Garish, pedestrian and commercial - that’s how critics characterized color photography in the 1970s. It was in fact an explosion of color and the beginning of a new form of art. Starburst: Color Photography in America 1970-1980 is the first survey of a burgeoning period in photography. Through the work of artists such as William Eggleston, Stephen Shore and Mitch Epstein, conventions of the snapshot are turned into high art.
Starburst offers the first historical survey of what critics of the 1970s called “The New Color Photography,” a loose artistic movement that generated much controversy and excitement in a multitude of exhibitions and publications throughout the decade. Addressing various themes, such as the technological factors contributing to color’s emergence, cultural biases against color photography’s use as an art form, and shifting attitudes between formalist and conceptual practices, the exhibition explores color’s role in the transition between modern and contemporary approaches to art photography during the 1970s.

Cincinnati Art Museum 13.02.2010 - 09.05.2010

Website : Cincinnati Art Museum

Website : Cincinnati.com

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This installation features highlights of new, never-before-displayed acquisitions from the Mead’s rich and expanding collection of photographs. Works included represent strikingly diverse artistic concerns, techniques, and locales.
“An Expanding Lens” features several photographs drawn from an important portfolio by David F. Barry, who, along with his mentor, Orlando Scott Goff, documented American Indians and U.S. Army participants in the Sioux War of 1876. Portfolio selections include penetrating studio portraits Barry took of many individuals historically associated with the Western frontier and its mythology, including Sitting Bull and Annie Oakley (pictured).
The display otherwise focuses on modern and contemporary photographers Wendy Ewald, Paul Ickovic, Joel Levinson, Duane Michals, and Frank Paulin. Widely regarded for her worldwide photographic collaborations with children, Ewald (Amherst College Visiting Artist-In-Residence) explored the racial politics of South Africa in a series from 1992, from which the Mead’s display showcases five poignant photographs. These are joined by a group of images of what California-based Levinson termed the “truly ethnic brotherhood” that congregated throughout his home state at massive flea markets, which the photographer documented from 1975 to 1977. The most recent acquisition in the installation, Michals’s The True Identity of Man (1972) is a signature work by this decorated master of the medium known for his sensuous and meditative imagery. Paulin, by contrast, extends the distinguished tradition of documentary street photography in scenes of New Orleans, New York, and Paris, works that betray his exceptional artistic pedigree as a former student of László Moholy-Nagy and Harry Callahan.
The exhibition is supported by the Templeton Photography Fund and the Hall and Kate Peterson Fund.
Exhibition Checklist

Mead Art Museum 26.01.2010 - 06.06.2010

Website : City of Amherst



Most widely known for his comic, hallucinatory paintings, Carroll Dunham (b.1949) is also a prolific printmaker. This survey features over 100 prints including lithographs, etchings, drypoints, linocuts, wood engravings, screen prints, digital prints and monoprints all made since 1984. An integral part of his artistic process, Dunham’s prints combine the spontaneity and drama of his paintings with the careful premeditation demanded of the medium. His imagery-—which shares the wickedly cartoony semi-abstractions of his paintings—is transformed, refined, and often intensified in his graphic work.
Organized by Addison Gallery of American Art, Phillips Academy, Andover, MA. Generous support for the exhibition and publication was provided by the Strypemonde Foundation.
Curated by Allison Kemmerer, Curator of Photography an Art after 1950, Addison Gallery of American Art, Andover, MA.

University Art Museum 02.02.2010 - 03.04.2010

Website : University Art Museum

Website : Albany

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Elegantly Attired opens the door into a lively time when wealthy sea captains and their spouses traveled the world and brought back cosmopolitan ideals and handiwork to their bustling midcoast communities. The exhibition draws on the museum’s collection of nineteenth century clothing and accessories including day and evening attire, nightgowns, undergarments, hats and shoes, fans, and jewelry dating from 1850 to 1900. The exhibition, which is on display in the museum’s Nevelson/Berliawsky Gallery, runs through April 25, 2010.During the second half of the nineteenth century the coastal towns of Maine were in an economic boom: Maine was the largest producer of wooden sailing vessels; the lime industry in Rockport and Rockland were at their height; and Bangor was the lumber capital of the world. In addition, many of the captains commanding the American merchant fleet were native Mainers and a good number of them brought their wives on voyages. Those travelers, visiting foreign and domestic ports, shopped for the latest in materials and fashions. In Camden, Rockland and Thomaston men and women could be found wearing the finest in fashion and decorating their homes following the latest styles.With a growing middle and upper class, entertaining became more prevalent. Dances, dinners and afternoon visiting, or “calling” became a matter of routine. Women strived to look their best for these social occasions. It was the era before clothes were mass-produced and items of clothing were individually designed and sewn by a dressmaker to fit the client’s body. Style features included waistlines as small as twenty inches, achieved with the aid of whalebone corsets and bustles to emphasize the derrière.Fans were an important fashion accessory, and there are many fine examples in the exhibition. Aside from their obvious use, fans were also convenient communication devices. Whether a fan was snapped shut or fluttered sent a nonverbal message to admirers of the opposite sex. The fan was so essential it was often referred to as the “woman’s scepter.” Imagery on fans ranged from advertising, such as an image of the original Samoset Hotel, to intricate paintings of Chinese court scenes on the fan’s leaves and delicately carved ivory stems and guards.Included in this show are daytime and evening dresses given to the museum by Archie and Isabel Bailey, clothing once worn in the latter half of the nineteenth century by Maggie Shepard, wife of Captain Frank Shepard of Camden, and their daughter Annabel (Shepard) Hodgman.Nearly one hundred rings, watches, earrings, bracelets and necklaces worn by members of the William A. Farnsworth family of Rockland will also be on display. This nineteenth century jewelry includes such items as a brooch and earrings that resemble hot air balloons, a collection of personally engraved gold thimbles (that were popular gift items of the time), and enameled and jeweled pocket watches once belonging to individual members of the Farnsworth family.Since many of the hats and fans are adorned with feathers the exhibition will include a section discussing the feather trade in the nineteenth century. Rampant plumage trafficking almost decimated entire bird species and was the motive behind the beginning of the Audubon Society in the United States.

Farnsworth Art Museum November 07, 2009 – April 25, 2010
Crosman Gallery

Website :Farnsworth Art Museum

Website : City of Rockland

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State of Mind: A California Invitational is a celebration of California photography in the 21st century.
Twenty-two California photographers will be exhibited including Mona Kuhn, Todd Hido, Michael Light, Susan Rankaitis, Ken Gonzales-Day and Uta Barth. Their subject matter varies from scientific inquiry into the mechanics of light on the retina, to re-interpreting historical documents, to views of California’s beautiful and troubled topography, using techniques ranging from wet-collodion to film-based and digital imagery, or combinations of each.
In creating the Invitational, MoPA invited forty California-based curators, writers, gallery owners, and publishers to nominate photographers of note. MoPA juried the exhibition from this collective. While regional by way of where these photographers live, the issues within the photographs from State of Mind are global. They address what photographers from Berlin to Beijing are currently thinking about, among them: how photography continually re-invents itself, and how well it can describe the imaginary or reveal the invisible.

Museum of Photographic Arts 06.02.2010 - 06.06.2010

Website : City of San Diego

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