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In the past 50 years, photographers have documented the experiences of the queer community. They have also examined how gender identity and sexual orientation were viewed historically and how they are constructed today. In Colloquial language a "double take" refers to a delayed reaction to something unexpected, immediately after one's first reaction. It literally means to take twice. Both of these elements are at work in photographs of Sharon Core and Laura Letinsky.

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The title is a phrase of English invention that has long been mistakenly cited as an ancient Chinese curse that invokes periods of uncertainty, crisis and turmoil; "interesting times", exactly as the ones we live in today. She believed the creative mind to be androgynous.

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This exhibition explores the artwork inspired by the Platte River — from the sounds and sights of the land, flora, and fauna that surround, inhabit, and visit it to the sky that stretches far above. The work of Laura Letinsky b. Like many phtographesr working prior to the digital age, Letinsky used a Polaroid for tests.

Those familar with the Canadian artist's work will recognize her still lifes, a genre in which she has stood out since the s. But just as she was about to throw away these test images, she became intrigued by how they had deteriorated. The materials had changed in unexpected ways and offered a lesson on the vulnerability of life.

Digital technology has made much of contemporary photography immaterial and, in many ways, sharp and bright - there is something gripping, therefore, about Letinsky's Polaroids, degraded as they are by the development process, chance, and the passage of time. They have an air of mystery, of strangeness: a metaphor for life itself. Through 40 years of consistent and stoic work, Steinmetz has created an influential and vast body of photographs.

Our taste for sweetness is a powerful force. It is one of the foundations of empires; of slavery; of ecological devastation; and of modern health epidemics and food injustice. Even knowing this, we love it.

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We continually construct and reconstruct its meanings. Rather than depicting actors or audience members, these artists look outside the performance itself to the space in which it unfolds. Foregrounding the absences present in spaces where fictions are staged, these works explore the enchantment and fallacy of fantasy and reveal the constructs and hierarchies of culture and of the fabrications with which we entertain ourselves.

The exhibition explores how food is represented and what its significance can be by means of three themes. The photographs show how the artists have been inspired by the genre and how it has changed in the course of time. In addition, this section also deals with cultural identity that is reflected in food. In addition to the photos there will be a number of cookbooks on display.

The books provide an additional visual history and supply context to the photos on the wall. The artist shares the personal motivations behind an ongoing self-portrait series that allows them to own their voice, identity, and history as a queer Zulu person. From a portrait session in the Johannesburg townships to a gallery opening in Cape Town, Muholi photographs LGBTI individuals, in the hopes of eradicating the stigma and violence that has pervaded queer communities in South Africa.

Muholi and the participants in their work stake out their places in the world and demand that their voices be heard. Mickalene Thomas challenges current standards and asserts new definitions of beauty and inspiration through her groundbreaking photographs. An unprecedented photography exhibition co-curated by Mark Sloan, director and chief curator of the Halsey Institute of Contemporary Art, and Mark Long, professor of political science, both of whom are on the faculty of the College of Charleston, in South Carolina, Southbound embraces the conundrum of its name.

To be southbound is to journey to a place in flux, radically transformed over recent decades, yet also to the place where the past resonates most insistently in the United States. To be southbound is also to confront the weight of preconceived notions about this place, thick with stereotypes, encoded in the artistic, literary, and media records. This large scale exhibition comprises over works, adopting different angles to examine collective human life in the society of the 21st century.

Ewing and Holly Rousell, the exhibition will first be presented at MMCA then to the world as it travels through several different countries. The largest photography exhibition at the Ogden Museum to date, this exhibition features the work of twenty-five emerging, mid-career and established photographers. Each photographer ia individually showcased with a monographic installation focusing on a single body of work within the context of a group exhibition. All types of lens-formed imagery are included from traditional analogue and digital still photography to video installation and new media.

He comments on the medium of photography as a construction of longing: the longing to record things, to look, to touch and to keep. Through a combination of draped fabric, careful framing and layered images of existing work, the viewer sees arms, thighs, torsos and hands, but rarely the whole body of the subject. In this internationally acclaimed exhibition featuring more than 70 photographs, visual activist Muholi, whose pronouns are they and them, uses their body as a canvas to confront the politics of race and representation in the visual archive.

Somnyama Ngonyamaemploys the conventions of classical painting, fashion photography, and the familiar tropes of ethnographic imagery to critically rearticulate contemporary identity politics. By increasing the contrast in the dark complexion of their skin, Muholi interrogates complex representations of beauty, pride, and desire. They do so by precisely perceiving and meticulously examining the world of objects that surrounds us, with all its peculiarities, beauty, and ugliness.

