ArtSlant - Recently added en-us 40 Saskia Janssen and Ishu han - International Studio & Curatorial Program (ISCP) - July 7th - October 2nd <p>Dual exhibition by ISCP international artists-in-residence Saskia janssen and Ishu Han.</p> Mon, 06 Jul 2015 21:55:50 +0000 Ulrich Rückriem - Koenig & Clinton - September 10th - October 24th Mon, 06 Jul 2015 20:11:52 +0000 Group Show - Koenig & Clinton - July 16th - August 21st <div class="e-block"> <p>Koenig &amp; Clinton is pleased to announce Organic Situation, a group exhibition that parses ideas about human relationships to both organic and engineered environments. Our contemporary moment is one of the network society, in which our increasingly mediated experience of 'the natural world' is blurred between the virtual and the real. Organic Situation offers varying perspectives on the interdependent roles of biology and technology in shaping perception, experience, and creative production.&nbsp;<br /><br />Construing nature through language, image, and speech act, Paul Ram&iacute;rez Jonas mounts a grid of 165 printed sheets of paper to form Paper Moon (I Create as I Speak) (2008). A single excerpted sheet of the text reading 'I create as I speak' rests on a lectern, inviting an incantation.&nbsp;<br /><br />Two paintings by Denise Kupferschmidt draw on advertising, architecture and design elements from the early-20th Century to render 'universal' figures against graphic imagery of urban geometries. Peter Scott's High Line Billboard (2015) offers a telling view of visitors framed by a now-iconic architectural feature on the local High Line park. Zo&euml; Ghertner's False Fronts diptych captures the aspirational fa&ccedil;ades of the rural American West.&nbsp;<br /><br />Assembling topologies out of discarded advertisement vinyl, Kelly Jazvac's sculptural works coax new questions about landscape and disposability. Resembling natural rock formations, the digital refuse lumps of Tyler Coburn's Waste Management (2013-14) memorialize technological byproducts.&nbsp;<br /><br />Photographs from Margaret Honda's series Les animaux du Mus&eacute;um national d'Histoire naturelle, Paris (2005- 2007) present elusive images of threatened or extinct specimens. Also referencing nature morte, the sculptures of Jonathan Bruce Williams push the living dead into stereoscopic focus.&nbsp;<br /><br />A grid of oil paintings by Peter Dreher depicts light recorded at regular intervals on one alpine ridge over several days' time. Also in line with German Romanticism, Miljohn Ruperto's lenticular photograph Do Your Best (2014) attempts to convey Caspar David Friedrich's seminal painting, The Sea of Ice (1823-1824) in a newer medium.&nbsp;<br /><br />Trading in the visual language of myths, rituals, dreams, and photographic documentation, Geoffrey Hendricks' Fluxus headstand performances invert the body's relationship to land, sea, and sky. Meanwhile, the collaborative single-channel video and performance C.L.U.E. (Color Location Ultimate Experience) (2007) by A.L. Steiner + robbinschilds follows sentient bodies into the outdoors.&nbsp;<br /><br />For further information please contact or call (212) 334-9255.&nbsp;<br /><br />SUMMER HOURS:&nbsp;<br />Beginning July 6, our hours of operation are Monday-Friday 11AM-6PM and by appointment.</p> <p>&nbsp;</p> </div> Mon, 06 Jul 2015 20:10:26 +0000 Camila Rocha - Sacred Gallery NYC - July 9th - August 30th <p><strong>Recent Paintings<br /> By<br /> Camila Rocha</strong></p> <p>Open Reception - Thursday, July 9th. 8-11pm</p> <p>This exhibition attempts to share the artist&rsquo;s search for identity. Inspired on societal rituals conjuring spirituality and the release from strict ideological dogma, these paintings and works on paper are about the carnal, and passionate desires of the body. The work reflects collective performative acts, dealing with her motherland, Brazil. The exhibition includes paintings and objects inspired by Carnival, and ideas of the spiritual and political structures associated with the event.<br /> This exhibition displays performative images intended to contradict the sterile state of daily life. For Camila the use of exuberant color and texture are intended to provoke the senses in a way that mirrors the synesthetic experience of carnival. Likewise the characters depicted in her imagery represent free scenarios of liberated self-expression and primal human instincts, using hybrids to convey a universal idea of the body.