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

Friday, August 29, 2025

Lowrider Culture in the United States Exhibit Features Photographs By Gabriela Campos

 Via Smithsonian

montage of photographs showing lowrider culture in banner ad for Smithsonian Low Rider exhibit
 La Raza Park, 1980, photo Lou DeMatteis/Española, New Mexico, 2017, photo Gabriela E. Campos/Newark, Cal., 2020, photo Amanda Lopez*


Corazón y vida : Lowriding Culture is appearing at The Smithsonian Museum of American History opening September 26, 2025


MUZEO Museum and Cultural Center , Anaheim, California - 9/13/2025 - 12/14/2025


Lowriding is a quintessential Latino/a tradition started by Mexican American communities in the 1940s to assert their space and empower their lives. This unique car-making tradition is infused with Latino/a soul, entrepreneurship, and ingenuity. A mix of innovation and tradition, lowriding is an affirmation of identity and values that have reached beyond the United States to influence popular culture worldwide.

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos is a new exhibition from the Smithsonian that will highlight a diverse selection of vibrant photographs and prints depicting lowrider culture and iconography while documenting its styles in the United States.

This traveling exhibition is based on research from the Smithsonian and will include objects from lowriding art and trade. Audiences will encounter a multifaceted picture of the American experience by learning about the Latino/a community identity through the lens of lowriding and its rich stories of creativity, family, and tradition. Lowrider Culture will examine the history of the post-World War II Mexican American community and the cultural expressions of lowriding through technology, innovation, and style.

photo of lowrider tilted on right side in front of the Cathedral in Santa Fe, NM

A lowrider image by photographer Gabriela Campos, featured in the exhibition






a red low rider cars is parked by the Santuario De Chimayo in Chimayo, New Mexico, on Holy Thursday, 2022


Holy Thursday Visit to Santuario De Chimayo, Chimayo, New Mexico, 2022







Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos will launch in 2025 and tour through 2028. Venues and dates here.




ArtDaily: Lowrider exhibitions set to cruise into the Smithsonian





Lowrider exhibitions set to cruise into the Smithsonian

Lowrider Culture in the United States / Cultura Lowrider en los Estados Unidos

Monday, August 18, 2025

A Period in Time by Ed Kashi: A Legacy of Photography Shaping How We See the World

 Via Photography Zilla

August 16, 2025

screenshot of Ed Kashi "A Period in time" book cover with black and white photograph of person jumping over  a bonfire


"A Period in Time by Ed Kashi” arrives less as a conventional retrospective and more as a living dossier: over 200 photographs spanning 1977–2022, paired with essays and field dispatches that place the photographer’s eye directly within history. Published by the Dolph Briscoe Center for American History, the book consolidates a career-long commitment to bearing witness — a clear reminder that archives and books can do more than preserve images; they can teach, provoke, and inspire future photo storytellers.

Click for full article


Save the Date: October 3, 2025 Ed Kashi A Period in Time Gallery talk and book signing 5-7 pm at Monroe Gallery of Photography. Exhibit continues through November 16, 2025. 

Friday, August 15, 2025

Eugene Tapahe: Standing On Ceremony

Via Pasatiempo

By Brian Sanford

August 15, 2025


cover of Pasatiempo magazine with Eugene Tapahe photography of 3 Native American women in bright Jingle Dresses standing in Utah salt flats

 


When Eugene Tapahe (Diné) photographed his daughters and two of their friends posing while wearing Ojibwe jingle dresses at Bonneville Salt Flats in Utah, the purpose was to provide healing during a tumultuous time, not to create art.

It was June 2020, and the world was reeling from the new realities of the pandemic’s social distancing, widespread masking, and living with the pre-vaccine terror that a friendly interpersonal encounter could be deadly. An aunt of Tapahe’s died from COVID-19; amid that emotional trauma, he dreamed he was sitting in a grass field at Yellowstone National Park, gazing at a herd of bison on the horizon. He detected a distinctive sound, then realized it was coming from jingle dress dancers who’d begun dancing with the bison. A sensation rose within Tapahe that most people don’t associate with 2020: hope.

The healing Ojibwe jingle dress dance is thought to have originated during the 1918 influenza pandemic, so its powers resonated especially strong during a remarkably similar calamity about a century later. What began with a 150-mile drive from the Tapahe family’s Provo, Utah, home to the salt flats grew into a nationwide healing journey to national parks and even New York City. Some of the results of that ongoing voyage are featured in Art Heals: The Jingle Dress Project, an exhibition at Monroe Gallery of Photography coinciding with Santa Fe Indian Market, where Tapahe is also bringing his work.

