota, FL).  Niki has also worked as an Art Educator in the public schools, as program administrator of Art Bridges, and with the Walt Disney Company. She’s a founding faculty member of the National Art Education Association’s School for Art Leaders, and a graduate of the Getty Museum Leadership Institute. She holds a BFA in Illustration from Ringling College of Art and Design in Sarasota, FL.


Wednesday, December 28, 2022

Monroe Gallery of Photography 2022 in Review

 


David Butow: Brink


photograph of the cover of the David Butow book "Brink" showing title printed over black and white American flag

Gallery talk

Exhibition link


Ed Kashi: Abandoned Moments

color image of book cover for Abandoned Moments by Ed Kashi. The cover image shows people celebrating the Ganpati Festival to the Lord Ganesh, India


Gallery talk

Exhibition link


The LIFE Photographers

Exhibition video

Exhibition link


Imagine A World Without Photojournalism



Gallery discussion with photojournalists Nina Berman and David Butow

Exhibition link


The Legacy of Bill Eppridge

Exhibition video

Exhibition link


The Tony Vaccaro Centennial Exhibition

Graphic with Monroe Gallery - Tony Vaccaro in circle around the number 100



Exhibition video

Exhibition link


We look forward to seeing you in 2023!


Tuesday, July 26, 2022

"A most satisfying photo...."

 


A woman hitting a neo-Nazi with her handbag in Växjö, Sweden, 1985

Hans Runesson: A woman hitting a neo-Nazi with her handbag, Växjö, Sweden, 1985


From The Santa Fe New Mexican Letters to the Editor, July 20, 2022

"A most satisfying photo

The reprint of a 1985 photo by Hans Runesson in a recent Pasatiempo of an elderly Swedish woman slugging a neo-Nazi in the back of the head with her handbag during a rally, is quite possibly the funniest thing I have ever seen. It provoked in me the most extravagant hilarity and happiness. Look at her! She puts her entire body into it. Her face is contorted in a grimace of pure rage. She looks like she is of the generation that actually experienced the real Nazis and knows what these silly, idle, testosterone-laden young boneheads do not know or will not recognize: that all of it was pure hell.

Slugging that young man must have been immensely satisfying. I will admit with only the smallest trace of shame that I wish I could have similarly slugged one of these boneheaded, malevolent and violent Jan. 6 rioters in the back of the head with my handbag. The photo is now on my fridge, to be enjoyed for weeks to come as a sort of counterweight against the hopelessness that befalls me at times these days."


"Imagine A World Without Photojournalism" continues through September 18, 2022

Saturday, January 15, 2022

Opening Feb. 4 at RIT’s City Art Space, “Brink: Photographs by David Butow” features a gripping selection of images from the new book

 

Via Rochester Institute of Technology
January 14, 2022

color photograph by David Butow of Supporters of President Donald Trump retreating  from tear gas during a battle with Law Enforcement officers on the west steps of the Capitol in Washington, January 6, 2021

January 6, 2021. Supporters of President Donald Trump retreat from tear gas during a battle with Law Enforcement officers on the west steps of the Capitol in Washington during the attack on the day of Joe Biden’s election certification by Congress

"I was most interested in making pictures that would be different from daily news coverage and that would be particularly compelling to viewers decades from now.”--David Butow


--A solo exhibition of photographs and video by David Butow, whose new book, Brink, chronicles politics in the United States from the 2016 presidential election through the Jan. 6, 2021, insurrection, is coming to RIT’s City Art Space.

Opening Feb. 4, “Brink: Photographs by David Butow” features a gripping selection of images from the book (Punctum Press) for which Jenn Poggi, assistant professor in RIT’s School of Photographic Arts and Sciences, served as a key editor. The exhibition runs through Feb. 20. Full article here.


On January 20, 2022, the one year anniversary of President Biden’s inauguration, at 5 pm MST (4 pm PST, 6 pm CDT, 7 pm EST) David Butow will be in conversation with Steve Appleford, a contributing writer and video producer with the Los Angeles Times, Rolling Stone, and other publications. BRINK chronicles the dynamics that unfolded during the 2016 presidential election and led, finally, to the insurrection at the U.S. Capitol in January 2021. Registration required, click here.



Monday, March 21, 2016

SPRING NEWS FROM MONROE GALLERY OF PHOTOGRAPHY, SANTA FE, NM



The ultimate digital magazine where everything about photography is published daily, L’Oeil de la Photographie, recently feature the gallery’s current exhibition “Vintage Photojournalism”. The feature may be viewed here.

  Hilton Hotel, Michigan Avenue, August 1968, Democratic Convention

  “Vintage Photojournalism” is a major exhibition of rare vintage prints from the 20th Century’s master photojournalists. The exhibit features unique, one of a kind prints that were used to fill requests for reproduction in LIFE magazine and other major publications, many with important historic information inscribed and stamped on the verso (backside) of the photograph. The exhibit continues through April 24.
We are very pleased to announce that the gallery is now representing the Spider Martin civil rights collection.  Alabama photojournalist, James "Spider" Martin, (b. 1939 - 2003) was employed as a staff photographer at The Birmingham News during one of the most eventful periods in American history. Martin covered key events during the 1960s civil rights movement, most notably Bloody Sunday and other historic incidents from the Selma to Montgomery march. His civil rights photographs are in included in the many collections, including the Birmingham Civil Rights museum, the National Museum of African American History and Culture, and the Dolph Briscoe Center for American History.

While a small number of Spider's civil rights era photographs have been published and exhibited, most of these dramatic and moving images have never been shown publicly because of their controversial nature for the time.
Dr. King delivering his speech to the triumphant crowd of marchers

Monroe Gallery of Photography will be again exhibiting at the AIPAD Photography Show April 13 – 17 in New York at the Park Avenue Amory, 643 Park Avenue. The gallery will be in booth # 104. Celebrating its 36th year in 2016, The Photography Show features more than 80 of the world’s leading photography art galleries. We will be exhibiting specially selected photographs from the gallery's renowned collection of 20th and 21st Century master photojournalists. Among the highlights selected for this year's exhibition are: vintage prints from Spider Martin alongside other important civil rights photographs; a rare selection of never-before-seen vintage prints of photographs taken by Bill Eppridge on the night Robert F. Kennedy was assassinated;  a rare vintage print made from the original negative of the iconic image from World War II by George Silk "An Australian soldier, Private George "Dick" Whittington, is aided by Papuan orderly Raphael Oimbari, near Buna on 25 December 1942";  several large-scale color photographs from Stephen Wilkes’ Bethlehem Steel, China, and Day To Night collections, and an exciting previously unseen large scale photograph of David Bowie taken in New Mexico in 1975 during the filming of “The Man Who Fell To Earth” that is featured in the forthcoming book “Bowie: Photographs by Steve Schapiro” which will be published April 26, 2016 by PowerHouse Books, and many other exciting new additions to the gallery’s collection.