<br /> <strong><br /> Artist Statement<br /> </strong><br /> Today, her oeuvre conjures a philosophical conversation involving gender, identity, theories pertaining to materialism, and feminism. The priorities on her work arrives through an exploration of her culture where the artist is searching for identity, inspired on her motherland, Brazil, and carnival archetypes that often echo social structures. This body of work conjures her interests in the formal aspects of traditional painting and representation, where language of illusionism that throughout the history of art has been linked to a heritage of objectification of the female body and product of the exotic.<br /> &ldquo;Painting in this way facilitates a kind of role reversal, in which I am able to confront the historic &ldquo;male gaze" that can be exploitive, and lead to categorization.&rdquo;<br /> <strong><br /> Artist Biography </strong></p> <p>Camila Rocha received her MFA, in 2015, from the New York Academy of Art. The artist&rsquo;s work has been exhibited nationally and internationally in places such as in Leipzig, Sao Paulo, Minas Gerais, London, California and New York. Camila has been honored in 2015 the New York Academy of Art Merit Scholarship, The Janet Rosel &amp; Peter B. Lewis Scholarship, The Valda Witt &amp; Jay Hatfield Portrait Scholarship award, and the LCU Fund for Women&rsquo;s Education Grant. In July-August, 2014, the artist was sponsored by NYAA to undertake a residency at the Leipzig Art International program in Leipzig, Germany. In 2010 she received the Los Angeles Academy of Figurative Art Scholarship. Among her accolades Camila has been featured in publications around the world. In 2012, Camila curated and exhibited work in the exhibition, Skin and Ink, at the Crafts and Folk art Museum in Los Angeles, California.<br /> <strong><br /><br /> </strong></p> <p><strong>Sacred Gallery NYC</strong> was established in December of 2009 by gallery director Kevin Wilson. The gallery&rsquo;s mission is to exhibit a diversity works and artists. Over the last three and a half years, Sacred has featured graffiti artists, painters, photographers, print makers, comic book artists, documenters, and many other types of artists using a variety of mediums, including blood and live performance graffiti. The gallery prides itself on the accommodations that are provided to the diverse communities of artists that New York City and the world have to offer.</p> <p>Sacred Gallery and its sister business, Sacred Tattoo, have been featured with the BBC, National Geographic Channel, Discovery Channel, MTV, TLC, New York Times, The Huffington Post, The Daily News, various tattoo magazines, and many other forms of news and media.</p> <p>Sacred Gallery NYC is conveniently located in Manhattan's SoHo District at 424 Broadway on the northeast corner of Broadway and Canal. Take the N,Q,R, or J.<br /> Sacred Gallery is open daily from noon to 8pm.</p> <p>For purchase inquiries, please email the gallery director at <a href="" rel="nofollow"></a></p> Mon, 06 Jul 2015 18:21:08 +0000 Roy Lichtenstein - Guild Hall - August 8th - October 12th <p style="text-align: justify;">This exhibition is dedicated to the memory of Mickey Straus.</p> <p style="text-align: justify;">In 1964, inspired by both the long history of art and by imagery he found on contemporary printed postcards, Roy Lichtenstein began to explore the genre of land and seascapes, using paint, plastic, enamel, drawings, collage, print, and even film to realize his various works. Seascapes were an essential part of the artist&rsquo;s lifelong exploration of psychological optics, light and his keen observations on the nature of field and ground. They were a genre he would revisit throughout his career in various media and guises. Comprised of over 30 works form private lenders and the Roy Lichtenstein Foundation, the exhibition will include works from the 1960s-1990s. A collaboration between Guild Hall and the Roy Lichtenstein Foundation, Roy Lichtenstein: Between Sea and Sky celebrate the artist&rsquo;s abiding relationship with the East End of New York and all that it inspired.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong><em>Principal Sponsor:&nbsp;</em></strong><em>Larry Gagosian</em></p> <p style="text-align: justify;"><strong><em>Lead Sponsors:&nbsp;</em></strong><em>Valentino D. Carlotti, Barbara Bertozzi Castelli,&nbsp;Barbara and Richard Lane,&nbsp;Joan and Lucio Noto, and&nbsp;Fern and Lenard Tessler</em></p> <p style="text-align: justify;"><strong><em>Co-Sponsors:&nbsp;</em></strong><em>The Broad Art Foundation,&nbsp;Raymond J. Learsy and Melva Bucksbaum, and&nbsp;Katherine and James Goodman</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>All Museum programming is made possible in part though the generosity of Crozier Fine Arts, The Harold and Mimi Steinberg Charitable Trust, the Helen Hoie Fund, The Lorenzo and Mary Woodhouse Trust, Melville Straus Family Endowment Fund, and with public funds from the New York State Council on the Arts and Suffolk County.