The exhibition Baldwin Lee will feature a selection of over 50 gelatin silver prints culled from thousands of images Lee made across the South in the 1980s. Many of these photographs will be exhibited for the first time. The exhibition will include compelling portraits of Black Americans, as well as a collection of landscape, cityscape and still-life images that visually encapsulate the Reagan-era American South.
It is with great sadness that Joseph Bellows Gallery announces the passing of photographer, educator and museum professional Thomas Barrow at the age of 85.
A celebration of Tom’s life and career will be held on Sunday, September 22nd, from 2:00 – 4:00 PM in Keller Hall, located in the Center for the Arts, University of New Mexico, Albuquerque, NM.
Barrow was born on September 24, 1938 in Kansas City, Missouri. He studied graphic design at Kansas City Art Institute graduating with a BFA in 1963. In 1965 he studied film at Northwestern University in Chicago and in 1967 he earned his MS in Photography from the Institute of Design at the Illinois Institute of Technology, where he studied with Aaron Siskind.
He served as Assistant Curator of Exhibitions and Associate Curator of the Research Center at the George Eastman House (now Museum) and as a Lecturer in history and aesthetics of photography at Rochester Institute of Technology (RIT) and Buffalo State University.
Barrow came to the University of New Mexico in 1973, when he accepted the position of Associate Professor of Art and Associate Director of the Art Museum (a position he held until 1976). In 1981, he was appointed Professor of Art & Art History and taught in the program until his retirement in 2001. During his teaching career, he remained connected to the Art Museum serving as Acting Director in 1985, Adjunct Curator of Photography in 2000 and a trusted advisor to multiple generations of the Art Museum’s directors and curators.
Barrow was a two-time recipient of NEA Visual Arts Grants and his artworks are in many public collections including the Nelson-Atkins Museum of Art, Museum of Contemporary Photography, Victoria & Albert Museum, Los Angeles County Museum of Art, Art Institute of Chicago, San Francisco Museum of Modern Art, George Eastman Museum, Museum of Fine Arts Houston, National Gallery of Art and the Museum of Modern Art. Barrow’s archive was established in 2005 at the Center for Creative Photography, The University of Arizona.
One of our favorite galleries, Joseph Bellows Gallery in La Jolla, San Diego, hosts an exhibition of photographer Steve Fitch’s work until August 31st 2024. The American Motel Signs series features a collection of photographs taken across America over nearly 50 years by Fitch. The same, but different, the signs that Fitch has shot across the country over the years follow a theme but deviate in their variety. The styles, shapes, and sizes of the signs change but for Fitch, the project – like the medium of photography itself – is about the ‘collecting and the comparing’. From Albuquerque, New Mexico to Washington, Kansas, the signs are true signifiers of classic Americana but while they share similarities each is an individual.
Photographer Steve Fitch has captured motel signs across the US, showing a range of styles during different decades, displayed at a new exhibition at the Joseph Bellows Gallery in La Jolla, California. ‘What does matter is the idea of theme and variation, how a collection can be interesting because of the variety of specimens,’ Fitch said. ‘A collection of butterflies illustrates this idea, for example, and photography is such a great medium for collecting and comparing, which is what my motel sign project is ultimately all about’
Baldwin Lee Lecture at the George Eastman Museum
A first-generation Chinese American, Baldwin Lee is a photographer and educator known for his photographs of Black communities in the American South. Lee received a bachelor's degree from the Massachusetts Institute of Technology (1972) where he studied photography with Minor White, and went on to receive an master's of fine arts from Yale University (1975) where he studied with Walker Evans. In 1982, he became an art professor at the University of Tennessee, where he founded the university's photography program. He then decided to take a tour of the deep south, covering 2,000 miles over the course of ten days. During this trip, Lee widely photographed the people, landscapes, and cities of the south. In his work, Lee strived to represent his subjects as individuals with vibrant personalities, rather than reducing them to stereotypes or emphasizing their poverty. Lee’s work is in the collections of George Eastman Museum. Hear about Lee's journey and artistic process as a photographer and educator during his talk.