Steve Schapiro: David Bowie,  New Mexico, 1975 ( “The Man Who Fell To Earth’)

 We would like to invite you to visit the AIPAD Show as our guests, please contact the gallery for complimentary admission to the Show.

We will round out the Spring season with the exhibition “Alfred Eisenstaedt: Classics and seldom-seen photographs”: April 29 – June 26. Renowned as the father of modern photojournalism, Alfred Eisenstaedt’s career as a preeminent photojournalist spanned eight decades. The exhibition of more than 50 photographs features numerous classic images, several little-known gems, and never-before-exhibited photographs.
We hope to see you in the coming months, and please do not hesitate to contact us for any information.
Our best,

Sid and Michelle Monroe








Friday, November 14, 2014

Review: Joe McNally at Monroe Gallery




photograph
November/December 2014

Review
By Douglas Fairfield

Monroe Gallery of Photography, Santa Fe

Yellowstone - Walkway in the Fog, 2006
Joe McNaIIy, Yellowstone - Walkway in the Fog, 2006.
©Joe McNaIIy. Courtesy Monroe Gallery

Being at the right place at the right time is a photographer's modus operandi, and photojournalist Joe McNally has had his share of right-place, right-time moments; moments that have resulted in memorable, if not iconic images. In a retrospective of the photographer's work - on view at Monroe Gallery of Photography in Santa Fe through November 23 - more than 45 images stand testament to McNaIIy's discerning eye, both in formal and candid situations. Photos in color and black and white dating from 1978 to 2013 feature subjects of a most eclectic nature not typically associated with one photographer. But given a 30-year career in which McNaIly has contributed to TIME, Newsweek, Fortune, The New York Times Magazine, National Geographic, and LIFE, among others, it is little wonder that his portfolio runs the gamut in terms of subject matter. This includes sports, politics, music, science, portraiture, the natural and urban landscape, and war. lnterestingly, McNaIIy carries the distinction of being the last staff photographer for LIFE, whose pages, over the years, were filled with photographs by Alfred Eisenstaedt, John Loengard, Carl Mydans, Gordon Parks, and W. Eugene Smith.

Among the pictures on display are eight life-size portraits by McNaIly of individuals impacted by the events of 9/11 taken just days following the horrific attack. lncluded are former mayor of New York City Rudolph Giuliani and New York firefighter Joe Hodges, each part of McNally's larger document called Faces of Ground Zero, which traveled around the country and spawned a book by the same title. The one-of-kind, 80 x 40-inch Polaroid photos are mounted on freestanding stanchions placed down the center of the gallery. Whereas each picture by McNally holds a newsworthy narrative, a few nudge into fine art, like Yellowstone— Walkway in the Fog, 2006, in which an unoccupied walkway emerging from the bottom center of the composition curves gently to the right leading the viewer into an otherworldly environment of shimmering, copper-colored mineral water and fog-shrouded background. In the upper left corner is a snow-covered rise where barely visible trees appear like scratchings upon the photographic surface. History-making events and sheer beauty are fully captured through McNally's lens.

Wednesday, August 21, 2013

Santa Fe University of Art and Design Photography Department Announces In/Visible Borders Fall Exhibition



 Photo: Jamey Stillings / ©2012 Jamey Stillings, All Rights Reserved
Photo: Jamey Stillings


In/Visible Borders: New Mexico Photographers examines the cultural, political and economic realities of life in the contemporary Southwest.

Santa Fe, N.M. (PRWEB) August 19, 2013
 
The Photography Department at Santa Fe University of Art and Design (SFUAD) has announced a joint exhibition with the City of Santa Fe Arts Commission’s Community Gallery called In/Visible Borders: New Mexico Photographers. The exhibition, curated by SFUAD Photography Department chair Mary Anne Redding, will open to the public on Monday, Sept. 9, from 4:30 to 6:30 p.m. with a reception at SFUAD’s Atrium Gallery in the Marion Center for Photographic Arts. A complementary exhibition will open at the Community Gallery on Marcy Street Nov. 22.

This joint exhibition examines the cultural, political, and economic realities of life in the 21st century along the borderlands between the United States and Mexico. It also investigates the organic borderlands between cultures and economic status that define the state of New Mexico and the greater Southwest, and it explores the relationship of these invisible and visible boundaries.

Nineteen New Mexico photographers were invited to participate. Each photographer will show two images in SFUAD’s Marion Center and two in the Community Gallery. Exhibiting photographers include:

Tony Bonanno (Santa Fe)
Michael Borowski (Albuquerque)
David Bram (Albuquerque)
Lauren Greenwald (Las Cruces)
Kirk Gittings (Albuquerque)
Mindy Jean-Paul (Santa Fe)
David Michael Kennedy (El Rito)
Karen Kuehn (Peralta)
Greg Mac Gregor (Santa Fe)
Norman Mauskopf (Santa Fe)
Delilah Montoya (Albuquerque)
Patrick Nagatani (Albuquerque)
Teresa Neptune (Santa Fe)
David Robin (Santa Fe)
Sharon Stewart (Chacon)
Jamey Stillings (Santa Fe)
Martin Stupich (Albuquerque)
Carlan Tapp (Santa Fe)
Tamara Zibners (Albuquerque)

In addition to the exhibition, two free public lectures hosted by participating photographers will be offered to the community.

