Filtering by Category: Exhibitions

"Here & Now: 80 Years of Photography" at the Mint Museum, featuring William Eggleston

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Located in the heart of Charlotte, North Carolina, The Mint Museum in Uptown is an integral part of the downtown cultural arts scene, becoming a valuable home to a diverse permanent collection.  Here & Now: 80 Years of Photography celebrates the institution's many decades of collecting photography.  William Eggleston along side Sonia Handelman Meyer, and Linda Foard Roberts are among artists highlighted because of their local and regional approaches to the medium. The exhibition will be on display from 16 April until 18 September 2016.

A wall of Eggleston in “Here & Now: 80 Years of Photography.” Photo by T. Ortega Gaines  

A wall of Eggleston in “Here & Now: 80 Years of Photography.” Photo by T. Ortega Gaines


Mint Museum in Uptown Charlotte, NC

Mint Museum in Uptown Charlotte, NC

“From photography’s roots to today, photographic images compel viewers like no other medium,” said Dr. Kathleen V. Jameson, President & CEO of Mint. “As we are increasingly inundated with visual images, many of which are manipulated in some way, there has never been a better time to examine the power of photographic images. Here & Now speaks to concerns that have long been at the core of photographic practice, as well as its most recent developments, shining new light on the issues that are relevant to life in the here and now.”

Read the full Press Release from
Press coverage from The Charlotte Observer

Big Town, Big Camera, John Chiara photographs New York for Exhibition, on The New York Times

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I wanted it to feel like a fragment of a memory,” he said. “It’s like the visual you get when you’re staring into space, trying to reconcile what you remember with what you saw. You don’t get the whole thing at once. You have moments of clarity, but it’s elusive.
— John Chiara
West 135th Street at 12th Avenue, 2016. Negative Chromogenic Photograph Unique © John Chiara, via Yossi Milo Gallery, New York

West 135th Street at 12th Avenue, 2016. Negative Chromogenic Photograph Unique © John Chiara, via Yossi Milo Gallery, New York


We can agree that New York has been photographed beyond comprehension.  The bustling city is a subject of the lens of countless photographers each with varying perspectives and unique approaches. Artist John Chiara is no exception to the pool of artists who work within the Manhattan perimeters.  But it is John's heavy lifting and elbow grease to make unique photographs the hard way that differentiates him from his contemporaries.  With two homemade cameras the size of kitchen cabinets, stocked with photosensitive paper, John worked throughout the city, veering up at the city's concrete infrastructure, turning the skies black and silhouetting the trees, fiery red and radiating with oranges, reds and greens. 

There’s no better way to fall in love with a place than to sincerely photograph it. The tone did change.

John Chiara's exhibition West Side at Tioronda will be on display at Yossi Milo Gallery until 21 May 2016.
Read the The New York Times article with an image gallery with 10 new Chiara images.



John Chiara "West Side at Tioronda" at Yossi Milo Gallery

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San Francisco-based artist John Chiara is premiering new work made in New York at Yossi Milo Gallery in Manhattan's Chelsea district.  The exhibition West Side at Tioronda is on view from 14 April through 21 May with a reception for the artist on Thursday 14 April from 6 - 8 PM.

"For the first time in his career, San Francisco-based artist John Chiara is working in New York, capturing Manhattan and the Hudson River Valley with his distinctive photographic equipment and singular developing process. In approaching two areas with undeniably rich histories as subjects of photography and painting, Chiara presents the familiar in unfamiliar ways, often boldly inverting color and abstracting the image by finding unique perspectives. Drawing inspiration from early photographers such as Edward Steichen, Chiara creates similarly evocative photographs that meditate on place and speak to the environment as it is felt, rather than seen. He extends the lineage of collective memory embedded in these locations with his own sensibility and vision."

For more information on John Chiara please visit his ARTIST PAGE.


Martin Parr's Strange and Familiar faces of Britain at the Barbican

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Martin Parr curated exhibition Strange and Familiar: Britain as Revealed by International Photographers at the Barbican Centre is a cultural hit with favorable attention across the globe. The exhibition features 23 international photographers with images created in Britain from 1930 and onward. 

Martin Parr

Martin Parr

Jim Dow, Southward’s Sweet Shop, Scarborough, North Yorkshire 3 June, 1983

Jim Dow, Southward’s Sweet Shop, Scarborough, North Yorkshire 3 June, 1983

"...Not only is this exhibition a multifaceted history of Britain charted by very different sensibilities through the decades, it also charts the developing medium of photography itself, as various strands of social documentary give way to fine-art photography and colour floods in. In the show’s later rooms, places and people are increasingly given separate portrayals, whether Rineke Dijkstra’s 1990s teenage girls all togged up for a night out in Liverpool’s Buzz Club, or Jim Dow’s rammed shop window displays and his empty Edward Hopper-esque Peckham eel and pie shop."

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Exhibition, Robert Frank: Books and Films 1947-2016 now on view at Bergamot Station Bldg G1 from 1 - 15 April

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You are cordially invited to a special exhibition of Robert Frank: Books and Films 1947-2016 on view from 1 April through 15 April, 2016.