When photographer Barbara Bosworth was a child growing up in Novelty, Ohio, she would go on nighttime walks with her father, and they would gaze up at the sky. This practice, which became a lifelong passion, inspired the photographs in this exhibition. Timed to coincide with the total solar eclipse visible in Cleveland on April 8, it explores Bosworth’s photographs of light—from eclipses, sunrises, and sunsets to the luminescent glow of fireflies and a flashlight.
In Woody Allen’s 1985 movie, The Purple Rose of Cairo, a character steps out of the silver screen-era movie in which he’s appearing, and enters the real world. The line between art and real life is blurred. Fantasy has invaded real life. Something similar is afoot in Thomas Allen’s series, Pulp Fiction, currently on show as part of an online exhibition organized by the Joseph Bellows gallery in La Jolla, California. In each image Allen has reframed the lurid illustrations of tough guys and femme fatales from 40s and 50s pulp fiction by cutting and juxtaposing figures from the covers of dime novels.
Meticulous incisions and methodical folding allow scenes to arise from aged books and color swatches in Thomas Allen’s paper cutouts. Having loved pop-up books and shoebox dioramas since childhood, the artist cultivates a passion for “manufactured realities.”
“The vintage paperback work happened by complete accident,” Allen shares. “I was cutting into a pulp novel one afternoon with the intent of removing the illustration completely when I noticed that if I left some areas attached, folded the parts carefully, and looked at them from a single vantage point so that everything aligned, they created the illusion of 3D pop-ups. Everything snowballed from there.”
“Time moved more slowly,” explains photographer Sage Sohier about the world that her latest exhibition pulls you into. Set mainly in the working-class, American towns of the early 1980s, “Passing Time” interrogates the dimensions of a bygone era, where kids played out in the streets and a sense of community hung effortlessly in the air. Having revisited the negatives and contact sheets that comprise this collection over the pandemic, Sohier noticed a raw theatricality to the images that told a story of the streets. On display at the Joseph Bellows Gallery, the exhibition invites you to witness that theatricality through April 27th in San Diego, California.
The photographs presented in Passing Time were made between 1979 and 1985 in a pre-digital, largely un-air-conditioned era, when people fled the heat of their houses to hang out in their yards and on the street. There is a kind of relaxed sensuality in many of the pictures. Time moved more slowly; restlessness led to spontaneous play.
Passing Time presents 57 images printed in rich duotone on Japanese Kasadaka art paper, and bound in dark brown linen. This first edition is limited to 1,000 casebound copies. Signed copies will be available in January.
Back in the fall of 1972, native Floridian Bill Yates ventured into the rural outskirts of Tampa, making his way through the deep backwaters of Six Mile Creek in Hillsborough County. Then a photography student at the nearby University of South Florida, Bill got in his car one day and hit the road in search of something that would capture his imagination. Driving down East Broadway, Bill spotted an old wooden structure built during the Depression that seemed completely out of character with the place and he pulled a U-turn to investigate. He rolled up in to the dirt and gravel parking surrounded by lush fields of strawberries and tomatoes and approached the building, which bore a hand-painted sign: Sweetheart Roller Rink.
Link to i-D feature by Miss Rosen
The South has occupied an uneasy place in the history of photography as both an example of regional exceptionalism and as the crucible from which American identity has been forged. As the first major survey of Southern photography in twenty-five years, this exhibition examines that complicated history and reveals the South’s critical impact on the evolution of the medium, posing timely questions about American culture and character.
Featuring many works from the High’s extensive collection, A Long Arc presents photographs of the American Civil War, which transformed the practice of photography across the nation and established visual codes for articulating national identity and expressing collective trauma. Photographs from the 1930s to the 1950s, featuring many created for the Farm Security Administration, demonstrate how that era defined a new kind of documentary aesthetic that dominated American photography for decades and included jarring and unsettling pictures exposing economic and racial disparities. With works drawn from the High’s unparalleled collection of civil rights–era photography, the exhibition shows how photographs of the movement in the decade that followed galvanized the nation with raw depictions of violence and the struggle for justice. Contemporary photography featured in the exhibition demonstrates how photographers working today continue to explore Southern history and themes to grasp American identity.