In/Visible Borders: New Mexico Photographers
Opening reception
Monday, Sept. 9, 4:30–6:30 p.m.
Atrium Gallery at the Marion Center for Photographic Arts
Santa Fe University of Art and Design
1600 St. Michael’s Drive, Santa Fe

The exhibition will run through Dec. 13, 2013. A complementary exhibition at the City of Santa Fe Arts Commission’s Community Gallery will open with a reception on Friday, Nov. 22, from 5 to 7 p.m. and run through Feb. 21, 2014.
Public Lecture: “Industrial Landscapes”

Featured speakers include photographers Martin Stupich and Jamey Stillings
Thursday, Oct. 24, 6 p.m.
Tipton Hall on the SFUAD campus
1600 St. Michael’s Drive, Santa Fe
Free and open to the public.

Public Lecture: “Environmental & Community Issues”
Featured speakers include photographer Carlan Tapp
Wednesday, Dec. 4, 6 p.m.
City of Santa Fe Arts Commission’s Community Gallery
201 W. Marcy St., Santa Fe
Free and open to the public.

About SFUAD’s Photography Department:
The Photography Department at Santa Fe University of Art and Design offers a comprehensive education in the theory, techniques, history and ethics of photography. This base, integrated with a strong foundation in other visual and liberal arts, provides students with the knowledge and perspective they need to pursue photography as a creative professional. The program, housed in the Anne and John Marion Center for Photographic Arts, encompasses both analog and digital technologies, giving students the chance to work in exemplary traditional and alternative process darkrooms and a state-of-the-art digital facility. Students also have access to the Beaumont and Nancy Newhall Library, an outstanding resource on the history, aesthetics and technology of photography.

About Santa Fe University of Art and Design:
Santa Fe University of Art and Design is an accredited institution located in Santa Fe, New Mexico, one of the world’s leading centers for art and design. The university offers degrees in arts management, contemporary music, creative writing, digital arts, graphic design, film, performing arts, photography and studio art. Faculty members are practicing artists who teach students in small groups, following a unique interdisciplinary curriculum that combines hands-on experience with core theory and prepares graduates to become well-rounded, creative, problem-solving professionals. As a Laureate International Universities Center of Excellence in Art, Architecture and Design, the university boasts an international student body and opportunities to study abroad, encouraging students to develop a global perspective on the arts. Santa Fe University of Art and Design is accredited by The Higher Learning Commission and a member of the North Central Association, http://www.ncahlc.org.

Tuesday, July 17, 2012

Open Society Foundation Moving Walls 2013 Exhibit Announced

Kim Jeong-Ya (a pseudonym), 67, lives in China near the North Korean border and belongs to a handful of Chinese human rights activists who dedicate their lives to help both North Korean defectors and abducted South Koreans make a safe passage from North Korea to South Korea via mainland China.
Photo credit: © Katharina Hesse

Via Open Society Foundation


2013 will mark a milestone for the Open Society Foundations’ Moving Walls exhibition. It will not only be our 20th exhibition since starting in 1998 but will be the inaugural exhibition at the Foundations’ new headquarters at the Argonaut building on 57th and Broadway in New York City. Moving Walls is a documentary photography exhibition produced by the Open Society Foundations that features in-depth explorations of human rights and social issues. These images provide human rights evidence, put faces onto a conflict, document the struggles and defiance of marginalized people, reframe how issues are discussed publicly, and provide opportunities for reflection and discussion. Since 1998, Moving Walls has featured over 150 photographers.

For the exhibition that will open in our new office, we received 300 proposals from 49 countries through an open call. The proposals were carefully reviewed by the Documentary Photography Project staff, an advisory committee of foundation staff, and the show’s longtime curators, Magnum photographer Susan Meiselas and Stuart Alexander, International Specialist at Christies. We recently completed selection and are pleased to announce that the following photographers have been chosen:
  • Katharina Hesse, on North Korean refugees who crossed the border into China
  • Fernando Moleres, on young men and boys imprisoned alongside adults and awaiting trial in Sierra Leone
  • Yuri Kozyrev, on the uprisings in the Middle East and North Africa and their aftermath
  • Ian Teh, on the changing landscape of the Yellow River Basin in China
  • Donald Weber, on police interrogations in Ukraine
In contrast to our current location, the new exhibition space will be located on the street level in a public conference space. That, combined with being more centrally located on 57th Street, gives us opportunities to engage with the public in a different way. The current office has been a great home to Moving Walls but I am excited for the new possibilities. Stay tuned for more information as we get closer to the opening of the exhibition.



Related: People Get Ready: The Struggle for Human Rights exhibition

Thursday, July 12, 2012

Vivian Maier: 1954, New York   ©Maloof Collection





Summer, 2012
Reviews, Santa Fe

Vivian Maier

Monroe Gallery of Photography

Among eccentric photographers of the 20th century, Vivian Maier stands out for her self-effacing reclusiveness. For much her life she worked as a nanny, and the tens of thousands of images she made remained unknown until a Chicago real-estate agent and amateur historian discovered them in 2007, less than two years before her death. Maier’s black and-white photos mostly depict street life in Chicago and New York, and bear comparison with the works of Helen Levitt, though Maier’s eye was more wide-ranging and her approach occasionally experimental, as when she ventured into pure abstraction in a manner reminiscent of Aaron Siskind. This show of images from the 1950s through the early ’70s offered a generous introduction to her remarkable output.
Like Levitt, Maier had an affection for children, capturing a small boy with one leg thrust forward, holding tight to a man, presumably his father, who adjusts the boy’s shoe. And like Weegee, she sometimes shot the seamier side of urban life, as in a photo of two men dragging another man down the street (Christmas Eve, 1953). But she was equally alert to the glamour of the city, paying homage to beautiful women in elegant hats and opulent furs. 

Some of the works here offered startlingly dramatic viewpoints: a man and woman, shot from above, hold hands across a restaurant table; a quartet of older women, pinned in a trapezoid of light, wait against a wall like characters in a Beckett play (1954, New York). Maier’s humorous side surfaced in an untitled image of a ragtag couple, the man standing on his head, in front of a poster for a strip joint. In another, Arbus-like shot, two men—one of them a stooping giant—inspect the goods in a shop window as a pair of curious women gape in amazement.

The show ended with a self-portrait of Maier, smiling wistfully, captured in the reflection of a mirror being unloaded in front of a drab apartment complex—as unassuming in art as she was in life.

