The Linda McCartney Retrospective

Hamidah Glasgow Honorable Mentions: Debra Achen, Mona Bozorgi, David Ellingsen, Susan Goldstein, Michele Lyn, Susan Rosenberg Jones, Dean Terasaki Charles Guice Honorable Mentions: Mona Bozorgi, Mehreen Khalid, Denise Laurinaitis, Michele Lyn, Susan Rosenberg Jones, Mouneb Taim Selected Artists: Debra Achen, Geoffrey Agrons, Ashley Allen, Laurel Anderson, Filippo Barbero, Nancy Baron, Tabea Borchardt, Mona Bozorgi, Marisa Brown, Tuan Bui, Tracy Burke, Patty Carroll, Anahit Cass, Alex Cassetti, Madeline Cawkins, Jo Ann Chaus, Patricia Christakos, Matthew Conboy, Seth Cook, Jesse Egner, David Ellingsen, Dan Florin, Patricia Fortlage, Debora Francis, Susan Goldstein, Charlotta Hauksdottir, Austin Jensen, Luke Jordan, Richard K. Kent, Mehreen Khalid, Frazier King, Sandra Klein, Gershon Kreimer, Judy Labib, Susan Lapides, Denise Laurinaitis, Ana Leal, Traci Marie Lee, Drew Leventhal, Michele Lyn, Mara Magyarosi-Laytner, Lawrence Manning, Christina McFaul, Jason McKinsey, dee (darren lee) miller, Greer Muldowney, Robin North, Eleanor Oakes, Laurie Peek, Oriana Poindexter, Austin Pope, Nathan Rochefort, Gjert Rognli, Susan Rosenberg Jones, Angela Scardigno, Rebecca Sexton Larson, Anastasia Sierra, Olga Steinepreis, Mouneb Taim, Jerry Takigawa, Dean Terasaki, Anne Vetter, Suzanne Theodora White, and Michael Young.

In Their Own Light: Photographs from Chicago Public Schools by Melissa Ann Pinney, is on view at Pictura Gallery from April 5th to May 31st. During a five year artist residency, Pinney documented the daily lives of students from a variety of schools in the city. Her portraits capture their evolving identities as they move through the particular challenges of the pandemic and continuing racial inequality.

ANET BORDEN, INC. is pleased to announce FASHION FAUX PARR, the first exhibition devoted to Martin Parr’s fashion work. Parr has been making photographs for the fashion industry since 1999. This twenty-five year undertaking has seen him travel from Moscow to Bangkok, from Milan to New York, on assignment for various magazines and fashion houses, including his long-standing work for Gucci. Many of Parr’s signature tropes, including vivid colors and a keen appreciation of the absurd, are on view in these photographs. The daylight flash, the dressing up and partying, the coincidental matching of patters and colors in unlikely places, all commingle in this body of colorful and witty work. As the premier documentary photographer working in England, Parr brings his extraordinary sensibility to the world of fashion. Consider the cover of the book: long-legged models slouch in line…at Katz’s Delicatessen. The accompanying monograph by Phaidon clocks in at a generous three hundred two pages. MARTIN PARR was born in Surrey, England, in 1952. He currently lives in Bristol, England. This British documentary photographer has worked on many photographic projects throughout the world, resulting in over 110 published books, including Bad Weather; The Last Resort; The Cost of Living; Common Sense; Think of England; The Last Parking Space; Martin Parr: Objects. His work is exhibited and collected throughout the world. Last year, Only Human, Parr's 13-room extravaganza of several hundred photographs and objects, was exhibited at the National Portrait Gallery, London. His fashion photography is the subject of an upcoming monograph by Phaidon. He created The Martin Parr Foundation to promote and preserve the history of British documentary photography.

Thresholds 2024: Photography and Urban Architecture considers the relationship between photography, urban architecture, and their viewers/users. Taking street photography as its opening point, Thresholds 2024 considers our connections with and the ways in which urban architecture informs our presence in the world. From expansive skyscrapers to minute ornate details, from periodic styles to historic monuments, from the mundane to the iconic, photography of urban architecture investigates the elements that define our public spaces and engagement capturing the aesthetics of the ever-changing global cityscapes. Offering an expanded view of the world and street photography as a practice, this juried annual open call brings together sights and visions for a virtual exhibition and a digital exhibition at the Helms Bakery District in Culver City, CA, starting on May 4, 2024. Image: © Photo by Leanne Trivett S., Second Place Winner