While some have chosen aggressively to combine highend consumer products with garbage and trash, others focus on things utterly over looked: worlds of objects that act as the traces of our everyday world with an often idiosyncratic beauty — which is precisely why they reward a closer examination. How can it be that the world keeps turning, the sun shines on and the flowers bloom — that, in short, it can be a beautiful day — when someone you love has just died?

How is it possible that between your tears, and to your own amazement, you can suddenly laugh again, and enjoy making plans for the future, or creating things, while you are still paralyzed by grief? How can the world seem to be exactly the same when your own life has been altered so profoundly? These unfathomable connections between death, mourning, and renewed vitality inspired Hellen van Meene to create her newest work, entitled And everything goes on when you die.

A deliberate, ordered and sometimes narrative arrangement of photographic images bound in a book with little or no text, the photobook is an intimate presentation from photographer to viewer, one on one. This selection of photobooks and photo zines, created by an international group of women artists in the last ten years, embodies essential truths told through eclectic visual vocabularies. The images encompass coldly objective photographs of American locations of mythic importance, digital photos snapped through a car window and prints resulting from experiments with expired photo paper.

Theorists Theodor Adorno and Max Horkheimer coined the term "culture industry" to denote the way in which products of human creativity have undergone a process of objectification. The consuming subject can no longer expect art to fulfill a liberating role in his life. On the contrary: artistic and cultural goods are themselves used as a kind of narcotic, obeying an oppressive social order that prevents independent and critical thought. With this in mind, the present cluster of exhibitions addresses the question: how can one produce an artistic intervention that will not be co-opted by the system?

The artists displayed in it choose to test the system's limits in order to challenge its equilibrium. The cluster examines the options still available for artists to realize their subversive impulse, such as turning the weapons of the capitalist enemy against it: advertisements, spectacle, replication, reproduction, viral dissemination via the internet and more.

The exhibition connects many media including painting, textile, photography, and drawing by 20th- and 21st-century artists diverse in race, sexual orientation, gender, age, and nationality. New Territory: Landscape Photography Today is a survey of contemporary landscape photography from around the world. The exhibition of more than photographs will explore how artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions, and values of our time. David Hilliard has been photographing his life on the East Coast and elsewhere for over twenty years.

Through cinematic, multi-image panoramas he is often noted for his nuanced photographic storytelling. His unique method combines both the still, singular moment with the movement and perspective only achievable through the passage of time. These decades of work also reveal his own shifting constructions of home, masculinity, desire, and family. The film reveals a suspended duck, suddenly splitting a shimmering black surface, which collapses in its own reflection. The impact of the bird that penetrates the liquid surface and the triggering of a tremendous chain reaction, evokes the idea of an ecological disaster.

Ori Gersht explores the relationship between photography and technology. The exhibition also highlights links between Josephson and other contemporary artists working in photography, film, and sculpture—including Laura Letinsky, Roe Ethridge , Jessica Labatte, Marlo Pascual , Jimmy Robert , and Xaviera Simmons. Together, their work illuminates the ways images make meaning today.

For the first time, Tate Modern tells the intertwined stories of photography and abstract art. The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.

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It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction. More than images, from the 19th-century daguerreotype to today's inkjet prints, illustrate the range of gardens that have fascinated photographers, and how both subject and medium stimulate one another: photographers wanted to capture nature, and nature became the perfect subject as they experimented with new techniques and processes.

More than simply chemists, photographers increasingly became viewed as artists. Artists J. These surreal and disquieting images take us towards the margins of the unknown. All of the artists included will be showing work primarily made since The vibrant and monumental paintings by these artists offer bold perspectives on Black culture and representation.

Since the s, he has created an exceedingly compelling and quietly poetic image of contemporary American life.


The exhibition is comprised of over 60 never-before-exhibited photographs. The eighth Shout in this cycle of twelve rituals celebrates the Winter Solstice, which occurs at exactly am EST on December 21, Muholi states, "This honour is not for me, it's for every other black LGBTQI, or any other person, who understands what it's like at this time to be us. It means more than a lot, and hopefully it paves the way for many who will follow us, and honours those who came way before us, and who never had an opportunity to be recognised.

The exhibition features an intergenerational group of artists who explore gender beyond the binary to usher in more fluid and inclusive expressions of identity. Paul Mpagi Sepuya is known for his extensive photographic documents of domesticated scenes of friends, fellow artists, and lovers.