“The Park Avenue Armory has always been the favorite venue of our members, collectors, and curators,” AIPAD Executive Director, Lydia Melamed Johnson, said in a statement, adding that the organization has “evolved post-Covid with a renewed sense of optimism and vitality and a burgeoning membership of young galleries offering new perspectives on the medium.”
Created to support the extraordinary development of photographic publishing and to contribute to its wider dissemination, the Book Awards of Les Rencontres d'Arles reward three categories of works: the Author's Book Award, the Historical Book Award and the Photo-Text Book Award, supported and encouraged by the Fondation Jan Michalski pour l’écriture et la littérature, which celebrates the relationship between texts and images. Each award is endowed with 6,000 euros and rewards a photographic work published between June 1, 2022 and May 26, 2023 (included). A pre-selection followed by the designation of the winning works is established by a pre-jury and a jury composed of experts in the field of photographic books. The winning publications of the three categories are announced during the opening week of the festival. All the shortlisted books are archived in the library of the École nationale supérieure de la photographie d'Arles and are exhibited throughout the festival at Monoprix.
This year's pre-judging panel comprised Laura Morsch-Kihn, Emilie Pautus and Pierre Hourquet.
Join us at the inaugural photo fair of the non-profit Photographic Arts Council Los Angeles. Find photography and lens-based art — from vintage to contemporary — with diverse curatorial focus presented by exhibitors in the field. Discover works priced in a range for beginning to advanced collectors. Join the community to participate in thoughtful free programming based on the artwork at the fair. Visit a fair consistent with PAC LA’s mission to further an evolving public conversation about photography and lens-based arts.
Baldwin Lee’s Extraordinary Pictures from the American South, by Chris Wiley, October 2, 2022
It’s not often that a body of photography is hoisted up from obscurity and straight into the canon. When this happens, the images in question are often the work of a self-taught master, such as the compendious Arkansas portraitist Mike Disfarmer or the Chicago nanny and eagle-eyed street photographer Vivian Maier, both of whose œuvres had been left to molder until they were rescued by keen connoisseurs. But the work of Baldwin Lee, a graduate of M.I.T., where he studied with Minor White, and of Yale, where he studied with Walker Evans, has been hiding in plain sight.
In 1983, Baldwin Lee (b. 1951) left his home in Knoxville, Tennessee, with his 4 × 5 view camera and set out on the first of a series of road trips to photograph the American South. The subject of his pictures were Black Americans: at home, at work, and at play, in the street, and among nature. This project would consume Lee—a first-generation Chinese American—for the remainder of that decade, and it would forever transform his perception of his country, its people, and himself. The resulting archive from this seven-year period contains nearly ten thousand black-and-white negatives. This monograph presents a selection of eighty-eight images edited by the photographer Barney Kulok, accompanied by an interview with Lee by the curator Jessica Bell Brown and an essay by the writer Casey Gerald. Arriving almost four decades after Lee began his journey, this publication reveals the artist’s unique commitment to picturing life in America and, in turn, one of the most piercing and poignant bodies of work of its time. This monograph presents a selection of eighty-eight images edited by the photographer Barney Kulok, accompanied by an interview with Lee by the curator Jessica Bell Brown and an essay by the writer Casey Gerald. Arriving almost four decades after Lee began his journey, this publication reveals the artist’s unique commitment to picturing life in America and, in turn, one of the most piercing and poignant bodies of work of its time. A special book signing with Lee will follow the conversation between the artist and Imani Perry. This event is scheduled for Monday, September 26, 2022 at 6:00pm.
Posted Monday, July 25, 2022, by Sara Rosen
Photographer Jack D. Teemer traveled through cities including Cleveland, Pittsburgh, Dayton, and Columbus to create a vivid document of a region in decline.