</em></p> Sun, 05 Jul 2015 15:54:52 +0000 Group Show - Guild Hall - June 20th - July 26th <p style="text-align: justify;">his exhibition is dedicated to the memory of Tom Twomey.</p> <p style="text-align: justify;">Featuring East End artists: Linda Alpern, Ross Bleckner, Jack Ceglic, Fischer Cherry, Ann Chwatsky, Chuck Close, Anh Duong, Eric Fischl, Cornelia Foss, John Hardy, Soren Hope, William King, Jill Krementz, Laurie Lambrecht, Christa Maiwald, Jonathan Morse, Elizabeth Peyton, Bastienne Schmidt, Lola Montes Schnabel, Julian Schnabel, Joan Semmel, Cindy Sherman, Billy Sullivan, Susan Tepper, Robert Wilson, Darius Yektai and others, including selections from the permanent collection.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Sponsored in part by Donald R. Mullen and the Spektor Family Foundation, with additional support from Deborah and Allen Grubman, Amy and Joe Perella, and Carl Spielvogel and&nbsp;Barbaralee Diamonstein-Spielvogel.</em></p> Sun, 05 Jul 2015 15:53:15 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:39 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:33 +0000 - Hunterdon Art Museum - September 27th - January 3rd, 2016 Sun, 05 Jul 2015 15:50:14 +0000 Sally Spofford - Hunterdon Art Museum - September 27th - November 8th Sun, 05 Jul 2015 15:49:43 +0000 Group Show - Hunterdon Art Museum - June 20th - September 6th <p style="text-align: justify;">Hunterdon Art Museum teachers will showcase their diverse talents in oil and acrylic painting, photography, ceramics and more in our Faculty Show which runs through September 6.</p> <p style="text-align: justify;">Faculty artists participating in this year&rsquo;s show are: Lena Shiffman, Bascha Mon, Andrea Gianchiglia, Judy Shevell, Chris Muller, Leah Cahill, Charles David Viera, Catherine Kumar, Maureen Chatfield, Tricia Hurley, Jessica Lenard, Donna Lish, Duffy Dillinger, Anne Kullaf, Bill Macholdt, Ann Tsubota, Noah Klersfeld, Nancy Ori, Eric Rhinehart, MaryAnn Miller, Wendy Hallstrom, Stephen McKenzie, Carol K. Russell, Susan Martin Maffei, Archie Brennan, Santiago Cohen, April Anderson and Jennifer Brazel.</p> <p style="text-align: justify;">&ldquo;The Hunterdon Art Museum&rsquo;s mission &mdash; to connect people with contemporary art, craft, and design in ways that educate, challenge, and inspire &mdash; is perhaps best exemplified by the Museum&rsquo;s faculty,&rdquo; said Marjorie Frankel Nathanson, our executive director. &ldquo;Whether teaching a child&rsquo;s first art class or a workshop to accomplished artists who wish to learn a specific technique, our faculty excels. We&rsquo;re proud to highlight their work in this exhibition.&rdquo;</p> <p style="text-align: justify;">About 30 artists who teach on-site in the Museum&rsquo;s studios or off-site in area schools, juvenile justice facilities or other community programs were invited to participate in the exhibition.</p> <p style="text-align: justify;">&ldquo;The exhibition highlights the incredible talents of the artists teaching at HAM,&rdquo; said April Anderson, our education coordinator. &ldquo;After viewing the exhibition, we hope people will be inspired to learn from these talented teachers and will enroll in one of of terrific classes or workshops.&rdquo;</p> Sun, 05 Jul 2015 15:47:34 +0000 Ida-Christel Siebke - Islip Art Museum - June 28th - September 13th <p style="text-align: justify;">In support of emerging artists, the Islip Art Museum&rsquo;s gift shop will feature artwork by Norwegian artist Ida-Christel Siebke. The exhibition features hand poured, casted glass bricks with found key inclusions. This work was created at Diablo Glass School in Boston, MA during her April 2015 artist residency.