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, director@aspp.com


India and the Picturesque

February 11–May 16, 2017
Museum of Photographic Arts
1649 El Prado, San Diego, CA
Open Tuesday–Sunday, 10–5

Edmund David Lyon, Trichonoply, 1865–1871

Edmund David Lyon, Trichonoply, 1865–1871

Selected from the Museum of Photographic Arts’ collection of 150 19th-century images of India, this exhibition highlights the rich photographic legacy that was created over two decades from 1860–1880. With images made by Samuel Bourne, John Edward Saché, Edmund David Lyon, Indian photographer Nathulall, and others, the people, places, and landscapes of India were brought to life for viewers of the day.

India and the Picturesque features work from the Catherine and Ralph Benkaim collection.


Longer Ways to Go – Photography of the American Road

April 15–October 15, 2017
Phoenix Art Museum
1625 N. Central Avenue
Phoenix, AZ 85004-1685
602. 257.1880

Tuesday – 10 a.m. – 5 p.m.
Wednesday – 10 a.m. – 9 p.m.
Thursday – 10 a.m. – 5 p.m.
Friday – 10 a.m. – 5 p.m. (First Friday: 10 a.m. – 10 p.m.)
Saturday – 10 a.m. – 5 p.m.
Sunday – 12 – 5 p.m.

Joel Meyerowitz, Red Interior, Provincetown, Massachusetts, 1977. Collection Center for Creative Photography ©Joel Meyerowitz

Joel Meyerowitz, Red Interior, Provincetown, Massachusetts, 1977. Collection Center for Creative Photography ©Joel Meyerowitz

The most recent collaboration between Phoenix Art Museum and the University of Arizona’s Center for Creative Photography (CCP), Longer Ways to Go: Photography of the American Road delves deep into the complex dialogue that photography can enter into with a subject dear to many. This exhibition explores the symbiotic relationship between photography and the folklore of the American highway, including the emblematic Route 66. Longer Ways juxtaposes photographs from different eras, exploring themes related to travel, ideals of small-town life, the national heritage of westward expansion, and personal freedom.

The exhibition was inspired by a body of photographs of Route 66 by Kozo Miyoshi, a Japanese photographer and former artist in residence at the Center for Creative Photography. Taken in the 1990s, Miyoshi’s photographs of Route 66 are complex, even ambivalent in tone. Rather than re-creating the Route 66 of historical imagination, his photographs show both the areas of 66 that have managed to survive through ingenuity and the once-iconic sites that have fallen into disrepair. Miyoshi’s works embody a construction of American identity that is becoming increasingly self-referential; they suggest the landmark’s transition from highway to scenic byway, from America to Americana.

Alongside Miyoshi’s photographs, Longer Ways to Go features a diverse selection from the vast photographic body documenting the image of the American road. Chronologically, Longer Ways to Go begins with works by Depression-era photographers including Walker Evans, Dorothea Lange and Arthur Rothstein, and extends to the present day. The exhibition also features work by Edward Weston, Ansel Adams, Robert Frank, Gary Winogrand, Lee Friedlander, Danny Lyon, Ed Ruscha, Joe Deal, Stephen Shore, Richard Avedon, Richard Misrach, Christopher Churchill and scott b. davis.

The works will be organized thematically, covering topics such as the view of nature from a car window and the cult of the automobile. These depictions investigate the extent to which American identity has a sometimes fraught, but always significant, relationship with the idea and practice of the open road. Longer Ways to Go suggests that not only does travel reflect cultural habits of consumption and leisure; the meaning with which we imbue it speaks to something deep and ineffable within American self-construction.



Imogen Cunningham: In Focus

September 3, 2016–June 18, 2017
Museum of Fine Arts, Boston
465 Huntington Ave, Boston, MA
Open Monday and Tuesday, 10–5; Wednesday–Friday, 10am–10pm; Saturday and Sunday, 10–5

Imogen Cunningham, Hen and Chickens, before 1929

Imogen Cunningham, Hen and Chickens, before 1929

Showcasing the range of photographer Imogen Cunningham (1883–1976), this exhibition displays about 35 works from the Lane Collection and the MFA’s own holdings. A major figure in 20th-century American photography, Cunningham was a co-founder of Group f/64, joining forces with Edward Weston, Ansel Adams, and other San Francisco Bay Area photographers who shared an aesthetic of sharply-focused images and natural subjects. Her widely popular 1920s series of large-format botanical photographs—often compared with paintings by Georgia O’Keeffe—is featured, as well as street photography, still lifes, and multiple exposures from the 1930s through the 1960s. The exhibition also explores Cunningham’s work in portraiture, from self-portraits to iconic images of her contemporaries, including photographer August Sander, dancer Martha Graham, and poet Theodore Roethke. Photographs of Cunningham by others—including a print of Judy Dater’s famous Imogen and Twinka (1974)—are also included.



Irving Penn: Centennial

April 24–July 30, 2017
The Met Fifth Avenue
1000 Fifth Avenue
New York, NY 10028
Open Seven Days a Week
Sunday–Thursday: 10 am–5:30 pm
Friday and Saturday: 10 am–9 pm

Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris Artist:Irving Penn (American, Plainfield, New Jersey 1917–2009 New York) Date:1950, printed 1968

Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress) by Irving Penn

The most comprehensive retrospective to date of the work of the great American photographer Irving Penn (1917–2009), this exhibition marks the centennial of the artist’s birth. Over the course of his nearly 70-year career, Penn mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail.