By Ann Landi
 ©ARTnews



 

Monday, July 9, 2012

Monroe Gallery of Photography at VIP Photo







You’re Invited to VIP PHOTO!
Start Collecting on July 12. Opens at 8:00am EST.


Monroe Gallery of Photography invites you to discover hundreds of photographs from over thirty international galleries. Be the first to view this innovative event where you can browse, share and collect fine photography, exclusively online.

Click here to register for free:
http://photo.vipartfair.com/gallery/invite/815
Registering ensures you receive exclusive offers from VIP, newly available work, and news about upcoming events!

-

VIP PHOTO | www.vipartfair.com
Journey anywhere. Collect online.

July 12 – August 12, 2012
Preview Day July 11


Thursday, July 5, 2012

People Get Ready




A lone man stops a column of tanks near Tiananmen Square, 1989 Beijing, China








People Get Ready


Exercise your freedom and come witness 55 powerful photographs from significant human rights struggles in history. Reception 5-7 pm Friday, July 6.

Friday, April 20, 2012

STEPHEN WILKES: DAY TO NIGHT








 
 

Coney Island, Day To Night

Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is pleased to present "Day To Night", an exhibition of large-scale color photographs (up to 50 x 80 inches) by leading contemporary photographer Stephen Wilkes. The exhibition opens with a public reception with Stephen Wilkes from 5 - 7 PM on Friday, April 27. The exhibition continues through June 16. 

For more than two decades Stephen Wilkes has been widely recognized for his fine art, editorial, and commercial photography. With numerous awards and honors, as well as five major exhibitions in the last five years, Wilkes has made an impression on the world of photography. His most recent series features vibrant photographs of Times Square, Park Avenue, Coney Island, and Central Park, among other iconic New York locations, and capture, in a single frame, the transition from “Day to Night”. Using digital composites of images of the same site taken over a period of up to 15 hours, the photographs have a time-traveling quality, with the hustle and bustle in the afternoon sun giving way to the glow of city lights in darkening, cloud-streaked skies.

 "Anything one can imagine one can create. Over the last several years, photographic technology has evolved to a point where anything is possible. I imagined changing time in a single photograph. I began to explore this fascination with time in a new series of photographs called: “Day to Night”. Photographing from one camera angle continuously for up to 15 hours, capturing the fleeting moments throughout the day and night. A select group of these images are then digitally blended into one photograph, capturing the changing of time within a single frame."

"Day to Night embodies a combination of my favorite things to photograph; documentary street photography melded with epic cityscapes. The work is a personal reflection of my deep love for New York. As this series has evolved, I discovered that the photographs began to highlight a form of emergent behavior within the daily life of the city. Studying the communication between pedestrians on sidewalks, cars and cabs on the street, these individual elements become a complex life form as they flow together to create the chaotic harmony that is Manhattan."

"Henri Cartier Bresson once said, “Photography is the recognition of a rhythm in the world of real things.” I am forever fascinated by the rhythm that is New York, the city’s relentless energy from “Day to Night”'.--Stephen Wilkes

Selected photographs from the Day To Night series were exhibited at 2011 Art Basel Miami, and just recently at the 2012 AIPAD Photography Show in New York to widespread acclaim. This exhibition will be the first time the full collection has been exhibited together.

 Photography has been Stephen’s passion since age 12, when his fascination with science led him to take photographs through a microscope. He began working on his own at age 15, attended Syracuse University’s Newhouse School of Communications, graduating in 1980. In 1982, Wilkes opened his own studio in Manhattan.

 “Ever since I took my first pictures, photography has always been the joy of discovery for me,” says Wilkes. “The excitement not only lies with what I see and how I see it, but mostly when someone looks at the finished photograph and feels the same emotions I felt when I took the picture. There is something sacred about the right moment. The frame where all the energy comes together and, in one instant, a story is told.”

Wilkes' photographs are in the permanent collection of The Library of Congress, Washington, D.C.; George Eastman House, Rochester, New York; Museum of Fine Arts, Houston; Dow Jones & Company, New York City; The Jewish Museum, New York City; and in numerous important private collections throughout the world. His work has graced the covers of numerous international publications, including Sports Illustrated, Fortune, Vanity Fair, The New York Times Magazine, Life Magazine, and Time Magazine.

Friday, March 16, 2012

First Look: The AIPAD Photography Show

<>Coney Island
<>
 
Stephen Wilkes, Coney Island, Day To Night, 2011 Monroe Gallery of Photography Booth #419

Via Gotham Magazine

Whether you’re seeking that perfect print by Diane Arbus (you know the one, the identical twin girls in pinafores) or something new from a contemporary photographer, such as a multimedia wall relief made of LED lights by Jim Campbell, you’ll likely find what you’re looking for at the annual photography fair organized by the Association of International Photography Art Dealers, better known as AIPAD. Now in its 32nd year, AIPAD will be held at the Park Avenue Armory from March 29 through April 1, with offerings ranging from rare 19th-century material to the latest works by today’s digital artists.

“AIPAD is definitely worth two or three visits, not one drive-through,” says William Hunt, a top collector in the field.


Thursday, February 2, 2012

Save The Date: AIPAD Photography Show Opening Night March 28




The Association of International Photography Art Dealers

invites you to preview The AIPAD Photography Show New York at the

AIPAD Opening Night Gala
to benefit inMotion

Wednesday, March 28, 2012
from 5 to 9 in the evening

The AIPAD Photography Show New York
Park Avenue Armory Park Avenue at 67th Street

5 to 9 p.m. • 250 USD
Includes entry for one person, one four-day Show pass, and one copy of the AIPAD catalogue

7 to 9 p.m. • 100 USD
Includes entry for one person and one, one-day Show pass

To purchase tickets online, please visit gala.aipad.com



Since 1993, inMotion has confronted the challenging needs of families in crisis by providing free legal services to low-income, underserved, abused women and their children. InMotion has helped thousands of women in New York City free themselves from abusive relationships, stay in their homes and win the financial support to which they—and their children—are legally entitled. Learn more at:

 

Sunday, January 29, 2012

Everyday People: Vivian Maier



September 28, 1959, 108th St. East, New York
Vivian Maier: September 28, 1959, East 108th St.,
 New York
©Maloof Collection

The Albuquerque Journal

By
on Sun, Jan 29, 2012

Vivian Maier was essentially unknown throughout her lifetime. But that’s changing very quickly.