The Industrial Age in America kicked off following the Civil War as workers made their way through the northern Midwest, finding employment in industries like steel and mining in what is known as the Rust Belt. The manufacturing sector soared, peaking in 1953, and then heading into a decline from which it never recovered.
By the 1980s, the Rust Belt symbolized devastating economic loss and heralded the destruction of the urban working class. At that time, American photographer Jack D. Teemer (1948–1992) began traveling through cities including Cleveland, Pittsburgh, Dayton, Columbus, and Cincinnati, creating a cinematic portrait of a region that was deteriorating before his very eyes.
LESSONS FROM BLACK AND CHINESE RELATIONS IN THE DEEP SOUTH: BALDWIN LEE, ‘MISSISSIPPI TRIANGLE,’ AND THE LIMITS OF UPWARD MOBILITY.
By Imani Perry, The Atlantic, June 10, 2022
Mississippi Triangle is a 1983 documentary about the Black, white, and Chinese communities in the Mississippi Delta region, which I rewatched the other day, prompted by a message from a friend. It is one of a plethora of works in film and art that show, contrary to popular perception, that the South has never had just two racial groups.
Lifework chronicles the extraordinary career of George Tice, one of the most celebrated American photographers of the modern age. Beginning with his photographs of The Bowery in the early fifties, Tice has used his camera to document the people and places of everyday America that often go overlooked. This beautiful hardbound book contains photographs from all of Tice’s major bodies of work, as well as images that have never before been published.
Book Details
• Introduction by the late Michael Miller
• Afterword by George Tice
• Slipcased Hardcover
• 12 x 12 in
• 318 quadtone images
• 384 pages
Signed First Edition: $175.00
Long before John Banasiak became a professor of photography at the University of South Dakota in Vermillion (where he’s taught for 42 years), he was a factory worker, a night watchman, and a bartender at George Brown’s Bar, a working-class drinking hole in one of Chicago’s Polish/ Ukrainian neighborhoods. It was there, in 1971, when Banasiak was just 21, that he made a series of tender, elemental pictures that capture a proud, hard-working community—his own community—as it celebrated birthdays, weddings, retirements, funerals, and, well, life itself.
NEW YORK – The Association of International Photography Art Dealers (AIPAD) has announced new dates and a new midtown Manhattan location for The Photography Show presented by AIPAD. The highly anticipated 41st edition will be held from May 19 through 22, 2022, at Center415 located on Fifth Avenue between 37th and 38th streets in New York City.
Collecting Conversations: Five Women in American Photography is a series of timely interviews with five artists whose work has recently entered the Ransom Center’s photography collection: Betty Hahn, Joanne Leonard, Joan Lyons, Bea Nettles, and Susan Ressler. Conducted by Dr. Jessica S. McDonald, the Ransom Center’s curator of photography, these expansive conversations introduce newly acquired works and situate them within each artist’s creative practice and personal life. The series culminates in a lively panel discussion aimed at exploring the cultural and institutional conditions that have affected these artists’ careers and have shaped our collections over the last half century. The group talks candidly about successes and failures, and about what it means for an artist, or her work, to be “rediscovered” now.
Fifty years ago, photographer Henry Horenstein got a job shooting pictures at Thompson Speedway Motorsports Park in Thompson, Conn.
“My brother-in-law raced junkers. Stock cars, beat-up cars,” Horenstein said over Zoom from his Fort Point home. “He told me Thompson was looking for a photographer for their weekly program. I took the gig. Not for the money — I don’t even know if I got paid — but for the access.”
The series “Speedway72″ is among the works in Horenstein’s solo show “Where Everybody Is Somebody” opening at 3S Artspace in Portsmouth, N.H., on Jan. 7. The exhibit also spotlights projects based in Buenos Aires and rural Louisiana. On that same day, “Henry Horenstein: Animalia,” featuring his popular black-and-white images of animals, will open at Boston’s Gallery NAGA.