The exhibition follows the 2015 announcement of the landmark promised gift from The Irving Penn Foundation to The Met of more than 150 photographs by Penn, representing every period of the artist’s dynamic career with the camera. The gift forms the core of the exhibition, which features more than 200 photographs by Penn, including iconic fashion studies of Lisa Fonssagrives-Penn, the artist’s wife; exquisite still lifes; Quechua children in Cuzco, Peru; portraits of urban laborers; female nudes; tribesmen in New Guinea; and color flower studies. The artist’s beloved portraits of cultural figures from Truman Capote, Picasso, and Colette to Ingmar Bergman and Issey Miyake are also featured. Rounding out the exhibition are photographs by Penn that entered The Met collection prior to the promised gift.


Georgia O’Keeffe: Living Modern

Mar  3–July 23, 2017
Brooklyn Museum
200 Eastern Parkway

Brooklyn, New York 11238-6052
Wednesday—Sunday 11 am–6 pm Thursday 11 am–10 pm

Alfred Stieglitz (American, 1864–1946). Georgia O’Keeffe, circa 1920–22

Alfred Stieglitz (American, 1864–1946). Georgia O’Keeffe, circa 1920–22

Georgia O’Keeffe: Living Modern takes a new look at how the renowned modernist artist proclaimed her progressive, independent lifestyle through a self-crafted public persona—including her clothing and the way she posed for the camera. The exhibition expands our understanding of O’Keeffe by focusing on her wardrobe, shown for the first time alongside key paintings and photographs. It confirms and explores her determination to be in charge of how the world understood her identity and artistic values.

In addition to selected paintings and items of clothing, the exhibition presents photographs of O’Keeffe and her homes by Alfred Stieglitz, Ansel Adams, Annie Leibovitz, Philippe Halsman, Yousuf Karsh, Cecil Beaton, Andy Warhol, Bruce Weber, Todd Webb, and others. It also includes works that entered the Brooklyn collection following O’Keeffe’s first-ever museum exhibition—held at the Brooklyn Museum in 1927.

The exhibition is organized in sections that run from her early years, when O’Keeffe crafted a signature style of dress that dispensed with ornamentation; to her years in New York, in the 1920s and 1930s, when a black-and-white palette dominated much of her art and dress; and to her later years in New Mexico, where her art and clothing changed in response to the surrounding colors of the Southwestern landscape. The final section explores the enormous role photography played in the artist’s reinvention of herself in the Southwest, when a younger generation of photographers visited her, solidifying her status as a pioneer of modernism and as a contemporary style icon.



New Ground: The Southwest of Maria Martinez and Laura Gilpin


Laura Gilpin, Maria Martinez Making Pottery (detail), 1959

February 17–May 14
National Museum of Women in the Arts
1250 New York Ave NW, Washington, DC
Open Monday–Saturday, 10–5; Sunday 12–5

New Ground counters dominant 19th- and 20th-century narratives, which typically cast the American West as a masculine place of staged romance or rugged conquest. Through the works of potter Maria Martinez (ca. 1887–1980) and photographer Laura Gilpin (1891–1979), this exhibition illuminates the mid-century Southwest as a nuanced and dynamic environment in which these two women created art that embodied a distinctively modern aesthetic.

Martinez’s strikingly modern-looking vessels grew out of ancient Pueblo artistic traditions, which she and her husband, Julian, revived. Examples of Martinez’s pottery are found in public and private collections across the globe. Her work inspired generations of artists, including her own family, several of whom still produce pottery at the San Ildefonso Pueblo.

Gilpin, hailed during her lifetime as the “grand dame of American photography,” is best known for her documentary prints, which include aerial landscapes and intimate portraits. For over six decades, Gilpin documented the Southwest and its people, experimenting with a variety of photographic techniques and styles to capture her own connection to the region.




February 23–June 4
Art Institute of Chicago
111 S Michigan Ave, Chicago, IL
Open daily, 10:30–5; Thursday, 10:30–8

Ilse Bing, Dancer Willem Van Loon, Paris, 1932

Ilse Bing, Dancer Willem Van Loon, Paris, 1932

Go, the second exhibition in the Art Institute’s Modern Series, explores how artists responded to different ways of experiencing and seeing the world in the accelerated modern age. The show offers a range of sensory encounters: Slow down and consider how a photographer’s blur might correspond to the efficient contours of a streamlined chair. Does a spinning gear buzz in the same way as an optical pattern? Do swiftly scribbled gestures in paint and the fuzz of a static-y screen exist on the same continuum of hyper-stimulation? Where is the line between stop-motion and suspension, between capturing what the eye cannot see on its own and the illusion of stillness the experience of great speed can produce?

Through paintings, sculpture, works on paper, photographs, designed objects, textiles, books, and films, Go reveals not only how speed has been celebrated but also how it has been managed and resisted. Thus, as a title, Go summons both the initiation of movement—a launch—and a kind of ongoingness.


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