NYC, DC, & International exhibits

Because sometimes we need to know what is going on in the world of photography in other parts of the world; maybe we can just dream of a trip to NYC or International venues and gaze at the sites……ENJOY:

https://www.timeout.com/newyork/art/best-photography-galleries-galleries

Bruce Silverstein Gallery: http://www.brucesilverstein.com/exhibitions:

ICP: http://www.icp.org

http://photography-now.com/exhibition/?type=A

http://theupsider.com.au/international-art-exhibitions-2018/3939

NYC: Some ending soon:  ON VIEW:

Peter Hujar at Morgan Library and Museum until 20 May 2018

Stephen Shore at  MOMA until 28 May 2018

http://photographmag.com/exhibitions/

OTHER EXHIBITS OF NOTE:  and: https://www.newyorker.com/goings-on-about-town/art

Edmund Clark: The Day the Music Died: https://www.icp.org/exhibitions/edmund-clark-the-day-the-music-died

MOMA NYC:  https://www.moma.org/calendar/exhibitions/3886

Being: New Photography 2018, the latest edition of MoMA’s longstanding and celebrated New Photography series, investigates charged and layered notions of personhood and subjectivity in recent photography and photo-based art, presenting works by 17 artists working in the US and internationally. The works included in Being respond to diverse lived experiences and circumstances through a range of issues and tactics, including interrogations of traditional modes of photographic portraiture, the use of surrogates or masks as replacements for the body, tensions between privacy and exposure, formations of community or social relations, and the agency of the sitter and of the artist. Some works in the exhibition might be considered straightforward figurative depictions, while others do not include imagery of the human body at all. Since its earliest manifestations, photography has been widely seen as a means by which to capture an exact likeness of a person; the artists featured in Being mine or upset this rich history as they explore photographic representations of personhood today, when rights of representation are contested for many individuals.

Being: New Photography 2018 is constituted primarily of works made since 2016, both by artists who are just starting out in their careers, some showing in New York for the first time, and by others with more established practices who, in some cases, have been supporting the field of photography through teaching or creating other platforms for production. For all the artists, this will be the first exhibition of their work at the Museum. The artists included are: Sofia Borges (Brazilian, born 1984), Matthew Connors (American, born 1976), Sam Contis (American, born 1982), Shilpa Gupta (Indian, born 1976), Adelita Husni-Bey (Italian, born 1985), Yazan Khalili (Palestinian, born Syria, 1981), Harold Mendez (American, born 1977), Aïda Muluneh (Ethiopian, born 1974), Hương Ngô and Hồng-Ân Trương (American, born Hong Kong, 1979; American, born 1976), B. Ingrid Olson (American, born 1987), Joanna Piotrowska (Polish, born 1985), Em Rooney (American, born 1983), Paul Mpagi Sepuya (American, born 1982), Andrzej Steinbach (German, born Poland, 1983), Stephanie Syjuco (American, born Philippines, 1974), Carmen Winant (American, born 1983) Organized by Lucy Gallun, Assistant Curator, Department of Photography.

SUMMER 2018 WASHINGTON DC:
“Daguerreotypes: Five Decades of Collecting” at the National Portrait Gallery in Washington, D.C.

June 15, 2018–June 2, 2019 Daguerreotypes were the precursor modern-day photography. The process, which was ubiquitous in the mid-19th century, involved exposing a treated silver plate to light through an early camera. In 2018, the National Portrait Gallery will have been collecting daguerreotypes for 50 years and has planned a large installation to commemorate the milestone. These aren’t just fascinating artworks; they’re also stunning chronicles of the birth of modernism.

“Moriz Nähr: Photography and Modernism” at the Leopold Museum in Vienna

Aug. 24–Oct. 29 It’s hard to overstate the convulsive urban and social change that Vienna was subjected to at the turn of the century. Long the jewel in the crown of the Hapsburg Empire, its wedding-cake buildings and ornate cafes were subsidized in large part by the outlying “Crown Lands,” which, by 1900, were beginning to make concerted efforts towards autonomy. Insulated as it was, Vienna began to feel the effects of change: Its city fortifications came down, the middle class grew, and it ever-so-slowly began to embrace technology and modernism. Moriz Nähr (1845- 1945), a pioneer of the photographic medium, was appointed court photographer to the Archduke Franz Ferdinand, and thus was on-hand to capture the changes from the highest (and occasionally, lowest) levels. This will be a spectacular, not-to-miss exhibition of his oeuvre’s highlights.

https://www.forbes.com/30-under-30/2018/art-style/#6364fc8234c6

 

 

 

 

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