The monograph, Baldwin Lee, presents a selection of eighty-eight images edited by the photographer Barney Kulok, accompanied by an interview with Lee by the curator Jessica Bell Brown and an essay by the writer Casey Gerald. Arriving almost four decades after Lee began his journey, this publication reveals the artist’s unique commitment to picturing life in America and, in turn, one of the most piercing and poignant bodies of work of its time.
Forthcoming 2022 and available for pre-order
During the mid-70s, photographer Reed Estabrook catalogued his travels through the US with a set of striking snapshots of roadside structures which he refers to as ‘quintessentially American’ monuments. His work is being shown at the Joseph Bellows Gallery in La Jolla, California, until 27 November
by Christina Cacouris and featured in Blind Magazine
A new gallery show in La Jolla, California, showcases Estabrook’s images from the 1970s, taken from multiple road trips across the country. The cross-country road trip is a distinctively American tradition, driven by a yearning to see the “real” America, to see what lies beyond our insular environments. In the 1970s, photographer Reed Estabrook embarked on a road trip, documenting the infiniteness of the land and the roadside markers that dotted the path along the way...
Lifework chronicles the extraordinary career of George Tice, one of the most celebrated American photograhers of the modern age. Beginning with his photographs of The Bowery in the early fifties, Tice has used his camera to document the people and places of everyday America that often go overlooked. This beautiful hardbound book contains photographs from all of Tice’s major bodies of work, as well as images that have never before been published.
Baldwin Lee’s Southern Journeys
In the 1980s, the photographer took a two-thousand-mile road trip through the American South, making portraits that glow with beauty and trust.
We’re pleased to announce that the gallery is representing renowned photographer Henry Horenstein, a professional photographer, filmmaker, teacher and author since the 1970s. He studied history at the University of Chicago and earned his BFA and MFA at RISD, where he studied with Harry Callahan and Aaron Siskind.
Horenstein’s work is collected and exhibited internationally, and he has published more than 35 books, including monographs of his own work, such as Shoot What You Love, Histories, Show, Honky Tonk, Animalia, Humans, Racing Days, and Close Relations, among many others. He also authored Black & White Photography, Digital Photography, and Beyond Basic Photography, which are used by hundreds of thousands of college, university, high school, and art school students as their introduction to photography. His Shoot What You Love serves as both a memoir and a personal history of photography over the past 50 years.
image: Trailer, Route 6, Fall River, MA, 1971, vintage gelatin silver print
Exploring the beautiful essence of California’s 1,100-mile long coastline through photography and prose, Our Ocean’s Edge is an exhibition featuring black and white images from LA-based photographer Jasmine Swope’s quest to capture the essence of California’s marine parks.
On the Basis of Art: 150 Years of Women at Yale showcases and celebrates the remarkable achievements of an impressive roster of women artists who have graduated from Yale University. Presented on the occasion of two major milestones—the 50th anniversary of coeducation at Yale College and the 150th anniversary of the first women students at the University, who came to study at the Yale School of the Fine Arts when it opened in 1869—the exhibition features works drawn entirely from the collection of the Yale University Art Gallery that span a variety of media, such as paintings, sculpture, drawings, prints, photography, and video.
In Golden Hour, over 70 artists and three photography collectives offer an aesthetic approach to understanding the complexities and histories of California. These images, gathered from the collection of the Los Angeles County Museum of Art, have come to define the myths, iconographies, and realities of this unique state. Pairing masters of photography with experimental practitioners in a range of lens-based media that includes photo sculpture, vernacular, and video work, the selection blurs the boundaries of the tropes that formed a California identity.
With works ranging from the early 1900s to present day, Golden Hour is neither a didactic history of the state nor an inclusive tale of photographic history, but rather artists’ impressions of the state of being in, and being influenced by, California.
HOUSTON—February 1, 2021—The Museum of Fine Arts, Houston, announced today the naming of the Anne Wilkes Tucker Photography Study Center, a gift of Joan and Stanford Alexander in honor of the Museum’s founding curator of photography. The renovated and expanded facility on the mezzanine of the Audrey Jones Beck Building offers artists, researchers, students, and the public access to the Museum’s renowned collection of some 35,000 photographs as well as its collection of prints and drawings.