GRAY is pleased to announce McArthur Binion & Jules Allen: Me and You, a two-person exhibition featuring eleven new paintings by McArthur Binion and a survey of gelatin silver prints by New York-based photographer Jules Allen. McArthur Binion’s new series of paintings, titled Handmadeness, delve fully into the lexicon of what Binion terms the under-conscious: visual markers of his identity collaged in a repeating, interwoven grid. These images in the paintings’ ground layer come span a range of sources, from the deeply personal and autobiographical to the public and political. From the former category, Binion uses facsimiles of his birth certificate and his address book, as well as photographs of himself, his hand, and of his father and mother. Meanwhile, discernible segments from a musical score Binion commissioned by the Pulitzer-prize winning composer and saxophonist Henry Threadgill point to the critical role that music and improvisation have played in Binion’s work. Of the latter category is a detail from a photograph published in a 1930s newspaper of a lynching in Marion, Indiana, the dissemination of which confronted the nation with the reality of racial violence. Customary to his practice, Binion obscures these under: conscious images with washes of Chinese ink in novel color combinations and a lattice-like layer of oil-based paint sticks, the artist’s chosen materials since the 1970s. Me and You is the gallery’s second exhibition with McArthur Binion and the first show in Chicago to include the work of celebrated New York photographer Jules Allen. Allen studied photography under Jack Welpott, whose formalist leanings were rooted in the tradition of Ansel Adams and Edward Weston, and received a MS in clinical psychology to better understand the human subject. In 1978, Allen moved to New York, where he met McArthur Binion among a rich milieu of Black avant-garde musicians and artists. Allen pursued both studio and commercial work for clients including Def Jam Recordings, became a professor at Queensborough Community College, and participated in the Kamoinge Workshop, all as he honed his vision in photographing Black urban life. Me and You surveys Allen’s gelatin silver prints from the 1980s to present, spanning bodies of work including Hats and Hat Nots, In My Own Sweet Way, and Rhythmology. The photographs reference a lineage of artists and photographers, including Romare Bearden, Henri Cartier Bresson, Robert Frank, Beuford Smith, and Roy DeCarava, with whom Allen also studied. Allen’s keen sense of formal elements such as light, line, and tonality, are used in combination with personal insight and empathy to create a communal portrait of the Black urban landscape across scenes like a street baptism in Harlem, a woman waiting for the subway, teenagers working out on the street, and a line of police behind a single, elderly protestor. Me and You commemorates a forty-year dialogue between the two artists, whose mutual admiration originated in the Black avant-garde of 1980s New York City. Absorbing visual, musical, and poetic influences throughout their careers, both artists pair visual clarity and formal rigor with deeply psychological and emotional content. The exhibition is accompanied by a fully illustrated catalogue, with a dialogue between McArthur Binion and Jules Allen and an introduction by Dr. Thulani Davis. Image: Untitled, 1985-87 © Jules Allen

All About Photo is pleased to present 'The 544' by Sarah Ketelaars Part of the exclusive online showroom developed by All About Photo, this exhibition is on view for the month of May 2024 and includes eighteen photographs from the series ‘The 544’ The 544 This ongoing project is a memorial to 544 psychiatric patients murdered by the Nazis in 1941 in Latvia. The figurative images I’ve made are all cyanotypes. Eventually there will be one for each man, woman and child killed. My grandmother was working at the hospital from where the patients were taken. I have visited the hospital and found that although the story is known no memorial exists. The only official record seems to be a short paragraph in the Nuremberg report. So far I have found no record of the names. Using a historic photographic process feels fitting for a project examining a historical event. An ancient pagan Latvian folk symbol is drawn on by hand in gold ink to each piece. It is impossible for me to look at these images without thinking about how the lives of these people ended. However, the project is primarily intended as a memorial. I wanted the images to hint at some more celebratory moments, to remember the lives lived before these people entered the hospital; before they died. Not knowing anything about the identities of the dead, I have tried to imagine each one as a unique, precious being, and give each back a little of the character stripped from them when they were murdered and reduced by history to a number on a list of nameless victims. The project is the second in a trilogy looking at my family history, examining themes of cultural inheritance, identity and intergenerational trauma.