Maier, who worked as a nanny in Chicago, is setting the photography and art world on fire with her work in street photography that spanned more than 40 years. But she’ll never see it – which is the way she wanted it – because she died in 2009 at age 83.

“I never imagined that I would find a gem like Vivian,” says John Maloof, of the Maloof Collection based out of Chicago. “I saw her work and immediately worked on making sure she was in the right place in the history books.”

Exhibitions of Maier’s work have been held in New York, Chicago, England, Germany, Denmark and Norway. And it’s coming to Santa Fe.

The exhibit “Vivian Maier: Discovered” will run at Monroe Gallery of Photography in Santa Fe beginning Friday, Feb. 3.

Gallery owner Sidney S. Monroe says the exhibit will have approximately 35 prints, the majority of which have never been seen.

“Vivian’s story is fascinating and it keeps getting better,” he says.

Monroe says the gallery has been working to bring the show to the City Different since September and was thrilled to be one of the first venues to host the exhibition in the United States.

“This is such a huge international story, and it speaks to Vivian’s significance in the art world now,” he says. “Our goal from day one was to bring in top-flight exhibitions. It speaks to Santa Fe and it being a world-class destination for art and photography.”

In 2007, Maloof, a real estate agent and historian, purchased 30,000 negatives on a hunch from an auction house in Chicago. Buried deep in that purchase were the virtuosic street photographs taken by a reclusive nanny in Chicago.

Maloof says he bought the 30,000 prints and negatives from an auction house that had acquired the photographs from a storage locker that had been sold off when Maier was no longer able to pay her fees.

He says after buying the collection in 2007, he acquired more from another buyer at the same auction. He now owns 100,000 to 150,000 negatives, more than 3,000 vintage prints, hundreds of rolls of film, home movies, audio tape interviews, original cameras of Maier’s, documents and other items, representing roughly 90 percent of Maier’s work.

“She has become a fascinating person to me, and I wouldn’t be promoting her work if I didn’t think it was amazing,” he says.

Maloof says he had no idea of his find until he started perusing the negatives.

“I was captivated by what I saw,” he explains. “It’s really a great body of work and no one had seen it. Of course, not all the photos were great, but the ones that are stood out immediately.”

Maloof was credited with the find, and Maier’s profile as a street photographer was born and soon went viral.

“She lived her life in a private way,” he says. “I think that’s what makes it interesting. She was a normal, working-class woman who loved photography. It really could be any one of us.”

Maloof says at 25 Maier moved from France to New York, where she worked in a sweatshop. She later made her way to Chicago in 1956, where she became a nanny.

“Most of the families said Vivian was very private and spent her days off walking and shooting pictures,” he says. “I can just imagine her walking around town with a Rolleiflex around her neck, snapping pictures.”

Maier’s photographs gain interest because of the subjects. She had an eye for fashion as well as capturing the daily lives of people.

“You can see how Vivian lived through the photographs,” Maloof says. “She captured everything that seemed interesting to her.”

Maloof says three years after Maier’s death, he’s surprised at how much interest she has gotten in the past year.

“My initial goal was to get her noticed and for her to take her place in the art world,” he explains. “I know she was a private person, but I believe her photos are a gift to the world that needed to be shared.”

If you go

WHAT: “Vivian Maier: Discovered”
WHEN: 10 a.m.-5 p.m. Daily;  opening reception will be held from 5-7 p.m. Friday, Feb. 3. Continues through April 22
WHERE: Monroe Gallery of Photography, 112 Don Gaspar in Santa Fe
HOW MUCH: Free

Sunday, December 11, 2011

Exhibition of photographs from the largest fire in New Mexico state history

 

Corby Wilson photo of Las Conchas fire


Flames and Forest



In Los Alamos, inspiration rose from the flames.

The Los Alamos Historical Museum is showing 44 images from 30 photographers capturing the beauty and agony of last summer’s Las Conchas Fire, the largest wildfire in state history.

Opening at 5-7 p.m. Tuesday, the photographs encompass wildlife and mountains, charred trees and helicopters, night skies and daylight licked by flames.

Reflecting part of the town’s history, the show features works by just three professional photographers. The rest are amateurs, museum specialist Judith Stauber said. All are from around northern New Mexico. The photos tell the fire’s story through powerful visual landscapes sharing themes of the battle against smoke and fire as well as the surreal impact of the fire on the quality of light, land, night sky, mountain skyline, wildlife and people.

Area photographers submitted about 60 images.

“We chose at least one from everybody that submitted,” Stauber said. “The quality of the images really surprised me.”

The photographs are primarily landscapes, with few shots of people, including firefighters.

“One of the themes was the very surreal landscapes,” Stauber said. “How the smoke affects the light – the exhibit’s up now and I was looking at it with my mouth open.”

Photographers captured moments of helicopters diving and disgorging from a multiplicity of angles. One produced a haunting scene of a young doe standing amid blackened trees.

Los Alamos resident Ken Hanson shot an aerial image of felled and charred trees resembling the microscopic texture and detail of bacteria or threads of finely woven fabric.

“The texture of that really struck me as a close-up,” Stauber said. “Just the pattern of that charred landscape was striking. You don’t really know what you’re looking at. It’s this beautiful weaving. When you realize what it is, it’s shocking.”

Santa Fean Amanda Jay captured an eerily purple sun at dusk.

“She sent me a note that said, ‘This is not color corrected’,” Stauber said. “There’s a lot of different pigments in the photographs –– like a pink sky, colors you’re not used to seeing.”

Los Alamos’ Salvador Zapien created daylight views of the Pajarito ski lift against a backdrop of blue skies and churning smoke.

“There’s this gorgeous blue sky and the ski lift, and then you see these ominous clouds in the background,” Stauber said.

Corby Wilson, also from Los Alamos, documented the fire fighters dropping a load of red fire retardant into the trees.

The museum organized a photography exhibit for 2000′s Cerro Grande fire, but those photographs focused on what was lost.