</p> Sun, 05 Jul 2015 15:41:31 +0000 Alfred Stieglitz - The Jewish Museum - September 25th - February 14th, 2016 <p style="text-align: justify;"><span style="font-size: small;"><strong><em>Masterpieces &amp; Curiosities: Alfred Stieglitz's</em> The Steerage focuses on Stieglitz&rsquo;s enduring 1907 picture of steerage-class passengers aboard the ocean liner<em> Kaiser Wilhelm II</em>. This image has often been regarded as evidence of the poor conditions under which many immigrants arrived in America; however, Stieglitz took the photograph on a voyage to Europe</strong><strong>. As such, it is a document of people who were likely denied entry and citizenship to the United States. Stieglitz's concerns, however, were largely aesthetic rather than social-minded: he was moved more by the picture's formal qualities than its subject matter. Stieglitz considered the work to be his greatest triumph in a long, illustrious career as a photographer, stating later in life, "If all my photographs were lost, and I&rsquo;d be represented by just one,<em> The Steerage,</em> I&rsquo;d be satisfied."</strong></span></p> <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;"><span style="font-size: small;"><em>Alfred Stieglitz's </em>The Steerage demonstrates the artist's ceaseless promotion of the image, from its reproduction in <em>Camera Work</em>, Stieglitz&rsquo;s high-minded art journal, to popular magazines such as <em>Vanity Fair.</em> The exhibition will also feature Stieglitz's own account of its creation, in which he recalls:</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;">How I hated the atmosphere of the first class on that ship. One couldn&rsquo;t escape the nouveaux riches. I had to get away from that company. As I came to the end of the [deck] I stood alone, looking down. The whole scene fascinated me. I longed to escape from my surroundings and join those people. I saw a picture of shapes and underlying that the feeling I had about life. Should I try to put down this seemingly new vision that held me - people, the common people, the feeling of ship and ocean and sky and the feeling of release that I was away from the mob called the rich? Here would be a picture based on related shapes and on the deepest human feeling, a step in my own evolution, a spontaneous discovery.</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">The exhibition further explores the discrepancy in experience between those, like Stieglitz, traveling in first-class, and those in steerage. An exact model of the<em> Kaiser Wilhelm II</em> demonstrates the sheer scale of this impressive ocean liner, while vintage postcards depict the lavish interiors of its first-class cabins. By contrast, Edward A. Steiner&rsquo;s <em>On the Trail of the Immigrant,</em> published in 1906, provides an unsparing account of the wretched steerage conditions aboard the same ship.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Despite the fact that <em>The Steerage</em> shows people leaving, not coming to, the United States, by the mid-twentieth century <em>The Steerage </em>came to be viewed as the quintessential image of immigrants en route to America. The image resonates on a personal level, especially with Jewish Americans, who often mistake one of the figures in the foreground for a Jewish man mid-prayer (at a quick glance, the striped cloth looks like a <em>tallit</em>, or prayer shawl). Perhaps for this reason above all, <em>The Steerage </em>has become the textbook image for Jewish immigration (it even appears on the cover of <em>The Columbia History of Jews &amp; Judaism in America</em>, published in 2008).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Two related artworks from the Jewish Museum&rsquo;s collection are also included in this exhibition: Arnold Newman&rsquo;s 1944 double portrait of Stieglitz and the artist Georgia O&rsquo;Keeffe (whom he married in 1924), and Vik Muniz's contemporary rendition of <em>The Steerage</em>, which he recreated in chocolate sauce in 2000.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><a href=";q=%23MasterpiecesCuriosities&amp;src=typd">#MasterpiecesCuriosities</a></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Masterpieces &amp; Curiosities: Alfred Stieglitz&rsquo;s</em> The Steerage is organized by Rebecca Shaykin, Leon Levy Assistant Curator. The series is organized by Jens Hoffmann, Deputy Director, Exhibitions and Public Programs, and Daniel S. Palmer, Leon Levy Assistant Curator.</span></p> <h5 style="text-align: justify;"><span style="font-size: small;"><em>Masterpieces &amp; Curiosities: Alfred Stieglitz's </em>The Steerage is made possible by an anonymous donation in memory of Curtis Hereld and the Horace W. Goldsmith Foundation Exhibition Fund.&nbsp;</span></h5> <h5 style="text-align: justify;"><span style="font-size: small;">Additional support is provided by the Leon Levy Foundation.