Tapahe traveled with his wife, Sharon; twentysomething daughters Erin and Dion; and the daughters’ friends Sunni and JoAnni Begay. The latter four posed in the vibrantly colored dresses while wearing matching red face masks, their arms raised in unity, at Monument Valley for Solidarity, Sisterhood; on a rock with their backs to the Pacific Ocean on the Oregon coast in Warrior Women; and at the base of the Lincoln Memorial in Washington, D.C., for Forever Enshrined. Some of the images are black-and-white, while others feature only three of the women.


color photograph of 4 Native American women wrapped in colorful blankets standing on fallen tree trunk on La Push beash in Washinton
Strength and Dignity, La Push Beach, La Push, Washington,

Tapahe, a native of Window Rock, Arizona, who holds a Master of Fine Art degree in studio art from Brigham Young University in Provo, recently chatted with Pasatiempo about the spookiness of traversing what amounted to a ghost nation in 2020, combating cultural ignorance, and the pandemic’s effects on both his psyche and his bottom line. His answers have been edited for length and clarity.

Do you always have such vivid, memorable dreams?

Many artists do sketches or preliminary work, but I conceptualize a lot of my works before I start doing art. I think it was a unique situation in that, even when I woke from the dream, it was still resonating with me. It really touched me and affected me to the point where I gave it life by sharing it with my wife and my daughters. The idea [at first] wasn’t to take it to the world; I just wanted to do one dance in a sacred place, to make the dream true.

But when we went out to the Bonneville Salt Flats — which is close to us — and the girls danced, that changed our whole perspective. We were the only people on the land, and there wasn’t a dry eye the whole time. The girls said they knew they weren’t dancing alone; they could feel the spirits of the ancestors of that land dancing with them spiritually. When the dance was over, Dion said, “Dad, we’ve got to take this to the land. We can’t just do it one time.” I said, “In my dream, I was at Yellowstone National Park, so let’s go to national and state parks.” Because those lands were colonized first — taken from the Native people — if we heal those lands and ancestors, they will come and help us heal during COVID.

You mention healing, and people suffered in numerous ways during the pandemic. How were you affected?

My family and I couldn’t go home to help our people and family, so it was difficult to see from afar the pain and death. Because of this, we felt it was important to go on this healing journey so that we could bring healing and unity through art.

Had you already visited all of the places featured in Art Heals: The Jingle Dress Project?

At some points, it was the first time we’d ever been there. In many places, it was really tough because we didn’t spend weeks there; I knew as a landscape photographer that early mornings and late evenings were the best times to take photos and for the girls to perform the jingle dress dance, since the natural light would be better. During the days, we traveled and the girls did their homework, because at the time everything was online.

This project began in 2020; what years does it cover?

It started in June 2020 and continues to this day. We are being invited to universities and colleges to speak and serve on panels. This has given us a great platform to [bring attention to] not just the project, but also to address Native issues, such as missing and murdered Indigenous women, Native rights, Native lands, and land acknowledgement.


black and white photograph of 3 Native American women in Jingle Dresses with right fists raised in front of the Lincoln Memorial
Photographer Eugene Tapahe’s ongoing Art Heals: The Jingle Dress Project at Monroe Gallery features images taken of his daughters and their friends at state and national parks during the pandemic. The images include Forever Enshrined, Lincoln Memorial, Washington, DC (2021, above). 
Courtesy Monroe Gallery of Photography

How did Sunni and JoAnni get involved?

They’re good friends with Erin and Dion. We’re all Navajo, and during COVID, the Navajo Nation shut down and closed their borders, so we couldn’t go home to help or be with our family members. They were already in quarantine here in Utah with our family, and that’s how we managed to do what we did.

The world had largely shut down.

We kept to ourselves; all restaurant dining areas were closed, so we either packed our own food or ordered takeout. We only entered public spaces to get gas and use the restrooms, but we remained very cautious because none of us wanted to get sick. At that time, there were no vaccinations available. When we visited Yosemite National Park, the six of us and two rangers were the only people there. It was a deeply spiritual moment — yet also surreal and eerie. It was late June, and the rangers told us that normally, they wouldn’t have any available camping spots, and the park would usually be filled with thousands of visitors.

How did you get into the park?

At Yosemite National Park, the rangers happened to be Natives [Miwok] from that land, and they already knew who we were. So, when we reached the guard gate, they understood that our purpose was spiritual and healing, and they allowed us to enter. The girls danced at the Indian village, and afterward, the rangers wanted to give them a gift. They shared their popsicles, which were so refreshing on that hot day in June.

Did you have issues accessing other locations?