Bergamot Station Arts Center Bldg G1
2525 Michigan Avenue
Santa Monica, CA 90404

Robert Frank is considered the inventor of street photography. Conceived by Robert Frank and Gerhard Steidl, this exhibition shows Frank’s work in photos, books and films. The form of presentation is as simple as can be: Frank’s images are printed on sheets of newsprint and hung directly on the wall. In addition, Frank’s films are shown which are so often overshadowed by his photographic work. When the show is over, the images are going to be completely destroyed. When this idea for an exhibition first reached Frank in his small, crooked house in the Canadian village of Mabou, he said: "Cheap, quick, and dirty, that’s how I like it!"
The exhibition’s next venues will be Appenzell, Switzerland and Tokyo, Japan before continuing to visit about 40 additional cities around the globe in 2017. 

Robert Frank: Books and Films 1947–2016 at Bergamot Station is realized by Steidl in conjunction with UCLA College. The exhibition is made possible through the generous support of the Steve Tisch Foundation and Shoshana and Wayne Blank.

Please visit the exhibition during normal viewing hours:
Tuesday - Saturday 11am-5pm
Closed Sundays & Mondays
Admission is free


US photo exhibit address identity issues. Tomoko Sawada's "Facial Signature" on view at ROSEGALLERY

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Japanese artist Tomoko Sawada says Americans often tell her she looks Korean or Chinese or a number of other East Asian ethnicities. The experience inspired her to open a new exhibit in Los Angeles, called "Facial Signature." CCTV America's Patrice Howard reports:

human beings share 99.99999 percent of the same genes. All of us — despite having different types of so-called “added cultural values” — such as nationality, race, religion, and language — are by nature and essence equal to one another.
— Tomoko Sawada

The Hyperrealism of William Eggleston

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When you thumb up a color-saturating Instagram filter for your shot of Mt. Hood over an airplane wing or your pastel-hued brunch cocktail, you have William Eggleston to thank. 

Those Instagram filters—to say nothing of the art world at large—might look a lot less colorful had he not experimented with color photography, an unpopular approach in a 1960s art world that still preferred tasteful black-and-white.

Eggleston's work is the opposite: His saturated dye-transfer prints lend a sense of hyperrealism to everyday subjects like gas stations, neon signage, the teal and salmon interiors of diners—even something as seemingly un-evocative as a bare bulb anchoring a ceiling (it's blood red, so pretty evocative as ceilings go).

This Saturday, March 26, 65 of Eggleston's photographs will be on view at the Portland Art Museum, but in keeping with his experimentation, 23 of them are black-and-white images reprinted from his early archives. Ahead of PAM's show, here's what the museum's curator of photography, Julia Dolan, told me about Eggleston's influence on later artists like Cindy Sherman, the art world's problem with color photography, and the distorting lens of our nostalgia for the '50s and '60s.

On Eggleston's early subject matter: "Like many good photographers, he photographs what he knows, and that's often his life in and around Tennessee and Mississippi, and other areas of the American South.... I think what's so wonderful is to see this beginning, this budding, of looking out onto the world at subjects that fine-art photographers at that time would [consider] banal, completely boring, not subject matter at all: empty tables at a café, people walking down the street, automobiles, detritus on the side of a street—these are all things that were not the subjects of fine-art photography for the most part at the time. And I think now for us looking back on it, it's almost a little bit difficult to get a pure idea of it because we have a strong sense of nostalgia for this time period—for the '50s, '60s, even the '70s—and so we see things that feel very Mad Men or of a different time in the United States that we are attracted to."

On Eggleston's black-and-white photography: "If we know about William Eggleston's work, we know about that saturated red ceiling... we're so used to these colors and this vibrancy. To then be able to juxtapose the black-and-white work—which in some ways makes us think a little bit more about composition because that layer of color has been removed—we start to see these patterns of composition in his work, and the way that he evolved before hitting the scene and punching us in the face with these dye-transfer prints that he has manipulated so that certain colors are richer than others. It's a really wonderful experience to see both at the same time."

On Eggleston's pioneering of color photography: "At the time that Eggleston switched to color and started experimenting with it, which was the early 1960s, very few other arts-oriented photographers were... One of the reasons for that was that [fine-art photography] almost always had to be black-and-white, because color photography was linked to advertising and it was considered less artistic, it was considered garish or very base, and for many people who held authority in terms of photography, it was not art."

On the reception of Eggleston's first MoMA show: "Critics went crazy. Critics in the New York Times and other places said the work was boring, the colors were garish, and they couldn't believe it. Some people said it was the worst show of the year."

On Eggleston's impact on younger artists: "[Eggleston's color photography] really encourages people like Nan Goldin, Laurie Simmons, Cindy Sherman even, because Cindy's in school and making black-and-white photographs in the 1970s, and by the early 1980s she's pushing into color... He opens up this world for them in a really magnificent way, and little by little, people start to accept color photography as artistic and worth being seen in galleries and museums."

Source:  The Portland Mercury 

'The view of Britain to foreign eyes', Martin Parr curated exhibition "Strange and Familiar"

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"What is the British national character, and why do we think that there is one? In his influential book "Imagined Communities", Benedict Anderson wondered at the fact that "the members of even the smallest nation will never know most of their fellow-members, meet them, or even hear of them, yet in the minds of each lives the image of their communion." Anderson argued that this sense of community had been conjured by the rise of homogenised mass media and increased literacy in the 19th century, with newspapers cultivating a national identity and delivering it to a larger number of people than ever before."
As The Economist writes, it is an valid point to note that media shapes identity from inside borders and outside borders.  Martin Parr curated exhibition Strange and Familiar at the Barbican tries to explore this.  Each photographer explores what "Britishness" is since the 1930s.

Evelyn Hofer, Untitled, [Band, Wales], 1965

Read The Economist article in full HERE.

Visit for exhibition details.