</span></h5> </div> </div> Sun, 05 Jul 2015 15:30:47 +0000 Group Show - The Jewish Museum - September 25th - February 7th, 2016 <p style="text-align: justify;">From early vanguard constructivist works by Alexander Rodchenko and El Lissitzky, to the modernist images of Arkady Shaikhet and Max Penson, Soviet photographers played a pivotal role in the history of modern photography. Covering the period from the 1917 Bolshevik Revolution through the 1930s, this exhibition explores how early modernist&nbsp;photography influenced a new Soviet style while energizing and expanding the nature of the medium &mdash; and how photography, film, and poster art were later&nbsp;harnessed to disseminate Communist ideology.&nbsp;<em>The Power of Pictures</em>&nbsp;revisits this moment in history when artists acted as engines of social change and radical political engagement, so that art and politics went hand in hand.</p> <p style="text-align: justify;">In a country where 70% of the population was illiterate, photographic propaganda often was more valuable than newspaper editorials. Lenin himself declared that the camera, as much as the gun, was an important weapon in &ldquo;class struggle.&rdquo; Recognizing that images had the power to transform society,&nbsp;Lenin put photography at the service of the Revolution &mdash; thereby serving as a historical demonstration of how artistic and political ambitions can coalesce and fortify one another.&nbsp;<em>The Power of Pictures</em>&nbsp;will illustrate&nbsp;that this work, developing alongside avant-garde art,&nbsp;encompassed a much wider range of artistic styles and thematic content than previously recognized. By contrasting works produced by Oktober and The Union of Russian Proletarian Photographers (ROPF), the exhibition will consider the conflicts and similarities of these respective groups of photographers who defined Soviet style of the period.&nbsp;<em>The Power of Pictures</em>&nbsp;highlights constructivist photographers, including Rodchenko, El Lissitzky, and Boris Ignatovich, whose work was presented in important exhibitions of the time. Such photographers influenced a new generation of photojournalists, such as Shaikhet, Penson, Eleazar Langman, and Georgi Zelma &mdash; the majority&nbsp;of whom were Jewish.</p> <p style="text-align: justify;">In addition to a stunning collection of photographic works, the exhibition includes films by major directors of the era, including the seminal&nbsp;Sergei Eisenstein film,&nbsp;<em>Battleship Potemkin</em>. Despite Eisenstein's relative fame,&nbsp;many of these filmmakers&nbsp;have been overlooked or excised from the history of the medium.&nbsp;<em>The Power of Pictures</em>&nbsp;features a rich array of film posters and vintage books that employ radical graphic styles with extreme color, dynamic geometric designs, and innovative collages and photomontages. Also presented are examples of periodicals in which major photographic works were published.</p> <p style="text-align: justify;"><em>Photographers:&nbsp;</em><br /> Boris lgnatovich<br /> Elizaveta lgnatovich<br /> Olga lgnatovich<br /> Yakov Khalip<br /> Eleazar Langman<br /> El Lissitzky<br /> Moisei Nappelbaum<br /> Max Penson<br /> Georgy Petrusov<br /> Alexander Rodchenko<br /> Arkady Shaikhet<br /> Georgy Zelma<br /> Georgy Zimin</p> <p style="text-align: justify;"><br /> <em>Filmmakers:&nbsp;</em><br /> Boris Barnet<br /> Sergei Eisenstein<br /> Mikhail Kalatozov<br /> Grigory Kozintsev<br /> Lev Kuleshov<br /> Yakov Pratazanov<br /> Vsevold Pudovkin<br /> Esfir Shub<br /> Victor Turin<br /> Dziga Vertov</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><br /> Susan Tumarkin Goodman<br /> Senior Curator Emerita</p> <p style="text-align: justify;">Jens Hoffmann<br /> Deputy Director, Exhibitions and Public Programs</p> <p style="text-align: justify;"><a href=";q=%23jmpowerofpictures&amp;src=typd" target="_blank">#JMPowerOfPictures</a></p> <h5 style="text-align: justify;"><em>The Power of Pictures: Early Soviet Photography, Early Soviet Film&nbsp;&nbsp;</em>is made possible by the Eugene and Emily Grant Family Foundation, The David Berg Foundation, Andrew and Marina Lewin Foundation, the Robert Mapplethorpe Foundation, and the Horace W. Goldsmith Foundation Exhibition Fund.</h5> <h5 style="text-align: justify;">The catalogue is supported with endowment funds from the Dorot Foundation.