The Fahey/Klein Gallery is pleased to announce the debut solo exhibition of Magdalena Wosinska, held in conjunction with the release of her newest monograph, Fulfill the Dream. This exhibition will include a selection of photographs from Fulfill the Dream, in addition to Wosinska’s photojournalism imagery which captures the intimacy of human connection that balances adventure and introspection. Central to Wosinska’s photography is the celebration of spontaneity. Viewers find themselves immediately immersed in Wosinska’s world, where authenticity reigns supreme and every moment is overflowing with a hint of rebelliousness. Through intimate portraits she explores the complexities of selfhood, highlighting the interplay between inner emotions and outward appearances. Her subjects are portrayed genuinely, without artifice or pretense, inviting viewers to reflect on their own sense of identity. Whether it’s skateboarding down city streets or basking in the golden hues of nature, each frame exudes a sense of liberation and outlaw attitude. The sensual and sun-drenched photographs of women roaming nude in nature are quintessentially Magdalena, as are her portraits of the South-Central Cowboys and vignettes of motorcycles in the desert. At a young age, Magdalena Wosinska immigrated to the United States with her parents in 1991 from communist Poland. She found solace and belonging in the skateboarding subculture during the 90s, which became her passion and inspiration. At 14 years old, she began photographing with a dream of shooting the cover of a skate magazine (Thrasher). In time she found success in fine art, editorial, and commercial photography. Now, 25 years later, she’s revisiting her roots with her most recent monograph “Fulfill the Dream,” which will showcase her early images of skateboarding icons and highlight her artistic journey. Her book serves as a time capsule of the skateboarding scene and her evolution as an artist, capturing intimate moments from a unique perspective as one of the few women deeply embedded in the culture. Magdalena Wosinska’s hardcover monograph, Fulfill the Dream, (Homecoming Gallery, 304 pages), is available for purchase at the gallery while supplies last.

MIYAKO YOSHINAGA is pleased to present our final exhibition, KAMI by Hitoshi Fugo, before the gallery closes its door to the public on its 25th anniversary. The exhibition will be on view from April 19 to May 25, 2024. MIYAKO YOSHINAGA will continue representing our artists and further announcements will be made after June. Japanese photographer Hitoshi Fugo (b. 1947)’s still-life studies explore a single subject’s nuanced, multi-faceted expressions until the subject becomes detached from its category, meaning, or identity. He commits to an ongoing experiment in dismantling these boundaries. This exhibition features one of his most ambitious yet long-silenced projects. In 2001, Fugo began photographing the large burnt paper roll that had been sitting in the corner of his studio for six or seven years. One day around 1993, he walked past a printing factory destroyed by fire and saw cleaning workers leaving half-burnt rolls of paper on the ground. Fugo asked them not to throw them away and later brought them to his studio. The salvaged objects, destroyed by violence (fire) and too chaotic for human control, inspired the artist, particularly after witnessing and photographing the aftermath of the Great Hanshin-Awaji Earthquake in 1995. Fugo decided to document each stage and progress of destruction, sometimes adding new physical forces such as cutting through a thick wall of paper with a chainsaw, investigating the violence lurking within himself. The result is an unsettling yet fascinating visual rhapsody consisting of 31 black-and-white images that delves into the essence of paper, with its cut and burnt surfaces powerfully exposed. In 2023, he attempted to document the end of that life cycle by burning the paper roll again on the shore, imagining its particles flying into the air like feathers peeling away. But this was not possible due to the weather. This series, in which he tries to capture the paper’s transformation by an irresistible external force, was shown only once in Japan in 2001 and has never been shown overseas until now. Paper in Japanese is kami, a homonym of god. The artist gave the title, KAMI, to this body of work, implying the absence of god in today’s destructive world. The exhibition includes 11 images from the series, two of which were photographed in 2023 of the same paper roll. Born in 1947 in Kanagawa, Japan, Hitoshi Fugo studied photography at Nihon University in Tokyo. During the 1970s and 1980s, he traveled extensively in Japan, India, and the United States, creating a psychologically charged series BLACKOUT, which he first exhibited in Tokyo in 1982, and in New York at MIYAKO YOSHINAGA in 2017. His other work includes Flying Frying Pan (1974-1994), a series exploring the micro and macro cosmos of what is otherwise an ordinary household object, Game Over (1980-1991), a series inspired by the West Edmonton Mall in Canada, and On the Circle (2003-2011). Fugo’s work has had international exposure in exhibitions such as Japanese Photography Today (Spain, 1986) and Japanese Contemporary Photography (Germany, 2000). In 2010 Fugo was awarded the Ina Nobuo Photography Award. Image: KAMI 1, 2001 © Hitoshi Fugo

"In my series Weird Sports, I explore the joy and community surrounding people’s love of nontraditional sports. They include surreal competitions like: Big Wheel racing, barstool skiing, log riding, lightsaber fencing, and live monster wrestling. Many of these events are more performance art than competitive sport, a celebration where a participation trophy is the ultimate medal of excellence. All weird sports aim to achieve the same goal: bring together like-minded, creative, and active humans, often in costume and usually with cheap beer in hand. As it so happens, the final photo in this 15-year-old photo collection—of a weird beer tossing competition in Wyoming—was taken on March 11, 2020, right at the very start of the pandemic, creating an unintentional time capsule of life and laughter before the world came to a halt. Growing up without a father, who died when I was 2, sports always had a huge role in my life. If I could play and talk sports, I could connect with kids in the neighborhood. To a deeper degree, this project on weird sports allows me to witness—and document—the joy I always imagined I’d have with my father if he was still alive, whether going to a Cubs game or playing catch in the backyard. I’ve always yearned for that connection and joy, something this body of work strives to celebrate." – Sol Neelman Image: © Sol Neelman