A San Diego exhibition of Krueger’s LA street photography emphasizes his ability to capture what he calls “split-second juxtapositions in life”
American photographer Gary Krueger believes he lived through a ‘golden age’ in 1970s and 80s Los Angeles. A new exhibition pulls together his playful street photography
In a new exhibition, Gary Krueger takes us on a trip back in time, to when the photographer was hanging out on Hollywood Boulevard, attending parades, pageants, and parties.
Joseph Bellows Gallery presents Gary Krueger‘s City of Angels, 1971-1980, a collection of sometimes frenetic and often bizarre photographs of Los Angeles, California. Krueger’s curiosity and instincts helped to create a remarkable body of street photography that he describes as “split-second juxtapositions in life.”
California made history with the creation of the nation’s first statewide system of ocean parks − a network of 124 Marine Protected Areas (MPAs) stretching from Oregon to the Mexico border. Like national parks on land, MPAs are magnificent in beauty and wildness while providing protection for wildlife, solutions to climate change, and recreational resources for all.
Soon after the system was established, LA-based photographer Jasmine Swope set out to capture the essence of the marine parks. Her quest took her up and down California’s long coastline. The result is Our Ocean’s Edge, a photographic documentary project that celebrates these fragile seascapes, from Southern to Northern California, while increasing awareness about their natural benefits and promoting ecological conservation.
Tony Friedkin’s photographs are in the collections of numerous institutions including the J. Paul Getty Museum, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, and the Museum of Modern Art. His monographs include Time Keeper (2003) and the Gay Essay (2014), both with introductions by Julian Cox.
As a first-generation Chinese American growing up in New York’s Chinatown, Baldwin Lee promised his father he would attend MIT. However, after enrolling, he was absolutely miserable until he took a photography class with Minor White. Lee quickly abandoned his studies of science and technology in favor of the arts, before going on to pursue his MFA, studying with Walker Evans at Yale.
In 1982, Lee became a Professor of Art at the University of Tennessee in Knoxville and traveled for the first time to the Deep South. Excited to get to know the environs, he set off on a 10-day, 2,000-mile road trip, visiting Louisiana, Florida, and Georgia, photographing everything he found interesting along the way.
“Walker Evans had photographed in this area 50 years earlier,” Lee says. “When I was traveling and looking at places he had gone, it shocked me that absolutely nothing had changed. You believed you had stepped back into 1935.”
Wednesday night was “cruise night” in the San Fernando Valley, a suburb sprawling north of Los Angeles. The stretch on Van Nuys Boulevard between Ventura Boulevard, on the southern end, and well past Sherman Way to the north, teemed with kids and cars from all over Southern California. It was a terrific place to see and be seen — and to show off your ride. By the early 1950s, the boulevard was already a gathering place, a regular destination for a young and newly mobile generation. These were good economic times in the US. After 10 years of the Great Depression and five years of a world war, a wave of prosperity had finally allowed Americans to trade in their ageing automobiles for new cars. This in turn delivered millions of “classic” used cars to the marketplace: inexpensive models that were scooped up by teenagers eager to gain some freedom. Souped-up versions of these cars soon decorated the evening scene on streets across America.
To ensure the safety of our visitors and staff, the gallery is open by appointment only until further notice. Appointments can be made by calling or emailing the gallery. We are open from Monday to Friday, 11am - 5pm. Please note that visitors are required to practice physical distancing and to wear masks inside of the gallery. Surfaces will be sanitized after each visitor.
We look forward to seeing you.
For over thirty years, the American photographer Sage Sohier has been capturing the antics of our darling pets. Her funny and endearing exhibition is on view online exclusively on the website of the California-based Joseph Bellows Gallery.
Susan Ressler's photographs will be included in the upcoming exhibition organized by the Los Angeles County Museum of Art, Golden Hour: California Photography from LACMA, which will travel to Cal State Northridge Art Gallery, Museum of Art and History in Lancaster, Riverside Art Museum, and Vincent Price Art Museum from Fall 2020 to Spring 2022.
