What’s Hanging is a bi-monthly round -up of gallery shows of interest to our members. While it features the work artist and documentarians nationwide, we would be most happy to promote the work of our members. If you have a show coming up and would like us to feature it here, please send sample pictures, a press release and contact information to: Darrell Perry, ASPP Executive Director, email@example.com
September 10, 2016 – January 8, 2017
Art Institute of Chicago
111 S Michigan Ave Chicago, IL 60603
Open daily 10:30-5, Thur 10:30-8
This museum show is an overview of approaches to realism and abstraction in photography from the past century. It features the pioneering work of László Moholy-Nagy, Liz Deschenes, Bruce Nauman among many others and examines how depictions of abstract reality can be deeply personal, dynamic and boldly modern.
September 9 – October 29
Catherine Edelman Gallery
300 W Superior St Chicago, IL 60654
Open Tues-Sat 10-5:30
The first solo exhibition for Clarissa Bonet, whose photographic work is garnering terrific international press.
The concept of place, and our relationship to it, is at the heart of Clarissa Bonet’s work Leaving Tampa,Florida in 2010, Bonet moved to Chicago to attend graduate school at Columbia College Chicago. She immediately noticed the density of the city, its people, and its traffic. As she wandered the city, she was stunned by the isolation she felt among the throngs of people rushing along the sidewalks. It was this feeling that led her to City Space, an ongoing body of work about individuality in a large city.
Walking for hours, Bonet uses her phone to photograph the interactions between people, architecture and light. Later, she would revisit these places and recreate the feeling she had first experienced, hiring models to play specific roles at the precise time of day when the light was perfect. The resulting photographs are carefully staged memories that appear to be snapshots of everyday city life. As she states: “The urban space is striking. Its tall and mysterious buildings, crowds of anonymous people, and endless sea of concrete constantly intrigue me. The images I create provide a personal interpretation of the urban landscape.”
In 2014, Bonet embarked on a second ongoing project, Stray Light, which looks at the anonymity of people in their homes at night. Bonet photographs once the sun sets, capturing the colorful glows from hotel and apartment windows. Back in her studio, she carefully constructs each image from multiple photographs, transforming the urban cityscape into a constellation, as the mind tries to organize the information presented. Ultimately, the viewer is left dazzled by the glow emanating from windows that fill the city skies, much like the stars do on a clear night, far away from the lights of an urban landscape
8th and F Streets, N.W.
Smithsonian American Art Museum
2nd floor South, American Art Museum
August 26, 2016 – March 19, 2017
At the height of the Harlem Renaissance, Carl Van Vechten (1880–1964) picked up a camera and discovered the power the photographic portrait has over the photographer himself. Over the decades, his fascination with the medium remained strong and he asked writers, musicians, athletes, politicians, and others to sit for him—many of them central figures in the Harlem Renaissance whose accomplishments fueled not only the New Negro movement but also transformed the broader American culture throughout the twentieth century.
These groundbreaking men and women included James Baldwin, Ossie Davis, W.E.B. Du Bois, Ella Fitzgerald, Althea Gibson, Langston Hughes, Bill “Bojangles” Robinson, Bessie Smith, and others. Some of the portraits capture their subjects on the cusp of success as they were full of ambition but before they became famous; others depict men and women looking back on long and varied careers, tested by the fickleness of fortune.
This installation features thirty-nine of Van Vechten’s images, all works from SAAM’s permanent collection. This is their first presentation as a whole since they were acquired. These portraits, spanning more than thirty years, record a vital aspect of the American Century.
February 14, 2015 – January 10, 2017
265 Massachusetts Ave Cambridge, MA 02139
Open Daily 10-5
While working at MIT, photographers, image makers, and innovators Felice Frankel, Harold “Doc” Edgerton, and Berenice Abbott explored a range of scientific questions. With strobes, magnification, and other light-capturing strategies, their work reveals their curiosity about the natural world and how it works. Learn how photography helps us examine the unknown and explore the inventive methodologies used by these three pioneers at hands-on image-making stations.
From swinging wrenches to soap bubbles, the work and its subject matter showcase each photographer’s curiosity and dedication to making the natural and the technological world more accessible. Images of Discovery is an exciting opportunity for visitors to experience photography as a tool for communicating about — and inspiring a passion for — science and technology.
October 1, 2016 – January 8, 2017
George Eastman Museum
900 East Ave Rochester, NY 14607
Open Tues-Sat 10-5, Sun 11-5
Catherine Opie: 700 Nimes Road presents recent work by Los Angeles–based artist Catherine Opie, one of the essential figures in contemporary photography. Taken over the course of six months at the Bel Air, California, residence of Elizabeth Taylor (1932–2011), the photographs in the exhibition are selected from two series, Closets and Jewels and 700 Nimes Road. Inspired by William Eggleston’s images of Elvis Presley’s Memphis estate, Graceland, Opie creates a portrait of Taylor from her personal space and mementos.