The only place we thought we might have trouble was Yosemite National Park, because there are only a couple of entrances, but we were fortunate that the rangers there knew what we were doing and understood our purpose. Most of the other parks didn’t have anyone at the entrances because of COVID.

One of your images features the since-closed Nicholas Galanin exhibition Never Forget, consisting of 45-foot letters spelling out “Indian Land” in Palm Springs, California, which was featured in Galanin’s SITE Santa Fe exhibition Interference Patterns. Did Galanin (Tlingit-Unangax) know about your visit?

The organization, Desert X, has a biennial art installation in Palm Springs. We wanted to go there to dance and do a photo session. I reached out to them to let them know we would be coming. They responded on the day of our trip and said they were working on getting Nicholas to fly out the next day to meet us. They also managed to get Congressman Raul Ruiz from Palm Springs to come, and we had an impromptu get-together with Galanin. The ceremony opened with a local Native community performance featuring a traditional Cahuilla bird song by John Preckwinkle III. It was a spiritual moment.

How much do the dresses weigh?

Between 8 and 12 pounds.

color photograph of 4 Native American women in brightly colored Jingle Dresses standing on rock outcropping with Monument Vallery in background

Nizhoni (Beautiful), Monument Valley, Arizona, 20200


You encountered ignorance about Native people during your travels. That likely wouldn’t happen in New Mexico; where did it occur?

Mostly in urban areas; it occurred a few times on the East Coast. When we talked at universities, some people said, “I didn’t know that Native Americans still existed,” or, “Do you still live in teepees?” That’s still out there. It’s still common.

That sounds infuriating. How did you respond?

Our project is both healing and educational. When I was younger, I would have gotten angry, but now I realize they’re not saying it out of racism. Especially on the East Coast, that’s all they learned. In high school, the textbooks focused on Plains Indians, and they learned that Native Americans all lived in teepees, rode horses, lost battles, and were eventually wiped out.

It sounds like this show would be even more educational if it were featured in other areas of the U.S. Do you know if it will become a traveling exhibition?

I really don’t, but that’s exactly why I documented the project: the educational purpose behind it is important. It needs to be shared; it’s healing for everyone.

What are you showing at Indian Market this year?

A few images from [Art Heals: The Jingle Dress Project] will be in my booth, as well as landscapes and a lot of wildlife photography.

You’ve mentioned that the number 4 is considered sacred in Navajo culture. How did it manifest in this project?

We have four girls who represent the four worlds; in Navajo culture, we believe we’re in the fourth world. In the Four Worlds photo, there are four peaks on the Teton National Park mountains. During our photo session, the girls were facing me, and my daughter Dion set up the shot and poses. It turned out that they were almost in the same spots as the peaks on the mountains behind them. When we were ready to start printing the photos, that’s when we all saw it. It’s incredible how this project brought so much healing to us and to those who can see the images now. Art truly heals. 



details

The Jingle Dress Project

Through September 14

Monroe Gallery of Photography

112 Don Gaspar Avenue

505-992-0800; monroegallery.com

Saturday, July 5, 2025

Art Daily: Monroe Gallery hosts Eugene Tapahe's healing "Jingle Dress Project" exhibit

 

ardaily.com com graphic red text on yellow backgrond
Via ArtDaily.com

July 5, 2025

Monroe Gallery hosts Eugene Tapahe's healing "Jingle Dress Project" exhibit

black and white photograph 4 Native American women in traditional Jungle Dresses with red face masks and red scarves signifying MMIW standing in tall grass in front of snow-capped Teton mountains

Eugene Tapahe

Strength In Unity, Tetons National Park, the native land of the Shoshone, Bannock, Gros Ventre, and Nez Perce People, 2021


SANTA FE, NM.- Monroe Gallery of Photography opens a very special exhibit of large format photographs by Diné (Navajo) photographer Eugene Tapahe: Art Heals, The Jingle Dress Project.

The exhibit opens July 5, 2025, with an artist’s talk at 5:30 p.m. It will continue during the renowned Santa Fe Indian Market weekend, the world’s largest Native American art market, August 16 and 17, and conclude on September 14, 2025.

Art Heals: The Jingle Dress Project originated from a dream Tapahe had during the COVID-19 pandemic, inspiring him to unite the land and people through the healing power of the Ojibwe jingle dress dance during uncertain times of illness and social differences. Since then, Tapahe has traveled thousands of miles documenting family members and friends dancing the healing honor dance in National Parks and Monuments, honoring the places where their ancestors once lived. Tapahe describes the images as “incredibly powerful and spiritual. Looking at them, I still can't believe I took these photographs. I believe this project is larger than myself, and I hope that when people view them, they feel the same way – that we are all blessed to be in the presence of such beauty.”