</h5> <p style="text-align: justify;"><img style="height: 30px; width: 443px;" src="" alt="" /></p> <h5 style="text-align: justify;"><br /> Special thanks to: Likhachev Foundation, St. Petersburg, Russia Memorial Foundation for Jewish Culture, New York</h5> Sun, 05 Jul 2015 15:28:01 +0000 Sandra Ramos, Diana Montero, Reynier Leyva Novo, and Vanessa Portieles, Yanelvis González - The Jewish Museum - June 26th - July 30th <p style="text-align: justify;"><em>Sights and Sounds: Cuba</em>&nbsp;features new work by Sandra Ramos, Diana Montero, Reynier Leyva Novo, and&nbsp;Vanessa Portieles and Yanelvis Gonz&aacute;lez, selected by Mailyn Machado.</p> <div class="overview-description overview-item one-half pull-left"> <div class="description"> <p style="text-align: justify;">This selection of videos by Cuban artists living in Cuba and Florida focuses on a prominent issue in the island&rsquo;s modern history: the challenge of staying or leaving, and the cultural and social effects of that dilemma. Cuba was long defined as a society that received immigrants; that changed with the Revolution of 1959. Waves of emigration throughout the last half-century have become a familiar, and highly politicized, phenomenon. Until a very recent change in the law, emigration was a permanent one-way trip.</p> <p style="text-align: justify;">A second large influence on recent art was the severe economic crisis of the 1990s, which undermined public confidence in the Revolution and its legacy. The family was at the epicenter of individual response to this problem (and hence is a frequent subject of video artists); emigration was now seen not as a political statement but a personal choice. Equally significant was the rise of an underground economy that sustained the country.</p> <p style="text-align: justify;">The social bonds produced by these changes, as well as uneven access to new technologies, have caused new networks and communities to develop among Cubans both at home and abroad, forming a complex new cultural geography. The four videos seen here are, in a sense, a barometer of these social shifts. Video is especially well-adapted to this role; in Cuba, in order to evade the state monopoly on media, it has become a person-to-person medium, a conduit between the audience and reality, a record of fragments of life that flows from hand to hand, from computer to computer, unofficially.</p> <p style="text-align: justify;"><strong>Mailyn Machado<br /> Curator</strong></p> <p style="text-align: justify;">Mailyn Machado (b. Havana, 1976) is an art and media critic and curator. She has organized exhibitions for the Museum of Fine Arts, Havana, the Havana Biennial, and the Cultural Centers of Spain in America, among other&nbsp;institutions. She is the chief editor of the magazine&nbsp;La Gaceta de Cuba. Her writing has appeared in Cuban and foreign publications. Machado earned a degree in art history from the University of Havana in 2001, and &nbsp;completed postgraduate studies in art criticism at Gerona University, Spain, in 2006.</p> </div> </div> Sun, 05 Jul 2015 15:21:54 +0000 Jacob Riis - Museum of the City of New York - September 18th - January 31st, 2016 <p style="text-align: justify;">Jacob Riis (1849-1914) was a pioneering newspaper reporter and social reformer in New York at the turn of the 20th century. His then-novel idea of using photographs to illustrate the plight of the city&rsquo;s poor&mdash;New York&rsquo;s &ldquo;other half&rdquo;&mdash;established Riis as a forerunner of modern photojournalism. His photography was effective, and his work spurred legislation and new organizations that addressed housing conditions and more. <em>Jacob A. Riis: Revealing New York&rsquo;s Other Half</em> features photographs by Riis and his contemporaries, as well as his handwritten journals and personal correspondence.</p> <p style="text-align: justify;">This is the first major retrospective of Riis&rsquo;s photographic work in the U.S. since the City Museum&rsquo;s seminal 1947 exhibition, <em>The Battle with the Slum</em>, and for the first time unites the Museum&rsquo;s Jacob A. Riis Collection&mdash;the sole archive of Riis&rsquo;s images&mdash;and the Jacob A. Riis Papers from the Library of Congress.</p> <p style="text-align: justify;">The exhibition is curated by Bonnie Yochelson, former Curator of Prints and Photographs at the City Museum, and is co-presented by the Library of Congress. It will travel to Washington, D.C., and to Denmark following its presentation at the City Museum.</p> <p style="text-align: justify;">Yale University Press, the City Museum, and the Library of Congress also co-published a book on the occasion of the exhibition.</p> Sun, 05 Jul 2015 15:10:31 +0000