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


Lynn Saville: Grand Central Revealed

July 3–December 31
Grand Central Terminal Dining Concourse West
89 East 42nd Street, New York, NY 1001z
Open daily 9am–10pm

saville© Lynn Saville

In a new series of eight photographs commissioned by MTA Arts & Design for the Lightbox program, fine-art photographer Lynn Saville captures a unique moment at 42nd Street and Vanderbilt Avenue in New York’s ever-changing architectural landscape. For the first time in nearly a century, the western façade of Grand Central Terminal has been revealed to uninterrupted, sweeping view. Five buildings spanning an acre-size city block were demolished to prepare for the construction of One Vanderbilt, a 1,401-ft office tower due to be completed in 2020. This impressive view of Grand Central will be visible until One Vanderbilt starts to rise above ground level later this year.

After Darkness: Southeast Asian Art in the Wake of History

September 8, 2017–January 21, 2018
Asia Society Museum
725 Park Avenue, New York, NY 10021
(212) 2886400
Open Tues-Sun 11am–6pm, Fri 11am–9pm

1a-editfx-harsono-kurban-destruksi-i-victim-destruction-i-performance-on-the-southern-square-of-the-keraton-alun-alun-selatan-1997-bFX Harsono. Victim – Destruction I, 1997. Performance at the Alun-alun Selatan (Southern Square) during the opening for the exhibiton “Slot in the Box” at Cemeti Art House, 1997. Courtesy Cemeti Art House

At a time of social and political tension, how should art and artists respond to the challenges of the moment? Does art have the power to change the world or does the world shape the evolution of art? After Darkness: Southeast Asian Art in the Wake of History considers these questions through the work of seven contemporary artists and one artist group from Indonesia, Myanmar, and Vietnam, whose lives and artistic practices have intersected with defining periods of socio-political transition in their respective societies. The title of the exhibition originates from the phrase, “after darkness comes the light,” from the writings of Raden Adjeng Kartini, the daughter of the Regent of Jepara in Java and an icon and champion of women’s emancipation in Indonesia. The words of Kartini echo the desire of artists to find light after days of darkness, and their struggle to give a voice to the disenfranchised and those on the margins of society. The exhibition’s featured artists are FX Harsono, Htein Lin, Dinh Q. Lê, Nge Lay, Nguyen Thi Thanh Mai, The Propeller Group, Angki Purbandono, and Tintin Wulia.


Mathew Brady: Antebellum Portraits

June 16, 2017–June 3, 2018
National Portrait Gallery
801 F Street NW, Washington, DC 20001
(202) 633-1000
Open daily 11:30am–7pm

anti_coleThomas Cole | c. 1845, half-plate daguerreotype on silver-coated copper plate | National Portrait Gallery, Smithsonian Institution; gift of Edith Cole Silberstein

Mathew Brady may be best known today for his Civil War-era photographs, but he established his reputation as an internationally acclaimed portrait photographer more than a decade before the war. Brady opened his first daguerreotype portrait studio in New York City in 1844, just five years after the introduction of the first commercially practical form of photography. By 1851, he was among the most successful camera artists in the United States, and claimed top honors for his daguerreotypes at the Crystal Palace exhibition in London. When a new photographic medium—the ambrotype—began to eclipse the daguerreotype in the mid-1850s, Brady adapted, creating some of the most beautiful ambrotype portraits ever produced. As the decade drew to a close, Brady’s studio remained in the vanguard of photographic innovation, producing handsome salted-paper prints from glass negatives.

This Daguerreian Gallery exhibition traces the trajectory of Brady’s early career through portrait daguerreotypes, ambrotypes and salted-paper prints in the National Portrait Gallery’s collection. Contemporary engravings, as well as several advertising broadsides Brady used to market his portrait enterprise, are also included. Ann Shumard, the Portrait Gallery’s senior curator of photographs, is the curator of this exhibition.



Notions of Home

September 14–December 10
Photographic Center Northwest
900 12th Avenue, Seattle, WA 98122
Open Mon-Thu 12pm–9pm, Sat-Sun 12pm–6pm

(206) 720-7222


Alejandro Cartagena, Urban Transportation #15, 2012

Notions of Home speaks to the complex realities of what home means for each individual, within our city, and in America today. “Home” encompasses a sense of identity that could be formed by blood, tribe, race, sexual orientation, gender, religion, or statehood; a geographic environment; a physical structure; our planet, ; and so much more. As many in our city face a scarcity of affordable living, or a change in paperwork and policies affecting their ability to call a place home, we look to photography to do what it does best: engage, reveal, provoke, and elucidate various viewpoints on this topic.


Cuba Is

September 9, 2017–March 4, 2018
Annenberg Space for Photography
2000 Avenue of the Stars
Los Angeles, CA 90067
Open Wed-Sun 11am–6pm, Closed Mon-Tue

tria_jovan© Tria Jovan

Revealing complexities both on and off the island, Cuba Is explores aspects of Cuba not easily accessed by foreigners, and sometimes not even by Cubans themselves. Born from indigenous, African and European roots, divergent politics and limitations in communication and commerce, the Cuba seen in this exhibition goes beyond the folklore and offers new insights into its current reality. Over 120 photos feature subjects ranging from defiant youth known as frikis to the hard-partying children of the 1%, the underground system of sharing digital content—El paquete—to Miami’s Chonga girls. Cuba Is also includes archival images and work done on assignment by five featured photographers: Elliott Erwitt, Leysis Quesada, Raúl Cañibano, Tria Giovan and Michael Dweck. An original documentary film produced by the Annenberg Foundation follows these photographers as they capture unseen images of life in Havana and beyond.

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