"I was recently visiting my hometown and stopped to fill up my car with gas. I noticed a woman sitting outside the gas station drinking coffee and recognized her as my old ballet teacher. I sat down next to her and we caught up. She had been going blind for a decade since I last saw her. She had fallen out of love, started growing a garden, and found god. She had a small collection of freshly picked mushrooms next to her and handed me one, saying 'Mushrooms have no gender, did you know that?'" – Dylan Hausthor Named after David Arora’s mushroom identification guide, What The Rain Might Bring is a cross-disciplinary project that explores the complexities of storytelling, faith, folklore, and the inherent queerness of the natural world. The often disregarded underbelly of a post-fact world seems to be the simultaneous beauty and danger of fiction. I’m interested in image-making as a process of hybridity—weavings of myth filled with tangents and nuances, treading the lines between investigative journalism, disinformation, performance, acts of obsession, and self-conscious manipulation. Photography’s ability to promote belief is a power not dissimilar to that of faith. By using modes of making that are traditionally linked to fact-finding, I hope for the viewers and readers of my work to find themselves in a space between fiction and reality—to push past questions of validity that form the base tradition of colonialism in storytelling and folklore and into a much more human sense of reality: faulted, broken, and real. All these images are from the local newspaper of the town where I live. Image: © Dylan Hausthor

Please join us as we celebrate the winning photographs from the 2024 Members' Juried Exhibition! Our juror selected 45 images for the gallery exhibition, from over 2,600 entries submitted by photographers throughout the United States and abroad. 45 additional juror selections will be on view on our website starting April 20. A catalog of the gallery exhibition and online images will be available for purchase. Congratulations to all the artists! Juror: Catherine Couturier is the owner and director of Catherine Couturier Gallery. Upon its inception, the gallery quickly evolved into the premier photography gallery in Houston and sits at the center of Gallery Row. Couturier has worked in the fine art photography world since 1999 and is involved in many different aspects.She reviews portfolios for organizations and festivals such as Fotofest, Photo Nola, Texas Photographic Society, and more, works with private organizations to review fine art photography including classes both public and private, builds and curates collections both private and corporate, worked as an art consultant on a nationwide healthcare project, is a juror for Critical Mass, serves on the advisory council of Houston Center for Photography, and give lectures to artists and collectors alike on a myriad of subjects. She is incredibly proud to be on the board of Aipad (Association of Photography Art Dealers), the most prestigious institute of its kind in the world. Catherine Couturier Gallery specializes in classic 20th century photography and contemporary work of the highest quality and also sells a wide range of rare and vintage books and publications by many of today's best-known contemporary artists. The Catherine Couturier Gallery is committed to excellence with a dedication to the medium in all its forms, with the goal to showcase the best fine art photography available.

The Santa Barbara Museum of Art (SBMA) and Museum of Contemporary Art Santa Barbara (MCASB) present the solo artist exhibition Janna Ireland: True Story Index, representing a landmark two-institution collaboration, presentation, and catalogue. Curated by Charles Wylie, SBMA Curator of Photography and New Media, and Frederick Janka, MCASB, this exhibition is a mid-career survey and the largest presentation of Ireland’s photographs and installations to date. The exhibition features newly commissioned works and works from the artist’s collection, the Santa Barbara Museum of Art’s permanent collection, and private collections. Janna Ireland’s photographic practice is primarily concerned with the themes of family, home, and the expression of Black identity in American culture. In 2016, she began photographing structures designed by legendary Black architect Paul R. Williams. A collection of 250 of these photographs was published in the major 2020 monograph, Regarding Paul R. Williams: A Photographer’s View. These multiple aspects of Ireland’s work will be featured and interwoven across both venues. Janna Ireland lives in Los Angeles, where she is an assistant professor in the Department of Art and Art History at Occidental College. A broad selection of Ireland’s work was included in the exhibition Family Album: Dannielle Bowman, Janna Ireland and Contemporary Works from LACMA at the Los Angeles County Museum of Art’s Charles White Elementary School Gallery. Ireland’s photographs are held in the permanent collections of institutions including LACMA, the Nevada Museum of Art, the California African American Museum, the Santa Barbara Museum of Art, and the Museum of Contemporary Photography at Columbia College Chicago. Image: Janna Ireland, Hancock Park, Number 1, from the series Regarding Paul R. Williams, 2016 © Janna Ireland