Opie photographs rooms, closets, shoes, clothing, and jewelry that intimately depict the life of screen star and cultural icon Elizabeth Taylor, compiling an indirect portrait of a life defined by wealth and fame. With an investigative eye, Opie documents the grandeur and minute details of the home in a range of visual scales. Scrutinizing without revealing the complete picture, objects accumulate, rooms become landscapes, and clothing is transformed into fields of color and texture. Opie’s lens portrays Taylor’s life experience and eccentricity as an illusory subject, one that cannot be specifically designated or precisely described. In the artist’s words, the project is not about the relationship to celebrity, but about “the relationship to what is human.”
September 18 – December 23
Alice Austen House Museum
2 Hylan Boulevard Staten Island, NY 10305
Open Tues-Sun 11-5
The work of Alice Austen and Christine Osinski, almost one hundred years apart, comprise a candid look at life on Staten Island. Separated by time and distance, the work of both artists bear marked similarities in subject matter and approach. This exhibition provides an opportunity for both artists to connect through their work.
September 15 – October 29
95 Rivington Street, New York, NY
Open Tues-Sat 11-6, Sun 1-5
Summer Hours: Tues-Sat 11-6, Sun 1-5
Danziger Gallery opens their Fall 2016 season with a retrospective of 25 years of Susan Derges’ work.
Susan Derges (born 1955) lives and works on the west coast of England near Dartmoor in Devon. A key member of the British movement that revived the art of the photogram in the 1990s, Derges took cameraless photography to new and unexpected places with a freshness of scale, color, and concept.
She endeavors to capture invisible scientific and natural processes – the physical appearance of sound vibration, the evolution of frogspawn, or the cycles of the moon.
The exhibition covers the longtime ongoing interests of the artist – all linked by her abiding obsession with water – including the series, “The Observer and The Observed”, a photographic re-working of a Victorian scientific experiment in which sound is used to break a stream of water into individual droplets. In this series, Derges set up the camera so that her image was reflected in each drop, questioning who was observing and who was observed.
June 23, 2016 – January 8, 2017
250 Bowery, New York, NY
Open Tues-Sun 10-6, Thur 10-9
Public, Private, Secret is the premiere exhibition at the new ICP Museum. This debut show and its accompanying events program explore the concept of privacy in today’s society and studies how contemporary self-identity is tied to public visibility.
This thought-provoking exhibition presents a wide range of historical and contemporary works by artists including Zach Blas, Martine Syms, Natalie Bookchin, Cindy Sherman(pictured), Nan Goldin, and Andy Warhol. Streams of real-time images and videos from various social media sources—curated with Mark Ghuneim and ICP’s New Media Narratives students—sharpen and heighten attention towards the social implications of our image-centric world.
The exhibition creates a physical experience through which to examine photography’s role in breaking and resetting the boundaries of social and personal privacy.
Revolutionary Vision: Group f/64 and Richard Misrach Photographs From the Bank of America Collection
June 4, 2016–January 8, 2017
The Autry in Griffith Park
Autry Museum of the American West
4700 Western Heritage Way Los Angeles, CA 90027
Open Tues-Fri 10-4, Sat-Sun 10-5
Featuring more than 80 striking photographs, Revolutionary Vision explores the intertwined legacies of f/64, California’s premier photo-modernist group, and Richard Misrach, one of the state’s best-known contemporary photographers. Includes works by Ansel Adams, Imogen Cunningham, Richard Misrach, Edward Weston, and others who present changing visions of the Western landscape.
September 10, 2016 – January 15, 2017
Geffen Contemporary at MOCA
152 N Central Ave Los Angeles, CA 90013
Open Mon, Fri 11-5, Thur 11-8, Sat-Sun 11-6
For more than 20 years, Doug Aitken has shifted the perception and location of images and narratives. His multichannel video installations, sculptures, photographs, publications, happenings, and architectural works demonstrate the nature and structure of our ever-mobile, ever-changing, image-based contemporary condition. With a profound knowledge and understanding of the history of 20th-century avant-gardes, experimental music, and cinema, and an intimate kinship with the protest movements of the late 1960s, Aitken has invented a unique immersive aesthetic. Rooted in interdisciplinary collaborations, and the broad availability of images and the vulnerability of individuals, his work accounts for the cool but relentless human, industrial, urban, and environmental entropy that defines 21st-century existence.