The Jingle Dress Project has brought healing to Tapahe’s family, friends, and ancestors and garnered national and international recognition for its unifying effect on communities. The images have raised awareness of many Native American issues, such as land acknowledgment, women’s rights, and, most importantly, the epidemic of Missing and Murdered Indigenous Women (MMIW).

During the project, Tapahe discovered one overarching metaphor. “I put my hand on one of the jingles and I shook it. That one jingle didn’t make any sound,” he said. “But together, they have the power to heal. As human beings, if we are able to unite ourselves and our prayers and make a beautiful sound as the jingle dress does, we could be powerful.”

Eugene Tapahe is a contemporary artist inspired by his Diné (Navajo) traditions and modern experiences. He is originally from Window Rock, Arizona. Tapahe has loved photography since the first time he picked up a camera, and realized the special gift for telling stories through his art. He has a deep desire to continue photographing the lands his ancestors once walked.

Tapahe has received numerous awards, including the Best of Show award for his photography at the Cherokee Indian Market (2018) and the Museum of Northern Arizona (2019), making him the first photographer to achieve this honor.

Tapahe has also been honored with two International Awards of Excellence from Communication Arts magazine. His work is in the permanent collections of numerous museums, including the Smithsonian National Museum of the American Indian (Washington, DC), the Birmingham Museum of Art (Alabama), The Toledo Museum (Ohio), Speed Art Museum (Kentucky), the Arizona State Museum, the Minnesota History Center Museum, and the College of Wooster Art Museum (Ohio).


Wednesday, January 29, 2025

Join the Rijksmuseum and the John Adams Institute for a special event featuring Nina Berman whose work is on view in the major exhibition on American photography.

 Via The John Adams Institute


American Photographers in conversation. In collaboration with the Rijksmuseum

Feb 09, 2025, 1:30 pm - 3:00 pm,   Rijksmuseum (Auditorium), Museumstraat 1, Amsterdam

Tickets for the public event are sold out. You can still purchase tickets for the livestream via the buy tickets link here.

Join the Rijksmuseum and the John Adams Institute in welcoming photographers from the United States whose work is on view in the major exhibition on American photography. Their collective works invite us to investigate what America is, not only in the present, but also what it has been in pivotal moments since the invention of photography itself. Captured through their lenses, events, individuals and movements of national importance are brought into focus.

Following an introduction to the exhibition by curator Hans Rooseboom, photographers Bryan Schutmaat, Sarah Sense and Nina Berman will tell us more about their work. They will explore diverse aspects of the United States in conversation with the audience and moderator Clarice Gargard (Lilith Agency).

Program information

About Bryan Schutmaat: Based in Austin, Texas, Schutmaat’s work has been widely published and exhibited. His meditations on people and place picture a wide variety of contemporary issues, from poverty to climate change. He has won numerous awards, including a Guggenheim Memorial Fellowship and the Aperture Portfolio Prize, and his work has appeared in the Atlantic, New Yorker, and National Geographic, among other publications.

About Sarah Sense: Born in Sacramento, California, Sense practices what she calls photo-weaving, combining traditional Chitimacha ad Choctaw art and craft techniques with photography. Her works investigate landscapes from a Native American perspective, focusing on the colonial impacts on the climate. She is a graduate of Parsons the New School for Design, and her work has been exhibited in major galleries and museums around the world.

About Nina Berman: Nina Berman is a documentary photographer, filmmaker, journalist and educator. Her work explores American politics, militarism, environmental issues and post violence trauma.

Read, Watch, Listen: Looking for background information in advance of the event? Read Zachary Karabashliev – 18% Gray. Using trauma as an impetus to change his life, Zack sets off for New York with a vintage Nikon. Through the lens of the old camera, he starts rediscovering himself by photographing an America we rarely see. Watch Don’t Blink by photographer Robert Frank. A documentary about the groundbreaking photographer of The Americans. Listen to Simon & Garfunkel’s America. Their 1968 anthem is steeped in national mythology and has been interpreted as both exaltation and elegy.

More about the exhibition

In more than 200 works, the Rijksmuseum has gathered a major retrospective of American photography. The medium has left an indelible mark on human history, revolutionizing the way we look at the world, be it through art, news, advertising, our everyday lives, and the digital versions thereof we fashion on social media platforms like Instagram.


Rijksmuseum moves you to The American Dream. To the real American. To unexpected recognition. The Rijksmuseum is staging the Netherlands’ first major survey exhibition of American photography.