“Our archives also collected pictures of every home that was destroyed,” Stauber said. “This fire had a very different effect on the community than the last one. While still frightening, it was much less personally painful. People are moving on more quickly and seem more resigned to living with fire in the mountains and canyons.

“There are some powerful images in the room,” Stauber said. “I just stand there in awe.”

The exhibition will be up until Jan. 5.

If you go
WHAT: “Las Conchas Fire Community Photographs”
WHEN: Opening reception 5-7 p.m. Tuesday, Dec. 13. Through Jan. 5.
WHERE: Los Alamos Historical Museum, 1050 Bathtub Row, Los Alamos
CONTACT: 505-662-6272

Friday, November 25, 2011

JOHN LOENGARD: DEVELOPMENT OF PHOTOGRAPHY



 Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987
Henri Cartier-Bresson sketching in the Bois de Boulogne, Paris, 1987


New book and show is an ode to the art form and its history

November 25, 2011
By Kate McGraw
For the Journal

   

Anyone intuiting that famed photographer John Loengard chose the name “Age of Silver” for his new book and show opening today at Monroe Gallery because it referred to a development process for photographs would be ... entirely correct.

“Any lens can form an image, but the way to make the picture permanent was a mystery for centuries,” Loengard said in an email interview. “In the 1830s two men, independently, discovered that using the chemistry of silver was the solution. Television, of course, is electronic photography, but silver remained the basis of still photography until the start of the 21st century. I wanted to pay tribute to silver and to a few of those who have made fabulous use of it.”

His new book is an ode to the art form  to which Loengard has dedicated his life. The exhibition of photographs opens with a reception and book signing today and continues through Jan. 29.

“I hope my enthusiasm for my subjects comes through. I got interested in photography when I was 11 years old, so I’ve spent 66 years taking pictures,” Loengard said. “Some of these photographers were my idols; some are my colleagues. I’ve edited the work of others, and I’ve hired some to take pictures. I’m immersed in photography. It’s a human occupation that I love.”

Loengard was born in New York City in 1934 and received his first assignment from LIFE magazine in 1956, while still an undergraduate at Harvard. He joined the magazine’s staff in 1961 and in 1978 was instrumental in its re-birth as a monthly, serving as picture editor until 1987.

Under Loengard’s guidance in 1986, LIFE received the first award for “Excellence in photography” given by the American Society of Magazine Editors. In 1996, Loengard received a Lifetime Achievement Award “in recognition of his multifaceted contributions to photojournalism” from Photographic Administrators, Inc.



Richard Avedon, New York, NY 1994
Richard Avedon, New York, NY 1994


 In “Age of Silver,” Loengard has focused his lens on some of the most important photographers of the last half-century, including Annie Leibovitz, Ansel Adams, Man Ray, Richard Avedon, Sebastiao Salgado, Alfred Eisenstaedt, Henri Cartier-Bresson, Harry Benson and others. Loengard caught them at home and in the studio, posed portraits and candid shots of the artists at work and at rest. It is the work of 40 years. 


Alfred Eisenstaedt holds his negative of VJ-day celebrants New York City, 1992
Alfred Eisenstaedt holds his negative of VJ-day celebrants New York City, 1992


“Photographers already knew it but, suddenly in the 1970s, everyone else began to consider photography an art,” he said. “Magazines started to treat photographers as artists — Ansel Adams was on the cover of Time in 1979. In the 1980s and early 1990s, I photographed a number of photographers because they had a new book or were old enough to be finishing their careers and worthy enough to notice. Working on assignment, as I did for half these pictures, had an advantage. A subject would understand why a publication like LIFE, in its great wisdom, had recognized his or her importance. We all like to be noticed. They showed themselves to the camera with an energy that might be missing otherwise. It was not vanity; they’d been asked to show themselves off.”

Far from an attempt to put forth a singular definition of modern photographic practice, this beautifully printed book instead presents evidence of the unique vision and extremely personal style of every artist pictured.

Loengard has published a half-dozen books, including “Pictures Under Discussion,” which won the Ansel Adams Award for book photography in 1987; “Celebrating the Negative,” and “Georgia O’Keeffe at Ghost Ranch.”

His book “LIFE Photographers: What They Saw” was named one of the year’s top 10 books for 1998 by The New York Times. Loengard wrote an extensive introduction for the major book “The Great LIFE Photographers,” published in 2004. “As I See It,” a monograph of his photography, was published by Vendome Press in 2005. “Image and Imagination,” a book of photographs of Georgia O’Keeffe paired by O’Keeffe paintings, was published by Chronicle Books in 2008.

His interest in O’Keeffe originally was sparked by the fact that she had been married to the photographer Alfred Stieglitz, but he grew interested in the artist herself, especially her calm attraction to the camera.

“When I photographed the painter Georgia O’Keeffe, in 1966, the fact that she was the widow of the great photographer Alfred Stieglitz was what intrigued me most,” he said. “Of course, she didn’t want to talk about him — except, maybe, a funny story about being in charge of the Stieglitz family laundry during summers in the Adirondacks at Lake George — but she had learned how she looked to the camera from the scads of photographs he’d taken of her. She was the most perfect model I have ever photographed.”


Georgia O'Keeffe climbs on roof, Abiqui, 1967
Georgia O'Keeffe on roof, Abiquiu, 1967


 Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe and is celebrating its 10th anniversary this year.

“Time flies,” Sidney Monroe said. “We keep thinking we’re new, but all of a sudden we realize we’re 10 years old.” He said they regard the Loengard exhibition as a perfect celebration of 10 years in Santa Fe.

 If you go:

WHAT: “Age of Silver,” photographs and book by John Loengard

WHEN: Today through Jan. 29 WHERE: Monroe Gallery of Photography, 112 Don Gaspar

CONTACT: 505-992-0800; monroegallery.com  
 

Saturday, October 22, 2011

Tony O'Brian: "Contemplative Landscapes,” opens at the New Mexico History Museum Oct. 23




A Quiet Moment, Monastery of Christ in the Desert, 1995/2009. Photo by Tony O'Brien


The Albuquerque Journal

A time to refocus


The photographs reveal the sacred slant of light slicing across bowed heads, a solitary figure trudging up a snowy hill toward the chapel, loaves of freshly baked bread cooling on a wooden tabletop.