It is with great sorrow that we share the passing of the photographer John Pfahl. An extraordinary artist, acclaimed educator, and above all - a wonderful human being.
The gallery has temporarily closed - effective March 13, in support of the effort to contain the spread of COVID-19. Our priority is to protect visitors and staff. We must do all that we can to ensure a safe and healthy environment for our community, which at this time calls for us to minimize gatherings. We look forward to announcing when we'll be able to welcome back our visitors. In the meantime, the gallery will continue to bring you the very best in photography. Art is especially vital during these extraordinarily challenging times. Please contact us via email with any interests. Take care of yourself. We'll get through this together.
[Updated: March 29, 2020]
Over a period of many decades, world-renowned photographer George Tice and artist Andrew Wyeth were drawn to Maine, enamored by Maine’s past and the present that speaks to a sense of timelessness and the enduring qualities of honor and dignity in an honest days’ work.
PARIS PHOTO NEW YORK IS POSTPONED, A NEW DATE WILL BE ANNOUNCED SOON
In light of the growing concerns over public health and safety and the developing COVID-19 situation, the inaugural edition of Paris Photo New York will be postponed to a later date that will be announced as soon as possible.
Over 173 of the world’s leading galleries and publishers, 100 media partners and cultural institutions and numerous artists were confirmed to participate in the first Paris Photo New York. Our principal concern is for the safety and well-being of our exhibitors and supporters and we are convinced that this postponement is in the best interest of galleries, collectors and art enthusiasts alike.
Bringing the best of the photography world to your doorstep with a collaborative platform that links dealers and collectors with a gamut of galleries from around the globe. Internationally recognized, yet abundantly accessible, photo l.a. cultivates connections between industry elite and up-and-coming talent alike. The longest running international photographic art fair on the West Coast, photo l.a. has been in operation for nearly three decades.
Photographers David Hilliard and Sage Sohier have each documented a parent over the course of decades. Since the 1990s, Hilliard has intermittently photographed his father, addressing intimacy, aging, father-son bonds, and masculinity. Sohier’s series Witness to Beauty documents her former fashion model mother, first in the 1990s, and then from the early 2000s to 2014. This body of work explores changing ideas of beauty and femininity across generations, maternal bonds, and self. Together these images tell stories of the physical and emotional transformations of the subjects and each artist’s parental ties.
This exhibition features a wide selection of historic cameras, including the first mass-market digital camera, which helped usher in a new era for photography. Along with the selection of cameras, photographs that depict photographers at work and photographer's self-portratis with their cameras complement the exhibition.
Now in its tenth year Classic Photographs Los Angeles has established a reputation for excellence within the photography community. Through their diverse inventories the show’s veteran dealers exemplify what is best about the wide-ranging photographic medium: experience, expertise, and connoisseurship. Visitors to CPLA can expect to see masterworks by West coast photographers working in the f/64 tradition, American work from the 1970s, contemporary artists exploring alternative processes, 20th century Latin American and Japanese photographers, as well as young European-based photographers making their debut in Southern California. CPLA is a destination for collectors, curators, and professional colleagues, as well as regular enthusiasts who enjoy looking at 19th, 20th and 21st century photography. Masterworks, contemporary works, vernacular photographs, and photo books will be on offer in a range of prices accessible to every collector. Please join us for this special three-day event.
Jack D. Teemer's photographs are included in the exhibition Go Down Moses, guest curated by Teju Cole at the Museum of Contemporary Photography, Chicago. An acclaimed writer, photographer, and critic, Cole is the former photography critic of the New York Times Magazine and is currently the Gore Vidal Professor of the Practice of Creative Writing at Harvard University. This is his first major curatorial project.
Go Down Moses presents a reinterpretation of the MoCP’s permanent collection that can be understood as a visual tone poem of contemporary America, exploring elemental themes of movement, chaos, freedom, and hope. In doing so, Cole uses the photographic archive to interweave the past and present, suggesting an aesthetic approach to understanding the current psyche.
