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.

Pre-order now.

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. 

Link to the High Museum of Art

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.

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.

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.

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. 

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.

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.

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.