Tony O’Brien photographed Christ in the Desert Monastery for one year and discovered his own personal solace. The photographer’s dramatic black and white series forms the heart of “Contemplative Landscapes,” opening at the New Mexico History Museum Oct. 23.

Imprisoned by the Afghan secret police for six weeks while on assignment for Life magazine in 1989, O’Brien sought refuge and perspective at the Benedictine monastery. He returned to do a story in 1994 and in the process became a member of the community. His year-long spiritual sojourn granted him rare access to daily life in a community living a tradition dating to the Middle Ages. The monastery’s seclusion encouraged focus on St. Benedict’s guiding tenets –– hospitality, humility, acceptance and perseverance. He excavated the canyon deep within himself.

"I probably didn’t realize at the time that it was an opportunity for me to put a little closure to some things in my life that came out of prison and to understand who I was,” said O’Brien, now teaching photography at Santa Fe University of Art and Design.

The photojournalist had worked for both the Albuquerque Journal and the New Mexican and covered the Gulf War, as well as the violence in Northern Ireland, Central America, Pakistan, India and finally Afghanistan. He had visited the monastery and befriended some of the monks.

Before his capture, he had been working in Peshawar covering the war between the Soviets and the Afghan Mujahideen. There was a bounty on western journalists, especially Americans. O’Brien traveled to Kabul to meet with a network of guerrillas in a safe house.

“The commander in charge of my little group sold me out,” he said.

At first he was put in relatively solitary confinement with two Afghans.

“We never saw anyone,” he said. “I came back one day after interrogation and one of my cell mates was gone. You never knew what happened.”

Roughed up, but not beaten, he said most of the abuse he endured was psychological.

“You got shoved around a bit, but once I was in prison, it was the interrogation, never having the lights off, waking you up in the middle of the night.”

“Sometimes I’d be in interrogation for 12 hours,” he continued. “I didn’t exist in the world anymore because nobody knew where I was.”

He began re-examining his life. Hope arrived in the form of his cellmate Nadr Ali, a practicing Shiite Muslim. O’Brien watched Nadr Ali say his prayers five times a day and soon joined him in his own prayers, following the Muslim cycle. The pair even crafted their own prayer beads.

In captivity, O’Brien collided with his own vulnerability.

“When I was captured, one of my first thoughts was ‘Oh my God, I’m never going to see my mother again’,” O’Brien said. “That was shattering.” It was through Nadr Ali’s faith and trust in God that he endured.

“He was just an ordinary guy and he turned out to be one of the strongest individuals I’ve ever met. That doesn’t mean I didn’t sink into the abyss,” O’Brien said. “I give a lot of credit to Nadr and his faith. This was a Muslim –– the bad guys.”

Raised Catholic, but no longer practicing the faith of his childhood, O’Brien had long been fascinated by the Benedictines and monasticism. The similarities between monastic life and prison were not lost on him.

“I always thought it was funny,” he said. “I had a cell in Afghanistan and I had a cell at the monastery.
“It was the quiet and the solitude that drew me,” he continued. “At the same time, there was that sense of community. These monks are on their own individual journeys, but they do it in community.”

At first, O’Brien stayed in the guest house. But he quickly realized the separate quarters would always render him an outsider. The monks agreed to allow him to join them in his own cell. He rose with vigils at 4 a.m., chanted the psalms, celebrated the triumph of life over death, light over darkness in a life defined by prayer. He waited nearly a month and a half before he began taking pictures.

“By the time the project ended, even though I was the photographer, I wasn’t the photographer,” he said. “If I lifted my camera, nobody paid any attention. It was almost like having another family. I feel very blessed for that.”

The project changed the way the deadline-driven photographer worked.

“I came out of the newspaper/magazine business,” he said. “(I learned) it’s OK, slow down. If you miss it, something else will come along. Keep it simple. Watch it evolve. Another gift I got was I learned it was OK to say I don’t know.”

But perhaps most profoundly, the tiny monastery tucked between the canyon walls along the Chama River changed him spiritually.

“It allowed me to become more at peace with who I was and with my beliefs,” he explained. “Part of it all is the struggle and the questions. It’s how you live on your quest for God. Each individual is on their own journey, but you’re in a community and that’s how you get your strength to carry on.”

If you go

WHAT: “Contemplative Landscape”
WHEN: 2-4 p.m. opening reception Sunday, Oct. 23. Through April 7.
WHERE: New Mexico History Museum, 113 Lincoln Ave.
COST: $9 out-of-state; $6 New Mexico residents. Free Sunday to state residents; free Wednesday to New Mexico seniors. Free to museum members and children under 17. Free Fridays 5-8 p.m.
HOURS: 10 a.m. to 5 p.m. Monday through Sunday; open til 8 p.m. Friday.
CONTACT: 476-5200

Sunday, October 2, 2011

The Unseen Eye: Photographs from the W.M. Hunt Collection

Via The George Eastman House International Museum of Photography and Film


All eyes will be on George Eastman House International Museum of Photography and Film this fall as it presents one the largest exhibitions in its history — The Unseen Eye: Photographs from the W.M. Hunt Collection. More than 500 photographs by the masters of the medium will be on view Oct. 1, 2011 through Feb. 19, 2012. The Eastman House is dedicating all of its primary gallery space to this exhibition.

Earlier this year The New Yorker referred to the collector as “the legendary” W.M. Hunt. He is a renowned curator and dealer who has been collecting photographs for 40 years. A self-described “champion of photography,” he is well-known for his “eye” and sense of humor. Hunt describes the collection as “magical, heart-stopping images of people in which the eyes cannot be seen.”

The photographs of The Unseen Eye have a common theme — the gaze of the subject is averted, the face obscured, or the eyes firmly closed. The images evoke a wide range of emotions and are characterized, by what, at first glance, the subject conceals rather than what the camera reveals.
Eastman House will present the first major U.S. exhibition of the collection, from which Aperture is simultaneously publishing a book titled The Unseen Eye: Photographs from the Unconscious, to be released in October. Highlights from the collection have previously been seen in Europe at the Rencontres de la Photographie in Arles, France; the Musée de l'Elysée in Lausanne, Switzerland; and Foam-Fotografiemuseum in Amsterdam, The Netherlands.