“Jack D. Teemer’s photographs taken in American Rust Belt cities during the 1980s examine the ways in which neighborhoods and urban infrastructure have been shaped by the industry that surrounds them. His pictures quietly celebrate the ways in which humans strive to live together in the shadow of manufacturing—even in its decline. Cinematic vistas, presenting a wide view of a city’s urban structure, set the stage for pictures that focus more narrowly on neighborhoods and individual yards. Bridges and freeways loom over homes and restaurants; fences surround each home; signs, automobiles and gardens crowd each yard; children jump from porches and play with hoses. Although many of these yards have seen better days, the diverse residents of communities who call them home cultivate and enliven their small plots of land. Teemer records these distinctive American Rust Belt stories, from the cities on the verge of economic and civic recovery to the families who live boisterously in close quarters, with great care for the human experience.”
— From the Introduction by Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts, Milwaukee Art Museum
Drawing on the visual language of Cubism, the Vietnamese photographer creates whimsical renditions of the nude form.
There is no single formula that guides the practice of Han Nguyen; visual stimuli and, sometimes, instinct shape his work. For Nude Compositions, a selection of which are on show at Joseph Bellows Gallery, La Jolla, California, from 02 May to 14 June, the photographer co-opts the pictorial language of Cubism. Nude forms, rendered in black-and-white and fragmented by layered planes, melt into related shapes and tones – shreds of Cubist paintings; abstract shapes; greys, whites, and blacks.
On Place exhibits the work of three of the Midwest’s most experienced photographers culminating in 45 images from their excursions along the region’s back roads, broad landscape, rivers, and small towns.
Joseph Bellows Gallery is pleased to announce the representation of John Humble. Humble has been photographing the city of Los Angeles since the mid 1970s, producing an incredible and luminous document of the city's urban landscape. His photographs describe, in the artist's words, "swift changes in the built environment, particularly the often awkward and interesting juxtapositions of old and new."
This exhibition highlights one of the Addison collection’s great strengths—images of the American landscape, both natural and manmade. Whether historical or contemporary, fact or fiction, abstract or representative, celebratory or critical, private exploration or social document, all of the photographs assembled in this show comment to one degree or another on the contesting powers of culture and nature.
Geoff Dyer writes on Davies' photograph, Apartments near Wilshire Blvd., Los Angeles, 1976, in the article City of Images: Six artists and writers reflect on Los Angeles in pictures.
Charles Johnstone’s portfolio includes Brooklyn Corrugated Iron Fences, Thirty Four Basketball Courts, A Few Empty Pools, Some New York Handball Courts, and New York Storefront Churches, printed in the luminous cibachrome process.
Joseph Bellows Gallery is pleased to sponsor a book-signing for Susan Ressler at the 2018 Medium Festival of Photography. The artist's book-signing will take place Thursday, October 18, from 7:00-9:00pm and Saturday, October 20, from 12-1pm. The book-signing is in support of her gallery exhibition, Executive Order: Images of 1970s Corporate America running October 5 - November 30.
The SCAD Museum of Art presents "In the Present: Five Decades" by veteran photographer Elaine Mayes, exploring works that span 50 years of her career. The exhibition includes iconic works from the 1960s and ‘70s as well as mines lesser-known aspects of her practice to consider in relation to recent work.
Nazraeli Press publishes Betty Hahn's Lone Ranger series as part of their new One Picture Book Two series, a slightly larger, newly designed series of artist's books based on their recently completed One Picture Book series.
Shifting Light offers a twenty-first century perspective on the museum’s long-term engagement with the popular medium of photography. Organized into the broad categories of place, identity, and creativity, the exhibition juxtaposes photographs in ways that amplify their meanings and suggest new narratives. Ansel Adams’ famous 1940 photograph Moonrise, Hernandez is paired with a 1975 landscape by Thomas Barrow from his series Cancellations, while Alfred Stieglitz’s 1918 portrait of Georgia O’Keeffe keeps company with images by Anne Noggle and Joyce Neimanas.