“This collection and exhibition represent a very personal journey for me,” Hunt said. “It is my conscious made manifest. These are all photos of me. But they’re all of you, too. They are evocative, whimsical, representational, many things. I love the mystery of it. You have to react, to come to the image, to make up your own story.”

The collector’s first purchase was an Imogen Cunningham photograph, in which the subject’s eyes are veiled and unseen by the camera. This now extensive collection of haunting photographs reflects Hunt’s surreal vision and includes Weegee's multi-imaged portrait of Andy Warhol in sunglasses, the breakthrough news photo of Ruth Snyder in the electric chair in 1928, and Robert Mapplethorpe's photographs of artist Alice Neel shortly before her death. Vintage and contemporary black and white images join photographs in vibrant colors to create a picture of humanity from birth to death, from the banal to the transcendent.

The featured works range from daguerreotype to digital by photographers such as Berenice Abbot, Richard Avedon, Robert Frank, Lee Friedlander, Annie Leibovitz, Robert Mapplethorpe, Irving Penn, Man Ray, Edward Steichen, Edward Weston, and Joel-Peter Witkin, as well as 19th-century work from Nadar, Alinari, and Roger Fenton. The whole range of photographic processes, as well as different formats, is featured via the 500 photographs, selected from the 1,500 images in the collection. The most recent acquisition is a triptych of film stills from Jean-Luc Godard’s “Le Petit Soldat.” The largest is a hand-colored self-portrait by Dutch artist Teun Hocks and the smallest is a photo-booth self-portrait by the Surrealist André Breton. The oldest object is a gravure of the Shroud of Turin by Secondo Pio.

The exhibition also includes work by contemporary photo-based artists — some of whom have not yet been shown at Eastman House — such as Mitch Epstein, Steven Klein, and Kiki Smith. Hunt is a long-time supporter of emerging talent. He selected a portrait by Carrie Levy as the cover image of his book’s U.S. version. As a dealer he introduced talents such as Elinor Carucci, Luc Delahaye, Michael Flomen, Bohnchang Koo, Luis Mallo, Erwin Olaf, and Paolo Ventura, and as a writer he has worked with Bill Armstrong, Mark Beard, Manuel Geerinck, and Jeff Sheng — all of whom are represented by work in the collection and exhibition.

The Unseen Eye exhibition features little wall text, but it does include video commentaries by Hunt, with personal responses to these images gathered over many years and his insights into the psychology of collecting.

Eastman House will feature a small accompanying exhibition of “unseen eyes” selected by Hunt from the museum’s unparalleled permanent collection. These range from Dorothea Lange’s 1933 photograph “White Angel Bread Line,” to an unattributed 1850 daguerreotype of a blind man holding a cat. A related online exhibition will include hundreds of vernacular photographs —snapshots — from Hunt’s collection.

Hunt has had a long relationship with Eastman House as well as with photography. “George Eastman House is excited about this special collaboration with this insightful collector,” said Dr. Alison Nordström, Eastman House curator of photographs and director of exhibitions. “We have always understood ourselves as a collection of collections, beginning with Kodak’s Eastman Historical Collection and the collections of Gabriel Cromer, Alden Scott Boyer, Alvin Langdon Coburn, and Edward Steichen. The idiosyncratic eye of an individual private collector offers a rich and varied complement to our institutional holdings.”

W.M. Hunt and Featured Artists in Person

Eastman House will welcome W.M. Hunt for a public lecture about The Unseen Eye at 6 p.m. Friday, Oct. 21, in the Dryden Theatre, followed by a booksigning and reception for museum members. The Unseen Eye: Photographs from the Unconscious (Aperture, $75) will be sold on site at the Eastman House Store following the lecture. Admission will be $12 adults, $10 seniors, and $5 students.

The next day, from 9:30 a.m. to 12 p.m. Saturday, Oct. 22, Hunt and artists whose work is featured in The Unseen Eye will present a panel discussion of their work next door to Eastman House at The Hutchison, 930 East Ave. Following the talk, the artists will sign copies of Hunt's book and photo books of their own. Included with museum admission: $12 adults, $10 seniors, and $5 students. Tickets can be purchased that day at Eastman House or The Hutchison.

Monday, September 26, 2011

GETTY MUSEUM DISPLAYS FIRST COMPREHENSIVE OVERVIEW OF PHOTOGRAPHS BY LYONEL FEININGER



A Selection of Bauhaus Photographs from the Getty Museum's Permanent Collection Complements the Exhibition

Lyonel Feininger: Photographs, 1928–1939

Via The Getty Trust

LOS ANGELES—Widely recognized as a painter, printmaker, and draftsman who taught at the Bauhaus, Lyonel Feininger (American, 1871–1956) turned to photography later in his career as a tool for visual exploration. Drawn mostly from the collection at Harvard University in Cambridge, Massachusetts, Lyonel Feininger: Photographs, 1928–1939 at the J. Paul Getty Museum, Getty Center, October 25, 2011–March 11, 2012, presents for the first time Feininger's unknown body of photographic work. The exhibition is accompanied by a selection of photographs by other Bauhaus masters and students from the Getty Museum's permanent collection. The Getty is the first U.S. venue to present the exhibition, which will have been on view at the Kupferstichkabinett, Staatliche Museen zu Berlin from February 26–May 15, 2011 and the Staatliche Graphische Sammlung, Pinakothek der Moderne in Munich from June 2–July 17, 2011. Following the Getty installation, the exhibition will be shown at the Harvard Art Museums from March 30–June 2, 2012. At the Getty, the exhibition will run concurrently with Narrative Interventions in Photography.

"We are delighted to be the first U.S. venue to present this important exhibition organized by the Harvard Art Museums/Busch-Reisinger Museum," says Virginia Heckert, curator of photographs at the J. Paul Getty Museum and curator of the Getty's installation. "The presentation at the Getty provides a unique opportunity to consider Lyonel Feininger's achievement in photography, juxtaposed with experimental works in photography at the Bauhaus from our collection."

Read the full Press Release here.

Related: Andreas Feininger